The Modernistic Journey of Alfredo Ruiz through the World of Fallas
art, news
Las Fallas is a festival like no other. Celebrated annually in Valencia, Spain, it is a vibrant and explosive celebration that combines art, culture and tradition. The festival is known for its giant sculptures made of paper-mâché, wood and other materials that are erected in the city's streets and plazas. These sculptures, known as fallas, are a testament to the artistic and creative prowess of the people of Valencia. One artist, in particular, stands out for his contribution to this art form - Alfredo Ruiz. The artist dedicated his life to creating some of the most innovative and striking fallas the festival has ever seen. He was a pioneer in bringing modernity to the traditional art form, and his work continues to inspire artists and audiences alike.
The IVAM's recent course of action regarding the Las Fallas festivities forms part of the LAB/IVAM - Ciutat Project, an initiative aimed at establishing a connection between the museum and the local cultural happenings, thereby enhancing the historical background of the festival. The objective is to shed light on the influence of the celebration on the present and future, particularly given the current socio-political climate, which is constantly evolving.
To this end, the artist Alfredo Ruiz Ferrer's work is being researched, which is focused on his contributions to the Fallas workshops. Born in Valencia in 1944, he began working at the age of thirteen and his work continued until he closed his workshop in 2002 and he sporadically returned to creating Fallas until 2012. Throughout his journey, he transitioned from creating Fallas with a baroque and grotesque style inherited from his teachers to exploring abstract minimalism. In a significant first for Las Fallas, he incorporated references to the artistic styles of the international avant-garde.
His art, marked by a progressive formal plurality and a critical approach to significant social issues, led to heated debates in the public space. His dedication to finding a language he could defend and endure paved the way for his entire practice, which was a rebellion against the baroque, essentially aiming to burn the beautiful. Alfredo Ruiz has always been captivated by the public space and the street as the ideal places to share and engage, which have always been central to his approach. By extending beyond the boundaries of the museum, this use of public space consecrates it as a critical reference, due to the intrinsic value of opening up and creating new paths. All of this in the midst of a geometric forest.
A stark contrast between the public image of tradition and civic pride, and the reality of a city grappling with profound economic and social inequality.