MAR ARZA’S CONFIRMATION
Mª Ángeles Cabré
if Covid – with the cultural precariousness it has brought about - has served to make some institutions feel the need to support mid-career artists as an imperative, Covid is welcome. This is the case of War truckthe retrospective of Mar Arza (Castellón de la Plana, 1976) – the first of his career - visible at La Virreina, on the Ramblas of Barcelona, and which was co-produced by the Palacio de los Condes Centro Culturale de Gabia in the Council Provincial of Granada. It is when we trust in art in progress, and not in finished art – that is, in artists who are already deceased or on the verge of their end – that we demonstrate that we are a country that believes in culture and not a country that uses culture for specious purposes such as tourist promotion or the repeated ad nauseam consecration of the indisputable sacred cows.
collecting the legacy of an active artist – indeed, at the best of her creative maturity – means giving her the push she needs to continue her journey. Mar Arza is one of the mid-career artists with a more pronounced artistic personality. Its grate asset, its interest in the language, which makes it unique. As the curator and director of La Virreina, Valentín Roma, states in the program: “Language, or rather, the rearguard of words, the way in which they contribute to dissent, takes on a crucial role in the grammars of the artist, who did not deal only of the abstractions that support each message, but above all of its most rigorous materialities, from the meaning of a typography to the image construction systems or the corporeality of a symbol.” Language runs through his work, just as, for example, symbols run through Tàpies’ work.
Another recurring element in her creations - a trademark since the beginning - is the criticism of the historically subordinate social position of women, i.e. feminism. In several series,Arza highlights the invisibility of the female condition in tradition and reinterprets exercises of insubordination that resist patriarchy.the first room of the exhibition is placed in this direction, where the message of the various phylacteries – those ribbons with inscriptions typical of religious images – is subverted, transforming them into disobedient: they no longer dictate servitude, but rebellion. And the new audiovisual piece also reflects her interest in women’s history. A circle within itselfwhere it approaches the ancient vestiges linked to femininity to presuppose cultures of a matrilineal nature, interested in aspects such as fertility and infertility, and which is the result of a recent trip to Romania in the company of Montse Romaní, professor at la Massana.
Evidently of marked feminist coherence is also the sculptural work created between the 20th and 21st centuries with female figures along the lines of the Paleolithic Venus of Willendorf, among other famous Venuses.These figures resist the aesthetic dictatorship that weighs on women’s bodies. Not to mention the elegant piece “Femme gaine” (Sheath Woman), where instead of seeds we find inscribed lyrics.
To his best-known works such as “Avenç” (Savings), a criticism of the system carried out through a series of savings books – those used only by elderly people – in which the words chosen at the time of deposits reveal the vulnerability to which we are condemned , pieces created or completed this 2024 are added, I am referring to novelties such as “Animal de Fondo”, an exaggeratedly long binder that refers us to his many works with printed letters. A central piece, sober and lovely, which captures the spirit of the artist’s wounded lyrics and sharp words very well.
The retrospective is generous and shows his main lines of work. I notably like “The Skin of Language,” where a series of white porcelain pages display baroque folds. But where Arza perfectly combines the feminist outlook and her love for letters is combined in “Legs en la disparition” (Legacy in disappearance), where handmade cards with the legend “LE PATRIARCAT” in Didot typography undergo a process of erasure that invites us to think about the highly desirable erasure of patriarchy. apparently covid has brought good things, like this great retrospective.
Mar Arza, Sotaveu, THE VIRREINA. Image Center, Barcelona. From 16 November to 30 March 2025.
what are the key themes explored in Mar Arza’s “War Truck” exhibition?
Interview between Time.news Editor and Mª Ángeles Cabré,Art Expert
Time.news Editor (TNE): Welcome,Mª Ángeles Cabré! Thank you for joining us today to discuss the fascinating retrospective of Mar Arza titled “War Truck.” This exhibition seems to be quite meaningful,especially in the context of our evolving cultural landscape post-COVID.
Mª Ángeles cabré (MAC): thank you for having me! Indeed, Mar Arza’s retrospective at La Virreina is a landmark event, notably as it is indeed his first solo exhibition.the pandemic created a unique habitat that has prompted galleries and institutions to rethink their support for mid-career artists, and Mar’s work embodies this shift beautifully.
TNE: That’s captivating. You mentioned that COVID has compelled institutions to support mid-career artists. Can you elaborate on why this change is critical right now?
MAC: Absolutely. The pandemic has exposed the vulnerabilities and precariousness within the cultural sector. Many institutions used to focus primarily on established artists, often overlooking those in the middle of their career, like Mar. By supporting mid-career artists, we invest in the future of art—nurturing innovation and diverse expressions. Mar’s work stands as a testament to this need for ongoing support.
TNE: Can you share some insights into Mar Arza’s artistic approach revealed in “War Truck”? What themes or ideas does he explore?
MAC: Mar is known for his thought-provoking installations and sculptures, frequently enough infused with a sense of social commentary. In “War Truck,” he delves into the intersection of conflict, mobility, and the human condition. His work encourages viewers to reflect on the implications of war and displacement through highly engaging visual narratives. This retrospective is a perfect platform to showcase his evolution as an artist and the depth of his practice.
TNE: It sounds captivating! You also mentioned a shift towards valuing “art in progress.” How does this philosophy manifest in our current cultural climate?
MAC: This philosophy reflects a growing recognition that culture is not only about showcasing completed works or venerating established names. Instead, it’s about fostering dialog and progress in the arts. By focusing on living artists like Mar, we celebrate the process of creation itself and acknowledge that culture can be a dynamic conversation rather than a static exhibition. This shift is an act of faith in the potential of artistic expression.
TNE: That’s a compelling perspective. In your view, what does this exhibition imply about Spain’s cultural investment and its future direction?
MAC: It signals a transformative approach. Investing in mid-career artists like mar Arza illustrates a commitment to a vibrant cultural landscape where innovation thrives. It also suggests that we are moving away from using culture merely for tourism or commercial reasons. Rather, we are emphasizing the intrinsic value of art as a tool for reflection, connection, and societal growth. This is vital for positioning Spain as a nation that genuinely believes in the power of culture.
TNE: As we anticipate the impact of this exhibition, what do you believe will resonate most with audiences?
MAC: I think audiences will be struck by Mar’s ability to translate complex themes into visceral experiences. The retrospective invites viewers not only to observe but to engage with the narratives and emotions behind his work. In a post-COVID world, where many are craving connection, Mar’s art could foster a sense of collective reflection on our shared challenges and hopes.
TNE: thank you, Mª Ángeles Cabré, for sharing your insights on Mar Arza’s impactful exhibition. it’s been enlightening, and we look forward to seeing how it resonates with the public!
MAC: Thank you! I’m excited to see the conversation ignite around Mar’s work and the broader implications for our cultural development.