pepadmetlla@hotmail.com | M. 636 931 955

From a notebook full of projects…

Glòria Bosch

And it turns out the far reaches of speculation provide, at times, arguments for practice…

Paul Valéry. Eupalinos, or the Architect

The first time I came into contact with Admetlla’s work it was as a latent kernel in a black, hard-cover notebook. He had come to see me on the recommendation of his friend, the great artist Torres Monsó, but instead of deploying piles of information, images, catalogues and dossiers etc. he just carried under his arm this fragile but strategic volume to explain his projects. And it was from here, from paper, from its pages filled with drawings and writings, that we extracted his exhibition Egypt as a catalyser for a whole way of life continually in process.

Its base was a space free of forms which started from geometric relations. From this constructive core the square became a city with three essential points: the worldly, the metaphysical and that of recycling, symbolised by man. It was a complete system articulated through notes, maquettes, objects etc. And the notebook full of projects was the element which allowed us to run through all possible formal structures (a square, a table, a chair, a jar etc.), since he saw all things as consciously relating to one another. It is not about placing just another volume in the space but making one come into being according to a narrative where the metaphor for existence is implicit, the dream of transforming the world by configuring a city from utopian cities, because apart from the potential of being realised, the project and the maquette are artworks in themselves.

When Torres Monsó met him in a shabby, shared studio with few facilities, he was pleasantly surprised. They quickly became friends, probably due to “a question of pure chemistry”, as well as having things in common, names, preferences… When describing his friend’s creative approach Monsó wrote: “There are people who work very quickly, who are very ingenious, and there are others who produce things slowly, who digress, who go out on a limb and can extend, transform, or think about a work for ever. I don’t know if you could say they are utopian, but they don’t really have their feet on the ground and don’t have much to do with practicalities. (…) Pep Admetlla belongs to the second group. I don’t know if it is good or bad, but that’s the way it is. (…) I haven’t the faintest idea how Pep’s future will work out, I’m no fortune teller, nor am I anyone to give advice, I don’t believe advice, nor am I asked to give any. But I do think that, from what I’ve seen until now, he’s full of the right kind of energy, and I don’t say that simply because we’re friends. Time will tell.”1

Time puts everything in its place. This exhibition, without being an exhaustive anthology, does give pointers to a career which, like a polyhedron, shows many sides. And his project, like a source of a life process (sculpture, drawing, design, painting, architecture, anatomy, science, Rilke, Vesalio, Piranesi, Valéry, Calvino, Pärt…), never ends. It does not grow lineally, but like a thought open to various dimensions. It articulates, in short, the world of art as a core of relationships and associations where limits between disciplines do not exist.

First there was Egypt, with a design of projected architecture, of constructed and organised space, of the polyvalency and versatility of forms; and now there is Venice. It is as though the circle is completed with Calvino’s invisible cities just at the point where orders and hierarchies disappear and static frontiers between disciplines are erased. Ultimately, the way in which we question our behaviour and words, our way of approaching the world, will always out.

Glòria Bosch

Una muy breve introducción al método de Pep Admetlla

Àlex Susanna

Primera ojeada —furtiva— a su estudio: libros y maquetas. Palabras y procesos, pautas y búsqueda, modelos y especulaciones, literatura y proyectos. Todo mezclado como formando casi una unidad al principio inseparable. Segunda ojeada que deviene poco a poco un primer esbozo de mirada: una biblioteca compacta, selecta e interdisciplinaria como telón de fondo, y un […]

Una muy breve introducción al método de Pep Admetlla

Les pintures fosques de Pep Admetlla

Joaquim Español

Hi ha imatges que, una vegada han tocat la retina, sembla que es desdoblin per seguir dos circuits relativament autònoms dins el laberint del cervell. Un d’ells encén les neurones sensibles a la bellesa de les figures, la coherència dels traços, l’equilibri precari de les masses, les relacions i els contrastos, la sorpresa d’algunes taques […]

Les pintures fosques de Pep Admetlla

Utopies possibles

Pilar Parcerisas

El filòsof Gaston Bachelard deia que l’home és un ésser de desig i no de necessitat, i que la utopia correspon al seu destí natural. Thomas More publicà Utopia el 1516 i introduí aquest neologisme grecollatí que tant agradà als surrealistes i particularment a André Breton per la seva vinculació al somni i al desig. […]

Utopies possibles

Des d’una llibreta de projectes…

Glòria Bosch

I s’esdevé que l’extrem de l’especulació dóna, de vegades, arguments a la pràctica… Paul Valéry. Eupalinos La primera vegada que vaig saber de la seva obra era un nucli potencial dins d’una llibreta negra de tapa dura. Venia a veure’m perquè li ho havia aconsellat el seu amic i gran artista Torres Monsó, però en […]

Des d’una llibreta de projectes…

Utopías posibles

Pilar Parcerisas

El filósofo Gaston Bachelard decía que el hombre es un ser de deseo y no de necesidad, y que la utopía corresponde a su destino natural. Thomas More publicó Utopía en 1516 e introdujo este neologismo grecolatino que tanto gustó a los surrealistas y particularmente a André Breton por su vinculación al sueño y al […]

Utopías posibles

Pep Admetlla’s Dark Paintings

Joaquim Español

There exist images which, the moment they hit the retina, seem to split in two and follow two relatively separate pathways through the labyrinth of the brain. One of them activates neurones sensitive to the beauty of shapes, the coherence of strokes, the unstable balance of masses, relations and contrasts, the surprise of some areas […]

Pep Admetlla’s Dark Paintings

Una molt bona introducció al mètode de Pep Admetlla

Àlex Susanna

Primer cop d’ull —furtiu— al seu estudi: llibres i maquetes. Paraules i processos, pautes i recerca, models i especulacions, literatura i projectes. Tot barrejat com formant gairebé una unitat de primer indestriable. Segon cop d’ull que esdevé de mica en mica un primer esborrany de mirada: una biblioteca compacta, selecta i interdisciplinària com a teló […]

Una molt bona introducció al mètode de Pep Admetlla

A very short introduction to the methods of Pep Admetlla

Àlex Susanna

A first, snatched look at his studio: books and maquettes; words and processes, guides and searches, models and speculations, literature and projects. All mixed together as if forming a seemingly indivisible unit. A second look gradually becoming a first quick sketch: a compact selection of books, select and interdisciplinary forming a backdrop, and various maquettes […]

A very short introduction to the methods of Pep Admetlla

The poetics of space

Carles Puigdemont

It gives me great pleasure to introduce this presentation of the catalogue for a retrospective of work by an artist as significant as Pep Admetlla. The Poetics of Space, title of the show to be held at the Fundació Vila Casas Can Mario Museum of Contemporary Sculpture, will be a magnificent opportunity to enjoy his […]

The poetics of space

From a notebook full of projects…

Glòria Bosch

And it turns out the far reaches of speculation provide, at times, arguments for practice… Paul Valéry. Eupalinos, or the Architect The first time I came into contact with Admetlla’s work it was as a latent kernel in a black, hard-cover notebook. He had come to see me on the recommendation of his friend, the […]

From a notebook full of projects…

Desde una libreta de proyectos…

Glòria Bosch

Y resulta que el extremo de la especulación da, a veces, argumentos a la práctica… Paul Valéry. Eupalinos La primera vez que supe de su obra era un núcleo potencial dentro de una libreta negra de tapa dura. Venía a verme porque se lo había aconsejado su amigo y gran artista Torres Monsó, pero en […]

Desde una libreta de proyectos…

Las oscuras pinturas de Pep Admetlla

Joaquim Español

Hay imágenes que, una vez han tocado la retina, parece que se desdoblen para seguir dos circuitos relativamente autónomos dentro del laberinto del cerebro. Uno de ellos enciende las neuronas sensibles a la belleza de las figuras, la coherencia de los trazos, el precario equilibrio de las masas, las relaciones y los contrastes, la sorpresa […]

Las oscuras pinturas de Pep Admetlla

La poètica de l’espai

Carles Puigdemont

Em plau d’allò més saludar la presentació d’aquest catàleg de l’exposició retrospectiva de l’obra d’un artista de referència com és Pep Admetlla. “La poètica de l’espai”, títol de la mostra que té lloc a Can Mario Museu d’Escultura Contemporània de la Fundació Vila Casas a Palafrugell, serà una oportunitat magnífica per gaudir de la seva […]

La poètica de l’espai

La poética del espacio

Carles Puigdemont

Es un inmenso placer saludar la presentación de este catálogo de la exposición retrospectiva de la obra de un artista de referencia como es Pep Admetlla. “La poética del espacio”, título de la muestra que tiene lugar en Can Mario Museo de Escultura Contemporánea de la Fundació Vila Casas en Palafrugell, será una oportunidad magnífica […]

La poética del espacio

Possible utopias

Pilar Parcerisas

The philosopher Gaston Bachelard said that man is a creation of desire, not a creation of need, and that utopia is his natural destiny. Thomas More published Utopia in 1516, and thus coined the Greek-derived neologism so beloved by Surrealists, particularly André Breton, due to its connections with dreams and desires. There are two subjects […]

Possible utopias
pepadmetlla@hotmail.com | M. 636 931 955

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