'Works by Peter Stämpfli. New collection selection'

23 March 2019
Fundació Stämpfli – Art Contemporani

Make a guided tour at Fundació Stämpfli - Art Contemporani

Make a virtual tour at Fundació Stämpfli - Art Contemporani through the Catalonia Visit Museum platform

The Swiss artist Pere Stämpfli and his Catalan wife, Anna Maria, took up residence in Sitges in 1970, adding it to their other two in Paris and Bern. From the very first day, they participated in the town’s local activity and promoted artistic events and cultural festivals. They renovated an old building on the street called Carrer d'en Bosc, which later became a Cultural Area and the headquarters of the Sitgetan Studies Group. In 2004, the Town Council honored Pere Stämpfli, naming him the town’s adopted son.

In the early 21st century, the Stämpflis decided to implement an idea: to offer Sitges a collection of contemporary art open to the public. They put together a collection made entirely with donations from internationally renowned artists, friends and colleagues. The friendship and generosity of many artists of different nationalities facilitated a collection like no other in our country and that constitutes the corpus of the Stämpfli Foundation - Contemporary Art Museum.

The first phase of exhibition areas took place in the old Fish Market building in Town Hall Square, where the Foundation’s main entrance is found. Fully renovated, the building was inaugurated in 2012. It consists of rooms 1, 2 and 3 where a selection of the collection is on display and temporary exhibitions of artists who have works in the Foundation are held. The project was finalized in March 2019 with the refurbishing of the building next door that it was connected to, where three more rooms were added, A, B and C, and where a permanent anthological exhibition by Peter Stämpfli is on display.

  

THE COLLECTION. ROOMS 1, 2 AND 3

The collection is made up of works of art from the second half of the 20th century and the early 21st century. It consists of approximately a hundred pieces and about thirty in trust, by sixty-five artists of twenty different nationalities. The collection grows every year with new donations. A selection from this collection that changes each season is on display in rooms 1, 2 and 3.

The productive core of this collection is formed by artists from the not entirely homogeneous group known as Narrative Figuration. It appeared in 1964, from the exhibition Everyday Mythologies at the Museum of Modern Art in Paris. Its members shared the objectives of recovering a new figuration that would leave behind the lyrical and expressionist abstraction of the 50's, at a time when, between the tension of the Cold War and the materialistic optimism of mass consumption, a new popular culture based on new languages prevailed: advertising, photography, comics, graphic design, cinema and television.

From this group, the Stämpfli Foundation presents French artists, such as Henri Cueco, Gérard Fromanger, Jacques Monory or Bernard Rancillac, The Spaniard Eduardo Arroyo, Italians Gianni Bertini and Antonio Recalcati, Icelander Erró, the Germans Peter Klasen and Jan Voss and the Argentine Antonio Seguí, among others.

Another very important nucleus of the collection comes from artists who, in the same decade, opted for a renewal of geometric abstraction and kinetic art or who ventured into minimalism, conceptual art and neo-avant-garde art.

 

PETER STÄMPFLI

Peter Stämpfli's artistic career is exhibited in Rooms A, B and C. Born in 1937 in Deisswil (Switzerland), he studied painting in Bienne and Bern. In 1958, the exhibition New American Painting in Basel presented, for the first time in Europe, abstract expressionism artists and others from the New York School such as Pollock, Kline or Rothko. The impact of this painting made him decide to move to Paris in 1959, where the art scene was still dominated by abstraction when the languages ​​of pop culture were already defining the climate of daily life in the big western cities. It was the era of the birth of pop-art and new realisms in the contemporary art scenes from the 60's and 70's in the 20th century.

Starting in 1960, Stämpfli began a personal journey based on everyday objects until arriving at the car tire and the geometric pattern of its surface. This evolution led to a personal conception of geometric abstraction.

Stämpfli has a solid reputation confirmed by innumerable exhibitions and by his presence at important museums around the world, European as well as American and Asian. He has been honored with retrospective exhibitions as the Centre Pompidou, the Jeu de Paume and the Grand Palais, and has exhibited frequently at the FIAC. He represented Switzerland at the Biennale of Venice and Sao Paolo. Since 1959 and until now, he has had more than sixty individual exhibitions and has participated in nearly five hundred group exhibitions in every continent.

 

ROOM A

1963-1970

THE 60’S: POP-ART AND FIGURATION. THE OBJECT AND EVERYDAY GESTURES

During the 1960s, in a society defined by mass consumption, Peter Stämpfli focused on the objects and gestures of everyday life using large formats and the language of advertising.

Images moved radically away from the intimate emotions and the lyricism of the abstraction of the time. The artist's hand, the brushstroke and the texture became imperceptible. The monochrome background, predominantly white, isolated and immobilized the chromatic strength of images inspired by advertising photography.

Stämpfli himself explained the intention: "to produce a dictionary of objects and daily gestures"; To abstract them from the banality of daily life by transferring them to the artist's studio and depicting them using the technique of the great tradition: oil painting.

 It was artwork that was indifferent to the debates on modernity in the second half of the 20th century that placed excluding pairings face to face: high culture against popular culture, fine arts confronted by the theme of everyday life and abstraction opposite representation.

Wildcat nº2 (1970) and its precedent, Wildcat nº1 (1967), mark the moment that Stämpfli put an end to his first period. 

  

SALA B

1970-1990

FROM THE WHEEL TO THE TIRE. RELIEF AND TRACKS

His eye, first aimed at the automobile, focused on the wheel and later on the tire and its relief. In the next two decades, Stämpfli’s work is defined by large formats, by the austerity of black and gray and by the monumental character of certain works.

The two large works Polyester Cord (1970) and Cavallino (1972) are examples, mounted on frames with the shape of the image. In the previous room, Rouge Baiser had been a precedent of this assembly technique that, midway between mural painting and easel painting, moves the artworks slightly towards the viewer’s space.

Soon the explicit references to the tire or any hint of figuration disappear. On display in this room are some examples of works where elementary signs, simple, almost unicellular units, are arranged in structures following the rhythm and logic of repetition. They are now abstract images directly related to minimalism and constructivism.

During these years, Stämpfli branched out in several directions: towards sculpture, charcoal and pencil drawings on paper, cinema and monumental reliefs in public spaces. Two small mural models illustrate it: a hundred feet long tire track made in the French department of the Marne Valley and a twenty-six meter high piece commissioned by the Bern Museum of Communications in 1990.

 

SALA C

FROM 1990 TO TODAY

COLOR AND ABSTRACTION

As of 1990, the theme derived from the tire changes radically. The rigorous geometry of shapes is defined by fields of vibrant color: reds, oranges, yellows, blacks, blues. 

Chromatic intensity seems to be the inevitable result of the artist's logical and meditated evolution, using all the techniques at his disposal, from oil and acrylic painting to watercolor and pastel.

The rhythm of lines, shapes and colors make us forget that the internal structure of each work of art is derived from fragments or details of the tire, enlarged and stylized. The reference to the world of representation has been permanently erased.

 


The exhibited works

Sala 1

Eduardo Arroyo

Saint Bernard Tonnelet

1965

95 x 79 cm / 37,4 x 31,1 in.

Oli sobre tela

 

Gianni Bertini

Ruines de Thèbes

2004-2005

190 x 120 cm / 74,8 x 47,2 in.

Mec-art

 

Henri Cueco

Chiens courants

1993

140 x 162 cm / 55,1 x 63,7 in.

Acrílic sobre tela

 

Erró Gudmundur

Coup de vent

2000

151 x 99 cm / 59,4 x 38,9 in.

Oli sobre tela

 

Gérard Fromanger

Sens dessus dessous, tête à tête, rouge, jaune, bleu

2008

200 x 150 cm / 78,7 x 59,0 in.

Acrílic sobre tela

 

Peter Klasen

The Beauty and the Dummy

2008

97 x 146 cm / 38,1 x 57,4 in.

Acrílic sobre tela i neó

 

Jacques Monory

Ang. N° 5, ref. 991

1997

250 x 390 cm / 98,4 x 153,5 in.

Oli sobre tela i contraxapat

 

Bernard Rancillac

La Roue de la connaissance

1985

195 x 130 cm / 76,7 x 51,1 in.

Acrílic, contraxapat, roda de bicicleta i objectes

 

Antonio Recalcati

Figure d'homme

2008

100 x 91 cm / 39,3 x 35,8 in.

Oli sobre tela

 

Antonio Seguí

Las rubias en el sol

2006

110 x 220 cm / 43,3 x 86,6 in.

Acrílic sobre tela

 

Peter Stämpfli

Town & Country n° 2

1972

351 x 215 cm / 138,1 x 84,6 in.

Oli sobre tela sobre bastidor tallat

 

Sala 2

Pierre Buraglio

D'après… Auguste Radier (Le Grand Pin parasol)

2003

184 x 177,5 cm / 72,4 x 69,8 in.

Oli sobre contraxapat

 

Daniel Dezeuze

Charnières du temps

1997

170 x 102 cm / 66,9 x 40,1 in.

Pintura gliceroftàlica sobre fusta

 

Peter Knapp

Porte de Sansa

1987

220 x 132 cm / 86,6 x 51,9 in.

Foto cibachrome

 

Piotr Kowalski

New York

1997

108 x 148 cm / 42,5 x 58,2 in.

Fotografia sobre tela endurida

 

Jean Le Gac

Fragment 13

1990

116 x 163 cm / 45,6 x 64,1 in.

Tècnica mixta sobre tela, foto i 11 manuscrits

 

Jean-Luc Parant

Bibliothèques idéales

2008

67 x 125 x 20 cm / 26,3 x 49,2 x 7,8 in.

Cera sobre fusta i paper muntat sobre fusta

 

Pavlos

Chaussettes

1969

153 x 112 x 5 cm / 60,2 x 44,0 x 1,9 in.

Paper de cartell i plexiglàs

 

Jean Pierre Raynaud

Sans titre

1966

23 x 65 x 45 cm / 9,0 x 25,5 x 17,7 in.

Muntatge: panolac, fusta, metall, test, ciment, residus, pintura

 

Jean-Michel Sanejouand

Ensemble

1988

195 x 130 cm / 76,7 x 51,1 in.

Acrílic sobre tela

 

Michel Tyszblat

Ebrar

1974

89 x 116 cm / 35,0 x 45,6 in.

Poliuretà sobre tela

 

Claude Viallat

Sans titre n° 301

2007

212 x 65 cm / 83,4 x 25,5 in.

Acrílic sobre cortina

 

Jan Voss

Verwandlung

2000

162 x 130 cm / 63,7 x 51,1 in.

Oli sobre tela

 

Joel-Peter Witkin

Visitation, Paris / New Mexico (diptique)

2004

27,1 x 27,5 cm / 10,6 x 10,8 in.

Impressió argèntica

 

Sala 3

Pol Bury

Volume figé MNC 218

1993

24 x 35 x 35 cm / 9,4 x 13,7 x 13,7 in.

Coure

 

Carlos Cruz-Diez

Jaune additif Denise "A"

2007

180 x 80 cm / 70,8 x 31,4 in.

Cromografia

 

Horacio Garcia-Rossi

Couleur lumière n°10

1987

100 x 100 cm / 39,3 x 39,3 in.

Acrílic sobre tela

 

Bernard Moninot

la, la, la

1994-2005

45 x 134,5 x 9,5 cm / 17,7 x 52,9 x 3,7 in.

Serigrafia sobre vidre i diapasó de cristall

 

Olivier Mosset

Hot Cake

1988-2007

210 x 200 cm / 82,6 x 78,7 in.

Acrílic sobre tela

 

Sato Satoru

Construction et conception

1992

200 x 145 cm / 78,7 x 57,0 in.

Acrílic sobre tela i fusta

 

Vassilakis Takis

Sans titre

2010

88 x 82 x 35 cm / 34,6 x 32,2 x 13,7 in.

Ferro

 

Luis Tomasello

Atmosphère chromoplastique N° 992

2011

62,5 x 62,5 x 10 cm / 24,6 x 24,6 x 3,9 in.

Acrílic sobre fusta

 

Niele Toroni

Empreinte de pinceau n° 50 à intervalles de 30 cm

1994

79,8 x 51,7 cm / 31,4 x 20,3 in.

Acrílic sobre foto

 

Michael Warren

Stele X

1995

193,5 x 31 x 25,5 cm / 76,1 x 12,2 x 10,0 in.

Fusta, ELM 

 

Peter Stämpfli

Sala A

Autoportrait au raglan

1963

160 x 117 cm / 62,9 x 46,0 in.

Oli sobre tela

 

Pot-au-feu

1963

135 x 155 cm / 53,1 x 61,0 in.

Oli sobre tela

 

Ma voiture

1963

126 x 170 cm / 49,6 x 66,9 in.

Oli sobre tela

 

Moka

1964

128 x 187 cm / 50,3 x 73,6 in.

Oli sobre tela

 

Le Quotidien

1964

120 x 190 cm / 47,2 x 74,8 in.

Oli sobre tela

 

Tomate

1964

134 x 138 cm / 52,7 x 54,3 in.

Oli sobre tela

 

Rouge baiser

1966-2002

93 x 242 cm / 36,6 x 95,2 in.

Oli sobre tela sobre panell tallat

 

Wildcat n° 2

1970

213 x 162 cm / 83,8 x 63,7 in.

Oli sobre tela

  

Sala B

Polyester Cord

1970

195 x 600 cm / 76,7 x 236,2 in.

Oli sobre tela sobre bastidor tallat

 

Cavallino

1972

295 x 535 cm / 116,1 x 210,6 in.

Oli sobre tela sobre bastidor tallat

 

Blizzard

1973

104 x 202 cm / 40,9 x 79,5 in.

Llapis sobre paper

 

195 VR 14

1975

253 x 280 cm / 99,6 x 110,2 in.

Oli sobre tela

 

M + S Contact

1977

119 x 96 cm / 46,8 x 37,7 in.

Llapis sobre paper

 

Empreinte de pneu S 155 (maquette)

1985

39,5 x 83 x 6,5 cm / 15,5 x 32,6 x 2,5 in.

Resina de polièster

 

Communication, maquette du relief mural pour le Musée des Communications, Berne

1990

40,5 x 32,5 x 8 cm / 15,9 x 12,7 x 3,1 in.

Resina de polièster

 

Fusain n° 2 Sans titre

1994

75,5 x 105 cm / 29,7 x 41,3 in.

Carbó sobre paper

 

Fusain n° 4 Sans titre

1994

75 x 105,5 cm / 29,5 x 41,5 in.

Carbó sobre paper

 

9 HDT 219

1997

83 x 140 x 10 cm / 32,6 x 55,1 x 3,9 in.

Resina de polièster (marró)

 

9 HDT 219

1997

83 x 140 x 10 cm / 32,6 x 55,1 x 3,9 in.

Resina de polièster (blanc)

 

Sans titre n° 10

2007

102 x 153,5 cm / 40,1 x 60,4 in.

Carbó sobre paper

 

Sans titre n° 12

2007

102 x 153,5 cm / 40,1 x 60,4 in.

Carbó sobre paper

 

Sala C

Sabro n° 2

1989-1991

249 x 456 cm / 98,0 x 179,5 in.

Oli sobre tela

 

Aquarelle n° 75 Sans titre

1991

102,5 x 153 cm / 40,3 x 60,2 in.

Aquarel·la sobre paper

 

Zentua

1995

160 x 194 cm / 62,9 x 76,3 in.

Oli sobre tela

 

Listor

1995

179 x 171 cm / 70,4 x 67,3 in.

Oli sobre tela

 

Irvan

1995

187 x 283 cm / 73,6 x 111,4 in.

Oli sobre tela

 

Pastel n° 31 Sans titre

1996

102,5 x 153 cm / 40,3 x 60,2 in.

Pastel sobre paper

 

Kristal 4

2000

245 x 245 cm / 96,4 x 96,4 in.

Pintura acrílica sobre tela

 

TS 760

2002

245 x 245 cm / 96,4 x 96,4 in.

Pintura acrílica sobre tela