LA HUELLA (The footprint)
Eva Lootz is a pioneer in the field of sculptural installations. With a personal style and very heterogeneous registries, the work of Lootz is marked by the interaction of matter and language. Starting from the quest for continuous questioning, she creates spaces and works that are unrelated to trends, very personal and experimental that pass through painting, ephemeral materials, three-dimensionality … Practicing a continuous reflection between matter, language and art.
The work, “La Huella”, conceived for The Artists’ Vineyard is a big footprint whose heel protrudes from the ground and houses a olive tree transplanted from the same olive grove where it is located. The complex is built with dry stone, making echoes of the walls that form terraces in the cellar estate.
A footprint speaks of the presence of the absent, speaks of memory, speaks of time and in the digital era reminds us that we not only have a digital footprint but our body has a materiality, enrolled in the immediate environment.
The footprint of a shoe specifically speaks of our steps, of walking, of the “passenger”, of the fleetingness of our existence and of the mediations, of our living through utensils and tools.
In addition, in this case it is a particular footprint, a footprint in which the heel protrudes from the ground. The walker does his steps inside the earth and belongs, therefore, to the earth. According to Lootz, to recognize that we are not “masters and owners” of the earth but that we belong to it is, in this case, a warning to the walkers.
The 450 attendees present at the inauguration of the work of Eva Lootz on July 6, 2019, were able to discover the new Saó Space of the winery where the artist’s drawings were exposed and they also could visit other sculptures situated at The Artists’ Vineyard, as well as the impressive 60m work named “Between the Heaven and the Earth” that the artist Gregorio Iglesias painted during two months in the middle of The Artists’ Vineyard and which currently covers the four walls of the oak barrels room.
“La Huella” was inaugurated with ecological parliaments shared by both the artist and those responsible for Mas Blanch i Jové.
The outdoor party featured a solo percussion by Luis Tabuenca -a musician who premiered the “Hor” chamber opera at Fàbrica Fabra i Coats of Barcelona-, continued with a dinner under the stars paired with the wines Petit Blanc Saó, Saó Blanc, Saó Abrivat and Saó Expressiu from Mas Blanch i Jové. The party ended with DJ Miquel Salla and the ethereal soap bubbles of Pep Bou.
“It has been a great pleasure for me to be able to take part in the Mas Blanch and Jové art project in La Pobla de Cérvoles and I hope that the extraordinary initiative of The Artists’ Vineyard will be a push to fill this beautiful region with new life.”
“A foodprint speaks of the presence of the absent, speaks of memory, speaks of time”
Pictures: Elsa García
Eva Lootz was born in Vienna (Austria) where she studied Philosophy and Plastic Arts and graduated in Film and Television Management. At the end of the sixties she moved to Spain and from 1973 began her exhibition activity.
Starting from anti-expressive and procedural approaches, aimed at expanding the concept of art, it evolves towards the creation of intersectoral and enveloping spaces or, in terms of the author, towards a “continuous art”. Her work, in which there is a marked interest in the interaction of matter and language, is characterized from the beginning by the use of heterogeneous records.
Among her exhibitions, “Metal” (Madrid 1983), “Noche, decían” (La Caixa Foundation, Barcelona 1987), “Alfombra escrita” (Amsterdam 1990), “Arenas girovagas” (Tarragona 1991), “A Farewell to Isaac Newton ”(South London Gallery, London 1994), “La madre se agita”(Valencia 1997),“ Eva Lootz ”(Boras 1997, Lund 1998 Sweden, Odense Denmark 1998,“Ich und Du” (Cologne 2000), “ Drifts ”(Porto 2001),“ Berggasse 19 ”(Madrid 2001), “El lenguaje de los pájaros”(Palacio del Cristal del Retiro, MNCARS, Madrid 2002),“Sedimentacions”(Fundació Sa Nostra Palma, Ibiza, Maó 2004), “Paisajes hidráulicos” (Santiago de Compostela 2007), “Hidráulica 2” (San Sebastián 2008), “Hidrotopías – escritura del agua” (Fundació Suñol, Barcelona 2009), “Viajes de agua” (Casa Encendida, Madrid 2009), “A la izquierda del padre” (Fundación Real Casa de la Moneda, Madrid 2010/2011), “Drawing as Thought” (Skissernas Museum Lund , Suecia 2011/2012), “Nudos” (Círculo de Bellas Artes, Madrid 2012), “La canción de la tierra” (Tabacalera, Madrid 2016),”Cut Through the Fog” (C.G.A.C. Santiago de Compostela, 2016/17) y “Binomio, Arte y Ciencia” (CNIO, Madrid 2017) .
She has made permanent interventions in the public space such as “NO-MA-DE-JA –DO” on the Isla de la Cartuja at Expo 92, “La mano de Lineo” in Bohuslän (Sweden 1996), “Endless Flow” (Silkeborg , Denmark 2002), as ephemeral interventions “Proyecto Recoletos” (Christmas Lighting of Paseo de Recoletos, Madrid 2004), “Luna Ciega” within the initiative of El Corte Inglés “Entorno a lo transparente” (El Corte Inglés, Calle Serrano , Madrid 2008). Within the framework of Expo 08, she has built “La Oreja Parlante”, a piece located on the right bank of the Ebro River (Zaragoza 2008).
She was a professor at the Faculty of Fine Arts of Cuenca in the first eight years after its foundation and has taught courses and conferences at Fine Arts faculties in Spain, Sweden, the United States and Chile, at the Thyssen Bornemisza Museum (January 2006), in the summer courses of the Universidad Rey Juan Carlos and the Prado Museum (June 2009).
She won the National Prize for Plastic Arts in 1994, Tomás Francisco Prieto of the Real Casa de la Moneda Foundation in 2009, the MAV (Women in the visual arts) award in 2010 and the Art and Patronage Foundation Award in 2013.