{"id":2998,"date":"2022-12-15T11:50:13","date_gmt":"2022-12-15T11:50:13","guid":{"rendered":"https:\/\/esculturaenlacalle.com\/first-edition\/"},"modified":"2023-02-03T11:54:01","modified_gmt":"2023-02-03T11:54:01","slug":"first-edition","status":"publish","type":"page","link":"https:\/\/esculturaenlacalle.com\/en\/first-edition\/","title":{"rendered":"First edition"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”100px”][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n

First edition<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

The I International
\nStreet Sculpture Exhibition was held in the city of Santa Cruz de Tenerife between the winter of 1973 and the spring of 1974.<\/h1>\n

[\/vc_column_text][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”50px”][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”20px”][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n

In the words of Vicente Saavedra: “…the list of participants alone illustrates the importance of the event.<\/h2>\n

[\/vc_column_text][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”50px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]All the Spanish sculptors who took part in this international exhibition left their work definitively in the streets and squares of Santa Cruz. The list is extensive and representative: Jos\u00e9 Abad, Andr\u00e9s Alfaro, N\u00e9stor Basterrechea, Rubio Cam\u00edn, Xavier Corber\u00f3, Jaume Cubells, Feliciano Hern\u00e1ndez, Amadeo Gabino, Jorge Jim\u00e9nez Casas, Eduardo Gregorio, Jos\u00e9 Guinovart, Marcel Mart\u00ed, Remigio Mendiburu, Joan Mir\u00f3, Eusebio Sempere, Pablo Serrano, Francisco Sobrino, Jos\u00e9 Mar\u00eda Subirachs, Gustavo Torner, and Ricardo Ugarte.<\/p>\n

We also had the opportunity to see in our city works by sculptors who had previously left us, such as Alberto S\u00e1nchez, \u00d3scar Dom\u00ednguez, Pablo Gargallo, Julio Gonz\u00e1lez, and our departed friend Manolo Millares.<\/p>\n

In addition to the Spanish participants, many foreigners also took part. The list is extensive and includes artists from ten different countries: Kenneth Armitage, Bernard Meadows, Henry Moore and Eduardo Paolozzi from England; from France, Claude Viseux; from Italy, Mario Ceroli and Arnaldo Pomodoro; Gotfried Honegger, from Switzerland; Mark Macken came from his native Belgium; and from the other side of the Atlantic we had a very qualified participation with works by Alexander Calder from the United States, Alicia Penalba and Mar\u00eda Sim\u00f3n from Argentina, Jes\u00fas Soto from Venezuela, Federico Assler from Chile, and Agust\u00edn C\u00e1rdenas from Cuba. We also had works on loan from deceased sculptors, such as Italian Marino Marini and Russian Ossip Zadkine.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”2807″ img_size=”full” qode_css_animation=””][vc_empty_space][vc_column_text]It might seem, on the basis of the above, that the organisation of the exhibition was a success, but there were some setbacks. I remember, for instance, Eduardo Chillida’s refusal to participate, despite our repeated invitations; or what happened with the most conceptual work of all those carried out in the field, for which the sculptor Mario Ceroli proposed a project that consisted of writing the basic elements of Aristotelian physics: earth, air, fire and water, with trees on four dominant hills of Santa Cruz. The unavoidable difficulty of finding a public space with the requested characteristics led us to choose a free site between the entrance and exit ramps to Santa Cruz on the northern motorway. A red flowering tree was chosen, the ground was prepared and the planting began, but could only afford the first three letters of the word \u201cfuego\u201d [Spanish for \u201cfire\u201d] and the thing remained, ironically, in the indefinite past \u201cFUE\u201d [Spanish for \u201cit was\u201d].[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_separator type=”normal” color=”#07184b” thickness=”5″][vc_empty_space][vc_column_text]<\/p>\n

Another uncertainty arose when we contacted the General Directorate of Fine Arts of the Ministry of Culture in order to obtain the provisional loan of some works from the collections in its museums, specifically those by \u00c1ngel Ferrant, Mateo Hern\u00e1ndez, and Pablo Gargallo. Although the initial response was affirmative, later on a host of bureaucratic and useless problems put paid to this initiative, leaving us with a certain discouragement.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_separator type=”normal” color=”#07184b” thickness=”5″][vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]Another uncertainty arose when we contacted the General Directorate of Fine Arts of the Ministry of Culture in order to obtain the provisional loan of some works from the collections in its museums, specifically those by \u00c1ngel Ferrant, Mateo Hern\u00e1ndez, and Pablo Gargallo. Although the initial response was affirmative, later on a host of bureaucratic and useless problems put paid to this initiative, leaving us with a certain discouragement.<\/p>\n

And it was at that moment that Pablo Serran\u2019so miraculous magic wand reappeared, who managed to get his friend the sculptor Mark Macken \u2013 linked to the Middelheim Museum in Antwerp \u2013 to send an urgent copy of Gargallo’s The Prophet from Belgium, so that we could enjoy this undisputed jewel of contemporary sculpture for a few months in the Garc\u00eda Sanabria Park.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]The work by the young artist Jorge Jim\u00e9nez Casas, made with methacrylate plates and resembling a large black bird, was blown away by the first windstorm and disappeared. A second, reinforced version of the sculpture, placed in the same place, suffered the same fate, leaving only a few photographs as the only evidence of its existence.<\/p>\n

Although the political circumstances at the time were not the most suitable for a free and non-interfered debate on cultural issues, the I International Symposium on Street Art was organised in parallel to the exhibition, with the sponsorship of the March Foundation and the close collaboration of the Art Department of the Faculty of Philosophy and Letters of the University of La Laguna.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_separator type=”small” position=”center” color=”#07184b” thickness=”5″][vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/3″][vc_column_text]Tom\u00e1s Llorens, then professor at the School of Architecture in Portsmouth (England), participated in its beginnings by writing an extensive article entitled “Invitation to Debate”, which served as the basis for the discussions and papers of the Symposium.<\/p>\n

The three-day course ended with keynote lectures by Jos\u00e9 Luis L\u00f3pez Aranguren, Jacques Lassaigne \u2013 director of the Mus\u00e9e d’Art Moderne de la Ville de Paris \u2013 and Eduardo Westerdahl.<\/p>\n

The list of speakers gives us an idea of the importance of this Symposium, with the participation of intellectuals such as Xavier Rubert de Vent\u00f3s, Gillo Dorfles, Oriol Bohigas, Corredor Matheos, Valeriano Bozal, Juan Manuel Bonet, Sim\u00f3n March\u00e1n, and Jos\u00e9 Rogelio Buend\u00eda.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]Despite this extraordinary line-up of participants, the Symposium was contested in the street, which demanded the discussion of other forbidden topics till then, so that the final conclusion was, paradoxically, the lack of conclusions. Juan Pedro Casta\u00f1eda saw it this way in his chronicle for the newspaper La Tarde: “When it came to drawing up the conclusions there was no agreement, and in the end there were three different types of summaries, two of them drawn up by the working groups to which the speakers belonged and a third type drawn up by many of the congress participants, who included in their conclusions the need for a closer approach to the immediate reality, not so much artistic as social”.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]The coordination of information and promotion about those events was masterfully orchestrated by the journalist Juan Cruz Ruiz, who was still living in Tenerife. To this end, he organised a press conference in Madrid, which had enormous repercussions throughout the national press, with some of the most prestigious newspapers, such as La Vanguardia of Barcelona, dedicating the colour front page of the Sunday paper to the Exhibition.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_single_image image=”1445″ img_size=”full” qode_css_animation=””][vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]After a long period of uninterrupted and exhausting activity, in May 1974, the I International Street Sculpture Exhibition came to an end. Most of the works exhibited in our capital remained with us forever, but others, perhaps the most important ones, had been loaned. Thus began a painful process of returning sculptures.<\/p>\n

The sculptures by Mir\u00f3 and Moore, which had been on display on the Rambla for almost half a year, were returned to their place of origin \u2013 Paris and London \u2013 at the end of the loan period. At that moment, a real popular movement began, echoed by all the media, for the works to return to our city.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]The authors were not insensitive to such strong social pressure and decided to cede the rights to their sculptures so that new bronze casts could return to us. To this end, it was necessary to raise funds by means of popular fundraising activities, which were complemented by a special grant by the Tenerife Island Council. The works that came on this second occasion did not coincide with those previously exhibited in Santa Cruz and are entitled El Guerrero de Goslar (The Warrior of Goslar) by Henry Moore and Mujer Botella II (Bottle Woman II) by Joan Mir\u00f3.<\/p>\n

Some of the objectives that the organising committee had set out to achieve at the end of the exhibition were never met.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_separator type=”small” position=”center” color=”#07184b” thickness=”5″][vc_empty_space height=”50px”][vc_column_text]Juan Cruz commented at the time in the pages of the now defunct newspaper La Hoja del Lunes: “…thirty-two of the sculptures that will now fill the ramblas and the park will remain in the city as part of its artistic heritage. But we know that these sculptures will not remain only in these two places in Santa Cruz. When the exhibition ends \u2013 at the end of January \u2013 the commission that has organised the exhibition will look for the most suitable places in the neighbourhoods and squares of the capital so that these works can fulfil their aesthetic function outside this urban centre, which has now been used to make the sculptures more comfortable to look at. Then, we repeat, these sculptures will be scattered around the city. This initiative seems to me to be essential, and I think it will be the one that will really give the exhibition the popular sense that the organisers wanted it to have”.<\/p>\n

 <\/p>\n

Similarly, in an interview published in El D\u00eda, Sir Roland Penrose expressed an existing problem which, unfortunately, remains unresolved. He said:[\/vc_column_text][vc_empty_space height=”50px”][vc_separator type=”normal” color=”#07184b” thickness=”5″][vc_empty_space][vc_column_text]<\/p>\n

“It is an extraordinary idea to have put the sculptures on the street.
\nThe choice seems to me to be a good one.
\nIt is an adventure that all cities should embark on.
\nThe worst thing about the exhibition? The lampposts. The lampposts on the Ramblas”.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_separator type=”normal” color=”#07184b” thickness=”5″][vc_empty_space height=”50px”][vc_column_text]It was significant that the reason those unsightly lampposts were removed from just one section of the Ramblas \u2013 the one with the jars \u2013 was to facilitate a military parade”. The happy coincidence of the celebration in 1994 of the V Centenary of the foundation of the City of Santa Cruz de Tenerife with the XX anniversary of the I Street Sculpture Exhibition has made it possible to set up a second version of that exhibition”.[\/vc_column_text][vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

In the words of Eduardo Westerdhal, according to a published article:
\n“The I International Street Sculpture Exhibition, organised by the Santa Cruz de Tenerife Delegation of the Official Architects\u2019 Association of the Canary Islands, has overcome the natural limitations of the island and can be considered a national event.<\/h2>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”1443″ img_size=”full” qode_css_animation=””][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]The setting up of such a complicated task is mainly due to the generous collaboration of the Tenerife Island Council the City Council and the Caja de Ahorros de Santa Cruz de Tenerife, the Official Architects\u2019 Association in the island’s Delegation and, in a singular way, to the efforts of the Culture Commission of the Association.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]It has been possible to have important figures in Tenerife, such as Sir Roland Penrose, former director of the British Council in Paris and current president of the Institute of Contemporary Art in London, of which he was a founder together with Herbert Read and Henry Moore; Jacques Lassaigne, director of the Mus\u00e9e d’Art Moderne de la Ville de Paris; Marc Macken, director of the Middelheim Sculpture Museum in Antwerp, sculptor, founder of this museum and one of the great experts in this type of open-air exhibition; Claude Viseux, sculptor and member of the Jury of the Salon de Mai in Paris.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_separator type=”normal” color=”#07184b” thickness=”5″][vc_empty_space][vc_column_text]<\/p>\n

Most of the sculptors exhibiting their work were present in Tenerife on the opening days: Jim\u00e9nez Casas, N\u00e9stor Basterrechea, Mart\u00edn Chirino, Feliciano, Eusebio Sempere, Jaime Cubells, Jos\u00e9 M\u00aa Subirachs, Eduardo Paolozzi, Amadeo Gabino, Pablo Serrano, Remigio Mendiburu, Ricardo Ugarte, Federico Assler, Josep Guinovart \u2013 his great exhibition is still open at the Association, Gustavo Torner, Joaqu\u00edn Rubio Cam\u00edn, Xavier Corber\u00f3, Andr\u00e9s Alfaro, Francisco Sobrino, Eduardo Gregorio, Mar\u00eda Sim\u00f3n, Jos\u00e9 Abad, and Mario Ceroli.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_separator type=”normal” color=”#07184b” thickness=”5″][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”50px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text]Of a total of forty-six works, twenty-nine have been donated by their authors to the city. Those promised by Jean Tinguely and Niki de Saint-Phalle, the one by Mario Ceroli and another contribution by Oscar Dom\u00ednguez are still missing”.[\/vc_column_text][vc_empty_space][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″]first edition pieces<\/a>[\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”15px”][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”50px”][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”100px”][\/vc_column_inner][\/vc_row_inner][vc_column_text] First edition [\/vc_column_text][vc_empty_space][vc_column_text] The I International Street Sculpture Exhibition was held in the city of Santa Cruz de Tenerife between the winter of 1973 and the spring of 1974. [\/vc_column_text][vc_row_inner…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2998","page","type-page","status-publish","hentry"],"yoast_head":"\nFirst edition - Escultura En La Calle<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/esculturaenlacalle.com\/en\/first-edition\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"First edition - Escultura En La Calle\" \/>\n<meta property=\"og:description\" content=\"[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”100px”][\/vc_column_inner][\/vc_row_inner][vc_column_text] First edition [\/vc_column_text][vc_empty_space][vc_column_text] The I International Street Sculpture Exhibition was held in the city of Santa Cruz de Tenerife between the winter of 1973 and the spring of 1974. 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