UNTIL SUNDAY 27/9
CCCC. Museum, 2
Let no one expect a coherent and planned collection, because Avelino Marín moves from passion. He presumes about it. If you fall in love with something, goes behind, regardless of whether its author is an established artist or a young person just starting out.. Marín says he works out of love, although sometimes the union is not consummated, because the piece is slipping out of your hands or is too expensive. He assures that he has never acquired a work to keep it in a bank safe and be able to speculate later., thinking that it is a good investment because it will revalue. Yours is impulse, passion, hence his collection is a very personal reflection of his tastes. Since his collection is chaotic and he has no guides to stick to, so is this one Brief story of a passion that focuses on two major themes that run through it: the body and passion.
To buy art of the level that Avelino Marín possesses, you need a lot of money, which in this case comes from a family business of several generations (his grandfather founded it) dedicated to wines, liquors and gourmet products. At the age of sixteen he began collecting thanks to an inheritance and desire is a machine that never runs out.. At first he looked at pieces of ancient art (Romanesque, Catalan modernism…) and over the years he turned towards more contemporary art, until kneaded 1.800 pieces that today make up a substantial collection. saves them, for more than twenty years, in your house, designed by architect Javier Peña Galiano in Los Alcázares (Murcia). It is a house with nine thousand square meters of garden in which it can be exposed 350 works that, every two or three years, rotating van. The CCCC exhibition wants, precisely, replicate that great house evoking four of its rooms: study-bedroom-game room-living room. There is graphic work in the first room, intimate and erotic pieces in the second, video creation in the third; and painting and ceramics in the last, which includes two 19th-century Viennese porcelains showing two women in period dress—one of them in a male costume—, with which Marín started the collection, y Parable (1977) by Team Chronicle, the first work of contemporary art he acquired—paid in installments—and which was part of the artistic collective's last exhibition.
Rarely has such a good piece of Avelino Marín's collection entered the museum. The Ramón Gaya Museum exhibited work on paper in 2023 and the Center del Carme ups the ante this 2026 with one hundred works in the form of paintings, photograph, recorded, drawing, installation, sculpture, video and ceramics that, for the first time, they leave Murcia. You will find great totems of art whose first name is more than enough, as Rembrandt, Matisse, Hockney, Mapplethorpe, Warhol, Beuys o Manet; renowned international artists such as Jules Pascin, R.B. Kitaj, Sean Mackaoui, George Valmier, Erwin Olaf, Bed Andrea y Liliana Porter —these last three, great fetishes from the collection—; renowned Spanish artists such as Antonio Lopez, Alberto García-Alix y Esther Ferrer; and creators of the earth like Eusebio Sempere, Manu Blazquez, Miquel Navarro, Chronicle Team, Rosa Torres, José Luis Cremades y Nico Munuera, the bridge that connects the Murcian and Valencian slopes because I was born in Lorca, but Valencian by adoption. The very personal collection of a Murcian potentate is displayed like Pedro in his house in neighboring Valencia. S.M.
