{"id":996,"date":"2012-04-28T12:51:00","date_gmt":"2012-04-28T10:51:00","guid":{"rendered":"https:\/\/stam.mmkt.dev\/exposicions\/erro-the-planetary-eye\/"},"modified":"2026-02-01T23:17:26","modified_gmt":"2026-02-01T22:17:26","slug":"erro-the-planetary-eye","status":"publish","type":"exposicio","link":"https:\/\/www.fundacio-stampfli.org\/en\/exhibitions\/erro-the-planetary-eye\/","title":{"rendered":"Err\u00f3. The Planetary Eye"},"content":{"rendered":"\n

Err\u00f3. The Planetary Eye<\/em> is the first exhibition that the Fundaci\u00f3 St\u00e4mpfli has dedicated to an artist from its collection. An internationally recognized painter, Err\u00f3 has developed a personal language that ironizes the confusion of today\u2019s world. The exhibition presents in Espais 2 and 3 a selection of paintings and collages from some of his most emblematic series such as The Political Paintings, Le tour du monde de Mao, Les lettres d\u2019amour japonais and Les femmes fatales. These works highlight the main characteristics of his practice, centered on the manipulation of thousands of images taken from the mass media, comics, advertising, or art history. <\/p>\n\n

The exhibition is framed within the context of the permanent collection of the Fundaci\u00f3 St\u00e4mpfli, which includes among its holdings an important group of works linked to Figuration narrative, a movement that emerged in Paris in the 1960s as a response to American pop art. Espai 1 brings together a selection of paintings by some of its most significant representatives, such as Eduardo Arroyo, Jacques Monory, Peter St\u00e4mpfli, and Err\u00f3 himself, among others. <\/p>\n\n

\"\"<\/figure>\n\n

Works from the Foundation\u2019s collection related to figuration<\/h3>\n\n

The 11 artists gathered in this room share the same connection with figurative painting, whether it is images of reality stylized, cut, and recomposed (Peter Klasen); enlarged details that transfigure it (Peter St\u00e4mpfli); dreamlike representations (Jacques Monory); social themes (Antonio Segu\u00ed); futuristic vision (Err\u00f3); or allegorical figure (Bernard Rancillac).<\/p>\n\n

\u2018The Political Paintings\u2019<\/h3>\n\n

Accustomed to working in thematic series, Err\u00f3 produced over several years the paintings of The Political Paintings (1967\u20131996), which form a kind of epic of our recent history. Playing with the overwhelming accumulation of images, Err\u00f3 questions reality in order to offer a unique perspective on some of the most significant political and social events of our time. <\/p>\n\n

\u2018Le tour du monde de Mao\u2019<\/h3>\n\n

In the early 1970s, Err\u00f3 gathered extensive documentation on the propaganda of the People\u2019s Republic of China, which inspired one of his most famous series, in which he portrays Mao in different cities around the world. The result of this work is a group of unusual paintings where the juxtaposition of unrelated images produces a visual shock not devoid of irony. <\/p>\n\n

\u2018Les femmes fatales\u2019<\/h3>\n\n

In 1963, while living in New York, Err\u00f3 began incorporating comics into his work, thus sharing with pop art artists their interest in popular culture. Since that period, comics have been a recurring reference in his creation. The series Les femmes fatales is part of a tribute to American comics, particularly to superwomen, the myth of the aggressive woman of Western civilization. <\/p>\n\n

\u2018Les lettres d\u2019amour japonais\u2019<\/h3>\n\n

This series of oils occupies a unique place in Err\u00f3\u2019s career, although it perfectly aligns with his interest in storytelling through painting. In 1970, he became fascinated by an old book found in Japan that contained letters and photographs of young couples. From this documentation he created a series of oils that evoke the relationships of love and friendship among these mysterious heroes. Later, he discovered that the protagonists were leading intellectuals who, in the 1920s, rebelled against the sclerosis of Japanese society. <\/p>\n\n

\u2018Los collages<\/strong>\u2019<\/h3>\n\n

From the beginning of his career, Err\u00f3 has been a virtuoso of collage, which he creates from an impressive range of materials taken from magazines, political propaganda, catalogues, comics, illustrated dictionaries, etc. In the tradition of the Surrealists, Err\u00f3 invents surprising associations by mixing images with no apparent connection between them, so that each composition provokes in the viewer a kind of electric shock. Conceived as autonomous works, these collages also serve as models for his paintings. <\/p>\n\n

Relationship with art<\/strong><\/h3>\n\n

Err\u00f3 has always maintained close ties with art history, offering in his paintings a new reading of well-known works to create powerful and often subversive images. Joan Mir\u00f3, Henri Matisse, and especially Fernand L\u00e9ger are among the artists who have inspired him. <\/p>\n\n

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