"Lirio y capa" Mixed media Painting on linen 39" x 39" inch by Jordi Diaz Alamà
When contemplating #ClásicosDesollados (Skinned Classics) for the first time, we get the feeling that Alamà is leading us into a new experience. We see how a moving reinterpretation of the history of painting unfolds in pursuit of an expansion of the codes for reading contemporary figuration.
Alamà steps over the abyss of what had already been painted, like a tightrope walker, and studies the landscape of such an immeasurable tradition that is complicated, or virtually impossible, to make a final twist around the figure, portrait and mimesis – all forms of representation of an elusive world that resists being interpreted. This is especially true in an image-centred society in which the furtive glance of the eye hardly allows any opportunity for a calm critique by the gaze on reality. In this state of equilibrium – through disfiguration and smudging, being both the creator and destroyer of the artistic object and with the gaze focused on a tense and threatening path – we can see how Alamà expresses present-day problems through canon characters and scenes. Their validity as testimony of the human is not based on time, but on timeless capture of our nature.
This complex collection of studies or ‘amusements’ – in the artist’s own words – is based on a meticulous selection of classical works as its backdrop. This includes works as it backdrop. This includes works by, among others, Velázquez, Goya, Géricault, Friedrich, Manet or Degas. It shatters the serenity – imposed by custom and passivity of the collective – and reminds us that they are surprising and alive objects.
We see how he favours the use of light desaturated tones that, like torn curtains, force us to search and make way for a renewed understanding of such iconic peaks. Alamà reworks the masters, applies wide acrylic stains buried beneath thick layers of resin, rips the canvases and relocates theirs folds just as a surgeon would do. He skins them; removing the hide and undressing the classic. […]
Alamà recalls milestones from the West to tear them apart, skin them and finally recompose them, anchoring them in the now thanks to an aesthetic and formal jolt that creates a delicate dialogue between yesterday and today.
Written by Albert Font
Jordi Diaz Alamà, born in Granollers in 1986, graduated from the Fine Arts from the University of Barcelona. He has also trained in national and international classical art schools such as the Florence Academy of Art (Florence) where he learned the techniques used by the great masters of 19th-century painting. He consolidated his training during a series of stays with contemporary masters of realism such as the Norwegian painter Odd Nerdrum, Guillermo Muñoz Vera or Antonio López.
His personal work involves an impressive display of pictorial resources with a refined and mannerism-free technique that responds to the canon of contemporary classical figuration, continuously investigating new concepts and plasticities.
His artistic vision has also developed thanks to his teaching role at the Barcelona Academy of Art, which he founded in 2013. It is at the Academy where he grows, expands and shares his knowledge of classical methods, along with the idea that these need to continue to be valued as a tool that helps the interpretation and artistic representation of today's world. Alamà points out that classical figuration is not the only way but the most direct one to immerse yourself in the world of sensitivity and creative expression.
In 2017, he faced one of the most important challenges of his career with the creation of the work The Cross of the Jubilee, a monumental commission for the Church of the Dolors in Vic (Spain). In his series #ClásicosDesollados, he merges his implacable technique with bursts of abstraction; cutting, tearing and literally skinning the most iconic works of the great masters from Velázquez to Rembrandt to highlight their inherent modernity.
With the series inspired by Dante’s Divine Comedy, Alamà faces again a monument of universal history, anchored in collective memory, and reaffirms his commitment to contemporary realistic figuration.
His works can be found in the collections of the European Museum of Modern Art and the Can Framis Museum in Barcelona and in private collections in Europe, the United States and Australia.
2020 'Red Studio'. El Claustre. Figueres
2019 ‘Red Studio’. El Claustre. Girona.
2017 ‘#ClásicosDesollados’. Museu Can Framis. Barcelona.
2015 ‘Reinas de la Noche’. El Claustre. Girona.
2013 ‘Artistas que se venden’. El Claustre. Figueres.
2012 ‘Mujeres modernas’. El Claustre. Girona.
2011 ‘Díaz Alamà: de la enseñanza académica a la obra personal’. Colegio de arquitectos. Mataró.
Latest collective exhibitions
'20 años en 20×20'. MEAM. Barcelona.
'The Wild & the Tame'. Misnoma. Galería Mutuo. Barcelona.
'El Retrato'. Galería Fermín Echauri. Pamplona.
'Spanish Realist Painting'. Saga Prefectural Museum. Japan.
'Spanish Realist Painting'. Hoki Museum. Japan.
'20 años en 20×20'. Galería Artelibre. Zaragoza.
‘#ClásicosDesollados’. Palau de Casavell. Galeria Miquel Alzueta. Girona.
‘#ClásicosDesollados’. Pigment Gallery. Grand Art. Milan.
‘#ClásicosDesollados. Black series’. Galeria Miquel Alzueta. Art Paris. France. ‘#ClásicosDesollados’. Eurantica Brussels Art Fair. Galeria Miquel Alzueta. Belgium.
‘#ClásicosDesollados’. Galeria Miquel Alzueta. Barcelona.
Finalists exhibition. Premio de Pintura de la Fundación Vila Casas 2016. Can Framis. Barcelona. 'Romeo and Juliette'. Teatro del Liceo. Galería El Quatre. Barcelona.
'Spanish Contemporary Realism in China'. 511Global Culture Center. Hangzou. China.
'Spanish Contemporary Realism in China'. Yiwu Gallery. China.
Art Renewal Center International ARC Salon. Museu MEAM. Barcelona. ‘Odd Nerdrum School’. Museu MEAM. Barcelona.
‘El paper de l’art’. MEAM. Barcelona.
‘Díaz Alamà i l’escola de Barcelona’. Piera Pintor Fortuny. Barcelona. ‘Díaz Alamà i la Barcelona Academy of Art’. La Destilería. Mataró.
Art Madrid15. Galería El Quatre. Madrid.
'More than realism'. Galería ArteLibre. Zaragoza.
29o Painting Prize BMW. Madrid.
'Chiaroscuro'. FAA/Richard J. Massey Foundation Exhibition. New York. U.S.A. 'Represent'. 20th Century Theatre. London.
'Pintors de Granollers'. Galeria Icart. Granollers.
'BAA First Generation Alumni show'. MEAM. Barcelona.
Art Madrid 2013. Galería El Quatre. Madrid
‘Muestra de invierno’. Galería el Claustre. Girona.
‘Alumni Show’. The Florence Academy of Art. Florence. Arcadia Gallery Show with Chris VanDick. California. USA.