Carlos Pazos, Bad Painting?

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Image courtesy of Fundació Vila Casa

How can we define bad painting? If it is bad, is it so because of aesthetic or moral reasons? Are its defects intentional or unintentional? Which canons or criteria of taste waver when faced with a poorly composed artwork? Who would this exhibition be bad for? Bad Painting? aims to address these questions, both in a humorous and serious way, and it does so through a counter-history of figurative painting between 1850 and 1950, a period which encompasses many well-known artistsã—who perhaps did not have their most inspired day—with lesser-known artists, who we have rescued from a perhaps unjust oblivion.

Bad Painting? is the result of a unique collaboration between different institutions: the MNAC, where most of the paintings come from; the PazosCuchillo collection, who have offered others; Fundació Vila Casas, scene of the crime; and, finally, the Museu d’Art Modern de Barcelona, a gallery which was frequently visited by the project instigator (who also presents his own works) during his years in training, and which has served as the source of inspiration for the assembly of this exhibition.

If Bad Painting? is an aesthetic crime—the viewer will make up their own mind about this—the main culprit is Carlos Pazos, the usual suspect, the tireless tracker, who has been aided and abetted (diurnally, nocturnally and theoretically) by Eloy Fernández Porta.

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