PINTURA EN VOZ BAJA

Juan Manuel Bonet
Crítico y poeta. Ex director del Reina Sofía y del IVAM

Pintura en voz baja, n√≠tidamente formulada, con formas sencillas, que se recortan limpiamente. Pintura moderadamente luminosa, de colores tranquilos. Pintura silenciosa. Pintura serena. Pintura esencial. Pintura leve. Pintura de peque√Īo formato. Pintura morosamente elaborada, como si nada, en una isla balear ‚ÄďMenorca‚Äď que no he pisado, y que le proporciona a Jos√© √Āngel Sintes, nacido all√° (Alaior, 1978), pretextos peque√Īos, cotidianos, triviales. Pintura que en m√°s de una ocasi√≥n nos hace pensar en la tradici√≥n chardiniana del bodeg√≥n, que en el siglo XX encarna mejor que nadie el bolo√Ī√©s Giorgio Morandi: provincia universal. Pintura que, m√°s cerca de nosotros en el tiempo, puede hacer pensarnos tambi√©n en el esquematismo figurativo de Alex Katz, en la elementalidad objetual de las obras m√°s contenidas del √ļltimo Philip Guston, en el modo de ser de un tiempo y de un pa√≠s del belga Luc Tuymans o de su compatriota y maestro Raoul De Keyser.

Jos√© √Āngel Sintes pinta, con paciencia de primitivo, lo que tiene m√°s a mano. √Ārboles y sus sombras claras, como en un poema del melanc√≥lico Paul-Jean Toulet. Un personaje con atuendo veraniego, con unos prism√°ticos entre las manos, y cuyo rostro queda fuera de campo. Carreteras de su isla y, por el carril derecho de una de ellas, en una cuesta, una furgoneta azul, que a lo que parece la sube con esfuerzo. Senderos, y en medio de uno de ellos un top√≥grafo en acci√≥n. Unas obras en una calle de no sabemos qu√© ciudad. Unas flores, sobre fondo de papel pintado de motivos florales. Una c√°mara fotogr√°fica de √ļltima generaci√≥n y en su visor un trocito de realidad, digitalizado. Una l√°mpara de estilo incierto. Un anillo. Unas esferas. Un mapamundi reducido a lo m√≠nimo y sobre √©l el meridiano de Greenwich: moderna invitaci√≥n al viaje. Planos de ciudades contemplados tan de cerca que se convierten en abstracciones medio geom√©tricas. Un bodeg√≥n con cuadrito incluido y otro en el cual reconocemos la monograf√≠a de Janet Abramowicz sobre Morandi: pintura sobre pintura. Un caballete. Un lienzo sobre el que est√° pintado un libro azul, en este caso, mudo. La propia mano, dibujando o agarrando unos pinceles.

Me gustan mucho la m√ļsica de esta pintura, la poes√≠a que emana de ella.

SELF-VOICED PAINTING

Juan Manuel Bonet
Art critic and poet; former director of the Reina Sofía Museum and the IVAM.

Self-voiced painting, clearly formulated with simple cleanly-cut shapes. Moderately bright painting in calm colours. Silent painting. Serene painting. Essential painting. Delicate painting. Small format painting. Painting made slowly, as if it were nothing, on a Balearic island ‚ÄďMenorca‚Äď that I had never trodden and that provides Jos√© √Āngel Sintes, who was born there (Alaior, 1978), with small, everyday, trivial pretexts. Painting that on more of one occasion reminds us of the Chardinian still life tradition, which in the twentieth century is embodied better than anyone else by Giorgio Morandi of Bologna: the universal province. Painting that more recently may also bring to mind Alex Katz‚Äô figurative schematicism, in the objectual elementality of Philip Guston‚Äôs last, most contained works, in the manner of being of a time and a country of Luc Tuymans from Belgium or his fellow countryman and teacher Raoul De Keyser.

Jos√© √Āngel Sintes paints whatever he has closest at hand with primitive patience. Trees and their light shadows, as in a poem by the melancholic Paul-Jean Toulet. A figure dressed in summer garb, binoculars in hand, whose face remains outside the field. The roads on his island and, in the right-hand lane of one of them, a blue van on a slope, which seems to lumber up with an effort. Paths and a surveyor in action in the middle of one of them. Some works on a street of a city we don‚Äôt know. Some flowers against a backdrop of floral wallpaper. A cutting-edge camera and a piece of digitized reality on its viewer. A lamp in an uncertain style. A ring. Some spheres. A map of the world reduced to a minimum and the Greenwich meridian on it: a modern invitation to travel. Maps of cities viewed so close up that they become half geometric abstractions. A still life with a small painting included and another one in which we recognize Janet Abramowicz‚Äô monograph on Morandi: painting about painting. An easel. A canvas on which a blue book is painted, in this case, mute. His own hand drawing or clutching some brushes.

I like the music of this painting, the poetry that emanates from it, very much.

PINTAR LO REAL

Pau Waelder
Crítico y comisario de arte

Jos√© √Āngel Sintes emplea el lienzo para adentrarse en su entorno diario, a partir de lo que ve o de fotograf√≠as que captan su atenci√≥n. Reproduce estas escenas en cuadros de dimensiones modestas, esbozando las formas con una reducci√≥n de detalles que en ocasiones roza la abstracci√≥n. El acercamiento a la realidad de Sintes es expl√≠cito, pero a la vez, por medio de un lenguaje pl√°stico muy preciso, revela la destilaci√≥n que se produce en toda obra de arte, la manera en que imprime a lo cotidiano su particular lectura, cargada de esperas y silencios.

PAINTING REALITY

Pau Waelder
Art critic and curator

Jos√© √Āngel Sintes uses the canvas to delve into his everyday surroundings, based on what he sees or the photographs that attract his attention. He reproduces these scenes in modest-sized paintings, sketching shapes with so few details that at times they verge on abstraction. Sintes‚Äô approach to reality is explicit, yet at the same time he uses an extremely precise visual language ‚Äďthe way he stamps his particular, hopeful, silent reading onto the everyday‚Äď to reveal the distillation that occurs in all works of art.

NUEVAS FORMAS Y NUEVAS MANERAS (HACIA OTRA EST√ČTICA)

Fernando Gómez de la Cuesta
Crítico y comisario de arte

Jos√© √Āngel Sintes es un buscador de la belleza, un singular explorador de lo pr√≥ximo, de todas aquellas cosas, seres y lugares que, a pesar de estar a nuestro lado, nos hab√≠an pasado desapercibidos. Unos peculiares objetos y situaciones que √©l detecta gracias a su fino sensor, llam√°ndonos la atenci√≥n sobre ellos y explic√°ndonos su belleza, su sencillez y su armon√≠a discreta. Un camino que supera la poluci√≥n contempor√°nea para depurar, purificar y codificar esta nueva est√©tica de lo corriente, esta aut√©ntica y singular belleza de lo cotidiano. Edward Hopper, otro extraordinario investigador de lo ordinario, trascendi√≥ la captaci√≥n del ambiente, de los interiores, de los paisajes y de sus habitantes, para fijar su atenci√≥n superdotada en los objetos que les rodeaban. Sintes, sin embargo, recurre al macro, al primer√≠simo plano, sin conformarse con la f√≠sica evidente de las cosas y yendo al encuentro de una metaf√≠sica no tan obvia. Sus naturalezas muertas, por ejemplo, son expresi√≥n de los objetos en los que fija su atenci√≥n y que, a pesar de su cotidianeidad, poseen el halo espiritual que tan generosamente nos leg√≥ la obra de Morandi, un alma que la obra de Jose √Āngel Sintes, con sensibilidad y destreza, tambi√©n nos ofrece.

NEW FORMS AND NEW WAYS (TOWARDS A DIFFERENT AESTHETIC)

Fernando Gómez de la Cuesta
Art critic and curator

Jos√© √Āngel Sintes is a born seeker of beauty in nearby things and situations, the common ones of ordinary mortals, those we hadn‚Äôt noticed, although they were right there by our side. Peculiar objects and situations he detects through his fine sensor, drawing attention to them and explaining their beauty, simplicity and harmony. A road that overcomes modern pollution to clean, purify and encode this new aesthetic of the ordinary, this authentic and unique beauty of the everyday. If luminaries such as Edward Hopper had transcended their perception of ambiance, interiors and landscapes and turned their exclusive, gifted attention to the objects around them, on situations experienced, in the most extreme close-up like Sintes‚Äô, they both might have obtained results with certain conceptual and even formal similarities. Moreover, Sintes does not content himself with the obvious physical aspect of things and also goes in search of that not-so-obvious metaphysics: his still lifes, e.g., are expressions of the objects on which he turns his attention and although they are usually of a manifest everydayness, they possess that spiritual aura that Giorgio Morandi‚Äôs work so generously gave us and that the artist also skillfully provides.