We are pleased to present the exhibition dedicated to Joan Ponç and Joan Brossa, which we inaugurate next Thursday, November 30, and where we will show works by two of the most significant artists in the recovery of avant-garde art in our country after the civil war, united for a creative and personal affinity from the late 40s to the early 50s and also linked to the history of the Joan Prats Gallery, where they would exhibit on several occasions.
In 1982, Joan Brossa showed for the first time in the exhibition at the Joan Prats Gallery her object and visual poems, poems that she made since 1954 and that were then practically unknown by the public. Later, they would be shown in other exhibitions at the Barcelona Gallery (1989, 1995, 1997) and New York (1989), and at the Basel Fair (1989). On the other hand, Joan Ponç began his col • collaboration with the Joan Prats Gallery in 1978, with the exhibition Fondo del ser. He also exhibited in 1983, Nocturnes, in 1987 with drawings from the Pre-Dau Al Set period, in 1994 and 1996 with drawings from the Geometric Suite and in 1980 at the FIAC fair in Paris.
In the words of Arnau Puig, in the text made by this exhibition, “A temperament and character of the size of Brossa was almost bound by destiny to meet someone, Joan Ponç, who came down from the clouds”. This taste for magic, divination and the hidden would be one of the points of union between the two artists, who met in 1946. That year they would publish together with Arnau Puig and Enric Tormo the only issue of the magazine “Algol”, which he wanted to be a shock to the immobility and loss of idealism of his contemporaries. They proposed a renewal of the look that is also found in the monotypes that Ponç made to accompany the issues of the magazine and that moves away from the predominant naturalist figuration in Spanish art of the time.
In addition to this interest in new artistic forms, the works of Brossa and Ponç coincided thematically in a concern and criticism of society, along with interest in popular culture, theater and magic that we already pointed out. For that reason, in those years, colliding between the two was happening: the unpublished book Parafaragaramus (1948), two issues of the magazine “Dau Al Set” (January, 1949 and an unpublished one), the book Me hacer Joan Brossa (1951), where a portrait of Joan Brossa appears by Joan Ponç, considered the most direct and sincere portrait the poet has had. The Brossa-Ponç relationship was also reflected in the poems of Brossa al • alusivos a Ponç and in several Ponç drawings: the Rotten Drawings (1947) and the Metamorphoses (1947), the Joan Brossa-Joan Ponç suite (1947), the cover of the book Dragolí de Brossa (1950), or the gouache Brossa, Brossa (1950), which is shown in this exhibition.
Brossa and Ponç were at the time two leaders in the aesthetic renovation, following the steps of J.V. Foix and Joan Miró. Brossa, who had met Miró in 1941 through the hatter and patron Joan Prats, at J.V. Foix, I would put you in touch with Joan Ponç. Dau Al Set would help restore the bridges with the vanguard of ADLAN, promoted by Joan Prats and Joaquim Gomis, and GATCPAC.
After this period of affinity and creativity, in 1953 Joan Ponç went to Brazil, and each of the two artists continued on his way. On his return to Catalonia, in 1962, Brossa was already very far from magicosurrealism and moved by an antipoetry linked to reality while doing plastic experiments of what would be his visual poetry. Their bond would be diluted. For Brossa, Ponç would be linked to “Dau Al Set”.
This exhibition aims to show the trajectories of the two artists: a first part, with works from the period “Dau Al Set”, the moment of greatest affinity between Joan Brossa and Joan Ponç, and a second part of the exhibition, with later works, that they allow to see their evolutions in the plastic field, and they are reflected in the same way as in the Joan Brossa-Joan Ponç suite (1947).+info