拍品专文
'How does he succeed in changing the code of a Matisse painting to make it into something else? How does he paint it another way; how does he make the same thing but never as its creator would have made it? Clearly Valdés achieves this by changing the syntax, changing the code, which entails a change of morphology (of scale and dimension) and above all meaning. What Valdés shows, in terms of art history, is a territory used over and over again, like a shooting range, a testing ground, a dump or a notebook. On the other hand, he passes the details back to us as if they were secrets; on the other, thanks to the scale and texture, complicity and silence of his works, he awakens us to the immensity and solitude that history, like a desert of forms, communicates to us'
(K. de Baranano, 'Valdés, Material and Memory', Manolo Valdés, London 2005, p. 2).
(K. de Baranano, 'Valdés, Material and Memory', Manolo Valdés, London 2005, p. 2).