There are works that perfectly define their author. All the more reason if these works work as a workshop and home. This is the sculptural home of Xavier Corberó in Esplugues de Llobregat. An unfinished work-in-progress that is defined by its infinite arches. And also, of course, for hosting the works of this internationally recognized artist who left us last year.
Little can be added to what has already been written about Xavier Corberó. Sculptor, painter, jeweler. The medals for the 1992 Barcelona Olympic Games remain for the general public. And also, the complex of houses and artists’ residence that he developed in Esplugues de Llobregat, on the outskirts of Barcelona.
Two magnificent phrases define this magnificent work: “Architecture at the service of art. Art at the service of architecture ”. In Corberó’s house the focus is therefore on architecture, as the first of the Fine Arts. A pedestal that according to what the artist uncovered in the last interviews he gave, is for him the most deserved… Despite not being considered that way today. Corberó was not known for being a fan of contemporary works.
The immense land where the house is located is in a privileged area. On one side, Barcelona bathed in the waters of the Mediterranean. And on the other, the forests of Collserola. More than 30 km² of extension that function as an incomparable setting.
It is difficult to define the hypnotic house. Its composition is immeasurable, with nine buildings as a labyrinth. More than 300 arches are at first sight the first surprise of a concrete geometry at different heights, a kaleidoscope that achieves harmony with the ever-changing exterior. That which defines the passage of time in nature.
Entrances and exits, passageways, level changes… For a museum tailored to a tireless creator. In the house you can see everything lived by the great friend of Dalí and Marcel Duchamp: from his training in Barcelona and London to the years of personal enrichment in the absolute modernity of New York … A rich and fascinating legacy that is shown by stages going up and down between cement and glass doors.
Text by Elena Minguela.
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