Program

Exhibitions and plastic arts

Written in: Apr 30, 2014

Soon after her death, she started to be an object of inspiration for the artists of the Renaissance and the Baroque that found in Saint Teresa the figure that condensed a unique and fascinating personality. Currently, one of the bigger challenges of the contemporary painting is to get close to the expressions of the mystic through volume and color. The nuances give rise to new artistic approaches that were useful to configure the exhibitions that are presented down below.

At the same time, the big opportunity to make known the intern life of the Order of the Reformed Carmel, work of Saint Teresa de Jesús, proposes exhibitions of informational character in which the graphical files and other type documents to approach the society to the work made from convents and monasteries as well as to their forms of life are used.

Here, the exhibitions in which the Foundation is working and that soon will be concreted with dates and places:

MYSTIC AND CONTEMPORARY ART, CHROMATIC SPATIALISM

The exhibition Chromatic Spatialism has been conceived as a dialogue between text and image, poetry and painting, which, bringing into play two different representative systems and two different artistic languages, underlines this other space ultra-semantic that is created from the encounter between both. That’s how every painting or sculpture comes with one or several poetical texts that illuminates some aspects of the work or life of the Saint, waking up in us new spaces that open around us. The sermons and houses of the saint –that Rafael Alberti used for one of his titles- are ours in this double approximation that makes patent the wealth of meanings of the works of Saint Teresa, as well as the influence that the same had in the arts of modernity : mainly, in the XX century, that picks up from the ascetic and mystic some zones of sense that understood Rilke, avid reader of the tridentate spiritual literature, and that have received a no less profound development in the abstraction of the plastic of the modernity, that has known to follow the opened route for the transcendent realism of our Baroque.

THE TRADITION OF THE TERESIAN CARMEL IN PICTURES

This exhibition, of documental and diffusional vocation offers a fragmented look, but also panoramic, of the story of the Order of the Discalced Carmel from the XIX century, through photographic documents coming from the Archive of the General Curia of the Teresian Carmel, Discalced Carmelites, of Rome.

The objective, from the organization of the V Centenary of the Birth of Saint Teresa de Jesús, is to lay out questions that invites the public to think about the ultimate meaning of the Order, its historic meaning, and the definitive relevance inside the core of the Catholic Church. The exhibition can be fragmented in some thematic itineraries: convents, monasteries, distinguished characters- Cardinals of the Order of the Discalced Carmel and Bishops), Generals, Chapters. The temporal frame of the exhibition will be from the XIX century to the end of the XX century.

The person in charge of articulating this speech as commissioner of the exhibition will be Father Óscar Ignacio Aparicio Ahedo, General Archivist of the General Curia of the Teresian Carmel, Order of the Discalced Carmelites in Rome. Expert on the history of the Order and guardian, cataloguer and main conservator of the Archive, will make a careful selection of the photos, elaborating an expositive speech around the reasons and images they reproduce and configure the quotidian life of this singular and vital religious order, its interaction with the environment and its spiritual wealth.

EXHIBITION ABOUT THE RTVE SERIES

The exhibition we present has as an objective to make an homage to the series that RTVE made in 1984 about Teresa de Jesús. It is one of the most important productions of its time, with eight episodes of one hour that recreates the life of the Saint and her time.

This exhibition will be presented publically in an innovative way to understand the museography in the exterior: by rectangular units of 10 or 15 square meters that will allow the audiovisual emission and the reading of tactile screens.

That way and constructing expositive interiors in exteriors, scenes of some key episodes to the comprehension of the series could be emitted, and images of the turning, relevant photograms and fundamental parts of the script that will make enter the people attendant to the exhibition in the social and cultural context of the Spain of the XVI century will be shown.

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