19/08/2016

Double Self Split Melissa Marks curated by Joya: arte + ecología

‘Double Self Split’ - two simultaneous installations by New York artist Melissa Marks curated by Joya: arte + ecología.

Inspiration for the installations comes from the decorative motifs of the Renaissance ‘Patio de Honor’ (a courtyard) of the ‘Castillo de Los Fajardo’ which now resides in the Metropolitan Museum in New York.

The two installations manifest in two different locations within the historic village of Vélez Blanco in the north of the province of Almería, Spain…

The 16th Century Iglesia del Convento de San Luis. Sixteen large composite drawings, monochrome and color, exhibited in large, uniform, white cubes distributed across the nave and aisles of the church. Inauguration 20.00 hrs. 3 August 2016

Installation in the 16th Century Castle of Vélez Blanco. This installation is part performance, part exhibition, and manifests as a one-hundred square meter monochrome floor painting created over a three-week period.
Inauguration 20.00 hrs. 25 August 2016

The project has been conceived as a reciprocal cultural gesture from contemporary New York, inspired and presented in the heart of Renaissance Spain.

A brief history of the Patio de Honor…

The castle of Don Pedro Fajardo y Chacón (ca. 1478– 1546) stands above the town of Vélez Blanco, near the southeastern coast of Spain. Fajardo, raised in the culture of humanism, was governor of Murcia during the reign of Ferdinand and Isabella and assisted in suppressing Moorish rebellions in their lands. By royal act, he was given the town of Vélez Blanco, and between 1506 and 1515 he erected a castle with a central courtyard embellished with Italian Renaissance ornament in local Macael marble carved by craftsmen from Lombardy. The patio’s marble fittings were sold by the castle’s owner in 1904. George Blumenthal acquired them in Paris in 1913 and had them incorporated in his New York townhouse. In 1945, after his death and the demolition of his residence, the approximately 2,000 marble blocks were brought to the Metropolitan Museum in New York, where they were reassembled, as faithfully as possible, in 1964.

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Joya: AiR