COLLECTION / 1945-1989 / Spain / Alberto Corazón, artist

Alberto Corazón (Madrid, 1942). Graphic designer, industrial designer, editor, writer, sculptor and painter. In the early sixties he studied sociology and economics, as well as drawing and painting. Upon completing his studies, he began to work as an editorial and graphic designer (1965), and held his first exhibitions in Turin and Milan.

Alberto Corazón was one of the pioneers of conceptual art in Spain during the seventies, combining this endeavor with his work as an editor. At this time, the end of the Franco regime coincided with the awareness in our country of the Neo-avant-garde and the protest movements arising from the May ’68 demonstrations in France. In conceptual art, the idea is given primacy over the realization of the work and the possibility of using new «elements» of expression, such as the body itself, is contemplated. Alberto Corazón’s conceptual work served as a guiding light for the generations of artists that emerged in the eighties.

In 1976, he exhibited at the Venice Biennale alongside Tàpies and the Equipo Crónica. This exhibition was followed by others at the Paris Biennial (1978) and the Alexander Iolas Gallery in New York (1979). He has been a member of the San Fernando Royal Academy of Fine Arts since 2006. His books include Cuaderno del nómada (1993), El mapa no es el territorio (1997), Nolibro (2000) and Una mirada en palabras (2008).

Archivo Lafuente preserves 1,000 items related to the conceptual works created by Alberto Corazón since the late 1960s. Among those belonging to the «Documents» series within this collection there are around thirty original works, plus a dozen associated mockups (such as Plaza Mayor. Análisis de un espacio urbano —1974— by Juan Manuel Bonet, Alberto Corazón, Miguel Gómez, Esther Torrego and Simón Marchán Fiz). Additionally, there is a set of complementary silkscreen prints (Leer la imagen, 1971), along with unique artist books such as Realidad/Represión (Proceso 1001) (1973), some 340 slides and 190 black and white photographs (such as those used in the montage made by Corazón for the Venice Biennale in 1976 and those documenting the presentation of Plaza Mayor. Análisis de un espacio urbano at Madrid’s German Institute in 1974), as well as a series of publications, printed matter, copies of works, texts and assorted documentation, including preparatory material for the works and documentation of the exhibitions held.



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