Contemporary art: The Leganes Museum
Introduction.
The sculpture is part of a series of pieces that are known as outdoor sculptures. The art that breathes, a tour of pieces throughout the city of Leganés that are responsible for referring to the Spanish sculpture of the twentieth century and early 21st century and with the aim of sharing and disseminating contemporary sculpture, its techniques, its techniques, its techniques, its techniques, Materials, influences and artistic currents through this large collection represented mostly by sculptors belonging to the twentieth century and until today.
The Leganés Sculpture Museum arose in 1984, between a group of sculptors and the Leganés City Council. The intention to create a large outdoor museum of about 27.000 m² was a proposal with very high expectations, the idea was received with support and its development as well. Many of the artists paid for the procedures, but the high cost it supposed.
Developing.
The intention to maintain the project leads the Community of Madrid to support the decision, assuming their expenses and most sculptors only carried out works for Leganés; Francisco Leiro, Tony Gallardo and little by little acquisitions of artists such as Emilio Barral, Jose Luis Sánchez, Juan Bordes; Artists as a certain recognition. To understand the importance of the museum and its daring proposal, we must remember that the fundamental pillar of the museum of contemporary sculptures constitutes the temporary deposit of museums such as: Prado Museum, Museum of Queen Sofía, Dos de Mayo Art Center of the community of the community of Madrid.
The arrival of these works extended the projection of the museum beyond the strictly local scope and on September 24, 2005, the Minister of Culture formalized its opening. From the Fuenlabrada de Leganés Avenue, one of the pieces known as “Los Cabezones”, Le-Ga-Nes ”rests and is part of one of the creations that Juan Bordes that meets all the features that characterize the figurative artist with a trend neo classicists characteristics. Although it is not recognized in the Community of Madrid as one of the most influential documentary sources in Spain it is convenient to know this importance of decorating the sources takes us until the mid -seventeenth century.
History of monumental sources
Like the roundabouts, the sources have served as a decorative reason although their true function was the control of traffic and urban influx. Rotondas are a perfect opportunity to spread art making citizens; critics and experts in the field, although they do not like all and are many who almost always criticize contemporary illogical styles; With unusual forms, striking colors, decompensated sets and very varied materials. Many times the problem is the decompensation between the work and the place where the viewer’s cultural ignorance is installed and not.
At the end of the 20th century, with the increase in traffic levels and with the intention of controlling and getting rid of the conflict, new urban conditioning were raised that divert traffic, avoiding moving on to the urban nucleus, improving the quality of life of citizens and diverted to those who only passed by and when direction was another.
The direction of roundabouts can also be understood as a balance among all vertical facades, elongated buildings, advertising posters, signaling and lighting elements, contrasting and breaking the decorative monotony. The name of the city is sustained by three giant heads held by three topped columns, a set of anatomical figurative constructive elements inspired by classic models: heads, hands, molten of bronze and lyricist elements that welcome the city of the roundabouts.
It houses different conditioning, relies on a stone surface and is in turn in a circle of grass and armored by a safety perimeter and accompanied by a small poster to look, notice, although so small that it does not allow its reading.
Although the work works as a work, we cannot forget that it is part of an urban resource and as such should be treated from its functionality and its landscape conditioning, that is, the set of resources that are used to ensure its urbanity and functionality, which still If treated, restored or even transferred, I should comply with:
- Good identification and perception from its proximity and remoteness.
- Channel the path of pedestrians and ensure coexistence with different functions.
- Convert the space that surrounds an attractive and pleasant place.
- Identifiable place.
- Mark a separation, symbol, signal, border or site.
- Act as a reference point, or indicator.
- Speed control for drivers and prohibition of pedestrians.
- Embels function of the city.
- Prestige for the city.
- Cultural and social importance.
As we observe, we can see that the artist uses the natural environment as a scenography of this and many of his monumental works. The extrinsic elements that are linked to it play a very important role: rain, humidity, cold, heat, etc. The artist lets this series of elements participate with the work, knowing that he will limit his chances as a sculpture or including it in this type of ephemeral pieces that have an expiration date. The work is in the middle of the entrance and exit road from the city of Leganés, where it rests since 1997, along with other monumental ensembles.
Conclusions.
In recent years, the city has experienced constant population growth making its monuments witness to it, although it has never been changed or modified, the environment has starred in constant changes, both aesthetic and climatological. This ignorance about the interests that revolve around this work transfer us to the next chapter where the conservative and restorer is put in the hands of the artist, informing us and documenting from his artistic character to his personal anecdotes, in order to gather all the information to near his sculpture and his career as an artist
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