journal
Photography: William Jess Laird and Juan de Sande
12 / 07 / 2024
1. Bonacina, A., Lawrence, N., Obler, B. (eds.) (2002), Lynda Benglis, Nueva York, (p. 24)
Between March and June, the private gardens of Banca March in Madrid's Salamanca neighbourhood hosted an installation of four monumental pieces by American artist Lynda Benglis.
The sculptures in the form of fountains, exhibited for the first time in Spain, were developed around the idea of water as a symbol evocative of the concept of sustainability. “I've always wanted to make fountains. Growing up by a lake, near water, led me to want to work with water and its movement (...). The water flows over and around the fountains. They are like eruptions that erupt from the earth, and the water articulates this explosive character. This is something you feel in your body, the suction of gravity. I've always been very aware of this and it probably manifests itself in all my work, in one way or another” (1), the artist shared.
Born in 1941 in Lake Charles, Louisiana, USA, Lynda Benglis marked a generation of artists on an expressionist path where at various times she tried to “redefine what was”. From painting, to photography and video, to sculpture, there were countless experiments, in a path of affirmation where she questioned the “rigidity of the support” and thus sought a three-dimensional manifestation for her works. Proclaimed in 1970 by Life magazine as the heir to Jackson Pollock, Lynda Benglis was also selected in 2022 for The New York Times’ annual special edition – The Greats – in which the publication highlighted four “inimitable creators whose talent has cemented their place in culture”. An artist with a remarkable career, she lives in Santa Fe, New Mexico, and is still active at the age of 82, after six decades of impactful work.
Born in 1941 in Lake Charles, Louisiana, USA, Lynda Benglis marked a generation of artists on an expressionist path where at various times she tried to “redefine what was”. From painting, to photography and video, to sculpture, there were countless experiments, in a path of affirmation where she questioned the “rigidity of the support” and thus sought a three-dimensional manifestation for her works. Proclaimed in 1970 by Life magazine as the heir to Jackson Pollock, Lynda Benglis was also selected in 2022 for The New York Times’ annual special edition – The Greats – in which the publication highlighted four “inimitable creators whose talent has cemented their place in culture”. An artist with a remarkable career, she lives in Santa Fe, New Mexico, and is still active at the age of 82, after six decades of impactful work.
Lynda Benglis in her studio/house in New Mexico ©William Jess Laird
In what was the first time that some of the works by one of the most important American sculptors of the 20th and 21st centuries had been seen in Spain, the unique exhibition at the Banca March Gardens was conceived in conjunction with Vande, an international company specialising in the private sale of works of art and cultural production, and marked the start of the bank's centenary celebrations, scheduled for 2026.
The institution has always expressed its strong connection with water, thus reflecting the commitment it has made since its foundation – environmental concern, focused on generating a positive impact and contributing to the development of society in a respectful and sustainable way. Banca March's CEO, José Luis Acea, says: “Both the idea of the exhibition and the philosophy of the American artist are perfectly intertwined with our banking and business philosophy. (...) Since its creation almost 100 years ago, Banca March has maintained its commitment to growing together with customers, employees, shareholders and society in general. We were born on Mallorca, an island in the Mediterranean, so our DNA is linked to the sea, water and the need to conserve it. Proof of this is that in 2019 we created the Mediterranean Fund, an investment fund designed to combine sustainability and profitability, which invests in the oceans as a source of wealth and in water as a scarce and essential asset to conserve. As the only 100% family-owned bank since its origins in the Spanish financial system, we want to keep up with the changes that society is demanding and respond responsibly, looking to the long term, to try to leave a better world for future generations.”
Regarding the importance of Lynda Benglis's work, Anne Pontégnie, curator of the exhibition organised jointly with Vande, says: “Lynda Benglis is a colossal figure in contemporary sculpture. Her work can be interpreted as a constant endeavour to capture movement, an attempt to freeze and express flux, the embodiment of life.”
Here you can feel the power and splendour of water, manifested and celebrated through bronze forms. Right at the entrance to the garden are the pieces Bounty, Amber Waves and Fruited Plane (2021), three columns made up of stacked conical vases through which water flows – one of Benglis’ best-known sculptural ensembles, these pieces stand out for their monumentality, rising almost eight metres off the ground. The tour takes us to Crescendo (1983-84), a piece originally entitled The Wave of the World, which was reported lost and, years later, was recovered and modified by the artist between 2014-15; alongside it, on a much smaller scale, we can appreciate Knight Mer (2007-22), inspired by crustaceans and living forms that Lynda came across during her childhood in Lousianna. The exhibition also includes Pink Lady (2014), the only fountain made of polyurethane and in a surprising fluorescent pink colour, whose rough surface is reminiscent of sand and mud banks expelled by crabs and crustaceans by the sea, recalling the artist's observation of the species and their behaviour.
Throughout the months of the exhibition, it was possible to appreciate the exoticism and monumentality of the pieces, so beautifully set in the gardens, which came to life through their interaction with water and the enhancement of this natural element, as well as observing their surroundings and the passage of time and the seasons from spring to early summer, through the flowering of the garden and the natural wear and tear of the pieces, in a play of light and shade that will remain etched in our memories. It was therefore a privilege to be able to take a close look at the four fountains arranged around the green corners of the early 20th century building, home to Banca March, next to the Foundation of the same name, which has a cultural programme not to be missed, promoting its commitment to art and marking a strong presence on the cultural scene in the city of Madrid.
The institution has always expressed its strong connection with water, thus reflecting the commitment it has made since its foundation – environmental concern, focused on generating a positive impact and contributing to the development of society in a respectful and sustainable way. Banca March's CEO, José Luis Acea, says: “Both the idea of the exhibition and the philosophy of the American artist are perfectly intertwined with our banking and business philosophy. (...) Since its creation almost 100 years ago, Banca March has maintained its commitment to growing together with customers, employees, shareholders and society in general. We were born on Mallorca, an island in the Mediterranean, so our DNA is linked to the sea, water and the need to conserve it. Proof of this is that in 2019 we created the Mediterranean Fund, an investment fund designed to combine sustainability and profitability, which invests in the oceans as a source of wealth and in water as a scarce and essential asset to conserve. As the only 100% family-owned bank since its origins in the Spanish financial system, we want to keep up with the changes that society is demanding and respond responsibly, looking to the long term, to try to leave a better world for future generations.”
Regarding the importance of Lynda Benglis's work, Anne Pontégnie, curator of the exhibition organised jointly with Vande, says: “Lynda Benglis is a colossal figure in contemporary sculpture. Her work can be interpreted as a constant endeavour to capture movement, an attempt to freeze and express flux, the embodiment of life.”
Here you can feel the power and splendour of water, manifested and celebrated through bronze forms. Right at the entrance to the garden are the pieces Bounty, Amber Waves and Fruited Plane (2021), three columns made up of stacked conical vases through which water flows – one of Benglis’ best-known sculptural ensembles, these pieces stand out for their monumentality, rising almost eight metres off the ground. The tour takes us to Crescendo (1983-84), a piece originally entitled The Wave of the World, which was reported lost and, years later, was recovered and modified by the artist between 2014-15; alongside it, on a much smaller scale, we can appreciate Knight Mer (2007-22), inspired by crustaceans and living forms that Lynda came across during her childhood in Lousianna. The exhibition also includes Pink Lady (2014), the only fountain made of polyurethane and in a surprising fluorescent pink colour, whose rough surface is reminiscent of sand and mud banks expelled by crabs and crustaceans by the sea, recalling the artist's observation of the species and their behaviour.
Throughout the months of the exhibition, it was possible to appreciate the exoticism and monumentality of the pieces, so beautifully set in the gardens, which came to life through their interaction with water and the enhancement of this natural element, as well as observing their surroundings and the passage of time and the seasons from spring to early summer, through the flowering of the garden and the natural wear and tear of the pieces, in a play of light and shade that will remain etched in our memories. It was therefore a privilege to be able to take a close look at the four fountains arranged around the green corners of the early 20th century building, home to Banca March, next to the Foundation of the same name, which has a cultural programme not to be missed, promoting its commitment to art and marking a strong presence on the cultural scene in the city of Madrid.
© Juan de Sande