Albert Pinya Spanish Artist : The Time in Now
ALBERT PINYA. THE TIME IS NOW
Do you know Albert Pinya? Please, pay attention and don’t forget this name. He’s one of the most recognized members of the new generation of Spanish painters born in the ’80. His work is above all characterized by a constant review and a continuous questioning of moral and human behaviour. Combining; tragic, absurd, grotesque, decadent, ridiculous and irreverent elements which, linked to an ironic and at times comical at times a little naive or gruesome vision, take us a step closer to the here and now.
AECA Award for the best Spanish artist represented in ARCOmadrid 2014. Actually, he has been one of the ten artist selected for the 31a edition of the BMW Prize.
EV Who are you and what do you do?
My name is Albert Pinya, I was born on the 23rd of June 1985 in Palma de Mallorca, the eve of the sorceress’ solstice.
People say I am an artist, but I actually think of myself as a different thing every day. A smuggler of ideas, a maker of imagery, creative humanist, social commentator, enthusiastic pessimist, luxury prostitute, etc.
EV What’s your goal?
My intentions and objectives are very disparate, but there is always a common root. I love storytelling, mostly through images. Regardless of the materials or media involved; communicate. To provoke others to ask questions even if there are no answers to be found. Nudging them into the culture of thinking above and beyond seeking entertainment.
I am creating art for a whole new kind of World?
EV What is your dream project?
To continue working freely, without restrictions or limiting taboos, with access to adequate resources; to feel that the work I am undertaking is in some way useful to advance society in
its development as our new world is becoming hyper-complex ? EV Why to you do what you do?
Because I am not equipped to face any other lifestyle or profession. EV What role does the artist have in society?
They are the philosophers of contemporary society. A platform which can entice questioning on existence, history, and life. In Fernando Sánchez-Castillo’s words; “What is the role of the artist? To point out contradiction. That crack which lights suspicion.” Amen.
EV What themes do you pursue?
I am Spanish ,and Spain is country with a rich culture ,grounded by battlefields between catholics, jewish and muslims over decades .
I believe Art Saves The World by living in Harmony.$
In 2011, I was invited by the chef Maria Solivellas, one of the pioneers in the Slow Food movement in Spain and the neogastronomy current in the Balearic Islands, to produce a mural in her iconic restaurant located in the village Caimari (Mallorca), nestled in the Serra de Tramuntana (Declared World Heritage site by Unesco during the same year). This invitation marked the start of a new phase in my artists’ practice, as I became aware of the power of food as a vehicle for communication, instinctively marrying iconography, reflections and concerns that had been simmering during his career. This experience and the resulting discovery opened the doors to the communion between my visual language and the sublimation of the rural universe, which underscores much of my current practice. This remission back towards ancestral times, infused my works with the telluric undertones with which I evoke the profound fundamentals of primitive cultures and those which are manifested in some contemporary cultural expressions which take place on the margins of mainstream culture which is saturated with imagery, hollow information, and superfluous, unnecessary ornamentation. The fascination with simplicity and the efficiency of ancestral cultures has not left me since that first experience.
This line of research and this desire to return to the origins, has inspired the notion of Agropower, as a concept, which defines life on the margins of urban society, anchored in the celebration of landscape, rural traditions and creative processes involved in the hand made. Moreover, this context calls for the inevitable need to search for new social formulas and the appearance of the Contemporary Hero. Charged with an ancestral weight, almost totemic, Contemporary Heroes are all those who have been able to defend their ability to conserve their unique and unchanging identity, to enjoy their ability to survive despite the avalanche of transient fads, the influence of short lived fashions which are produced en masse. Hence, Contemporary Heroes are the pillars of Agropower, icons which are venerated in a similar vein as the art produced by the cave man,in the Stone Age with magic and nature taking the front stage.
My practice distances itself from the notion of “l’art pour l’art”, guided by the assumption that as a mechanism of expression, art is inherently a tool for communication and must be therefore grounded in ideology.
ripels & stones throw a stone to participate%
EV What’s your favourite art work?
I’ve always felt especially drawn to cave paintings. An ancestral language, which is nonetheless so contemporary; with such defined aesthetics, iconic and primitive, and such majestic power. As if they were the first manifestations of contemporary graffiti; with a magical and supernatural approach to life. Some good examples are the ones you can find in the Altamira caves (Spain) and Chauvet (France).
-insert the word spirituality & priest ..&
EV What memorable responses have you had to your work?
I receive very different reactions to my work. Members of committees and specialist juries award me prizes, important art collectors pay thousands of euros for my work and some people say that a small child could do what I do.
It’s all so bizarre!!!
I find its best to not expect anything from anyone, and to follow my own belief, taking full responsibility for the consequences, regardless of whether they turn out to be positive or negative.
EV What do you dislike about the art world?
I dislike practically all of it. The market, the lobby groups, the art fairs, the magazines that follow trends, some curators and gallerists, prepotent collectors, haughty critics who are full of themselves, mystical artists, facebook artists, etc. That dreaded moment when I find myself alone in my studio, facing the abyss of creation.
EV What role does art funding have?
Both public and private funding are essential to help artists grow and develop their projects. Normally, most of the support for young artists comes from the private sector, the public sector should become more proactive in this…. in order to create a better world inspired by
artist who are often front runers,. ‘
Education is key to navigate to a better world ,a better future .
EV What research do you do?
I research constantly, daily. Anything around me can elicit further study and close observation. Poetic subjects are many but not everyone has the good fortune of being able to spot them. You need to have a trained eye, and be prepared because these things appear when you least expect them.
EV What’s the best piece of advice you’ve been given?
Do all that you want. Without hope. Without fear.
EV What would you have done differently?
Everything & Nothing.
EV What is the role of the people, the crowd in your project?
They play an essential role to complete the process that an artwork is born to carry out. The spectators’ gaze and experience is the key which allows the ideas to flow and filter through into society.
How can they participate in your project?
Many ways; some more actively than others. I’m interested in discovering their opinions and interacting with them. But to be a good author, one has to begin by being honest with oneself, above all, before beginning to consider other people’s comments and actions.
EV How are you connected with the people or the crowd?
I don’t know.
I don’t think I’m too connected.
I’m more like a satellite.
I like to keep a certain distance to guard my intimacy.
EV The crowd economy creates meaningful experiences and shared value, how do you see it for your work?
The exchange, in a reciprocal direction, is essential between both parties. Artists must enrich society with their ideas and society should offer support to the artist, to help him or her survive and expand the reach of the artwork. An alliance between the two is essential and necessary.
EV: CO-Creation and participation are emphasized in the crowd economy and communities take an active stake in crafting positive futures. How do you use the crowd?
I try to maintain them informed of all the steps and actions I take. But I’m not a slave. I feel more identified with the minority who have not fallen victim of excessive use of information technology and social networks.
EV How do you interact?
I must admit I don’t interact much.
My concerns are different; creating and destroying language.
EV How do you handle feedback?
I’m usually quite a receptive person. Listening to others does not annoy me as long as they have something interesting to tell me about. However, when it comes to my own work, I try to ensure that I’m the final decision maker.
EV: How do you create the interaction?
It’s important for me that the galleries, spaces and stakeholders I work with have a network including a variety of media, so that I can disseminate news about the work I am doing. Personally, I much prefer print press. I love paper, and I’m somewhat of an anachronism. I feel more comfortable engaging with others face to face, in person, rather than through a computer screen. But I am aware of the growing importance of digital media and social networks nowadays.
EV: What are the results?
The results are not negative, I have been able to continue working the way I like for now. Although, who knows, maybe the impact would have been better had I had access to more resources and social networks.
EV: How do you measure results?
I measure results in terms the number of projects I take on from one year to the next.
EV How do you measure the effect?
I don’t measure it at all.
I don’t give any importance to this.
My obsession is focused on the work I do in my studio.
EV What Social Media do you use?
Is that a joke?
I am the tormentor of social networks!
But I like it when people I work with use them.