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ModPortrait Finalist Works
April 16 – June 11 UTC+0
The MEAM, which began in 2011, has since managed to establish its own profile with an outstanding collection on the international representational art scene. Its main objective is to make known a critical attitude towards the monotonous situation of contemporary art, in whose panorama no trend was highlighted that was not an abstraction, experimentation, or destruction of form.
The Contemporary Representational Art collection is the result of the calls for international competitions of the Arts and Artists Foundation, and also the fruit of the museum’s permanent relationship with artists from all over the world, it is the collection of works by living artists who constitute the main wealth of the MEAM. True to its principles, it includes works of painting and sculpture made in all kinds of materials and techniques: oils, watercolors, pastel, etc., on canvas, board and any support. And in sculpture, works of marble, bronze, paper, cardboard, wood, polyester resins, terracotta, etc.
To this day, the MEAM is already a turning point in the level of penetration of representational art in broad sectors of today’s society, generating a change of perspective in many art professionals, who are beginning to understand that the art of our century it already needs new approaches and new goals, very unrelated to canons and topics inherited from the previous century.
The MEAM presents another, deeply original and novel way of seeing and feeling the art of today. It is a return to the origins that had been hidden from us repeatedly. It is a recovery of the content of those museums that we had been promised to destroy. It is the recognition of values that have been denied, and are still denied today, in universities and schools. It is the value of quality as something important, above the simple novelty. It is the recovery of tradition, it is the return to the trade, it is the importance of personal work in solitude as the basic source of the creative fact, it is the cult of genius (hitherto discredited), it is the recognition of the works of the great masters as an arrow indicating the way forward. It is the return to virtues such as perseverance, perseverance, personal creation, tenacity and the cult of one’s own personality, in the face of the terrible elitist impositions of the market, in the face of the directives of dealers and critics involved with the system. It is abandoning demagogy to return to the intimacy of the artist’s studio, it is the return to the cult of personal creation, it is the place, the immense pleasure of making the ego itself the supreme work of art, through an elaborate, thoughtful profession and long pursued.