{"id":10583,"date":"2015-12-30T07:31:13","date_gmt":"2015-12-30T07:31:13","guid":{"rendered":"http:\/\/joseciria.com\/english\/?page_id=10583"},"modified":"2017-02-28T12:08:18","modified_gmt":"2017-02-28T12:08:18","slug":"text-of-critics","status":"publish","type":"page","link":"http:\/\/joseciria.com\/english\/text-of-critics\/","title":{"rendered":"TEXTS OF CRITICS"},"content":{"rendered":"

2015<\/h2>\n

Essay from the catalog \u201cFauces\u201d. TEA Tenerife Space of Arts, Tenerife. 2015<\/p>\n

ONE WORLD OR ANOTHER? ONE WORLD AND ANOTHER!<\/h3>\n

Aldwin Kroeze<\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog \u201cFauces\u201d. TEA Tenerife Space of Arts, Tenerife. 2015<\/p>\n

MOVING THROUGH DREAM \u2013 TIME<\/h3>\n

Robert C. Morgan<\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog \u201cFauces\u201d. TEA Tenerife Space of Arts, Tenerife. 2015<\/p>\n

ORGANIC MAGMA<\/h3>\n

Laura Revuelta<\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

2014<\/h2>\n

Essay from the catalog \u201cUaset’s Doors\u201d. Tabacalera, Promoci\u00f3n del Arte. Madrid, Diciembre 2014<\/p>\n

LAS PUERTAS DE UASET<\/h3>\n

Carlos Delgado Mayordomo<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

2013<\/h2>\n

Essay from the catalog \u201cOver \/ Under the Raw\u201d. Kornfeld Gallery, Berlin. Noviembre 2013.<\/p>\n

OVER \/ UNDER THE RAW<\/h3>\n

Carlos Delgado Mayordomo<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog \u201cOver \/ Under the Raw\u201d. Kornfeld Gallery, Berlin. November 2013<\/p>\n

MASQUERADE<\/h3>\n

David Anfam<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog \u201cExploring Abstract Territories\u201d. St. James Cavalier Centre for Creativity. Valetta, (Malta). May 2013<\/p>\n

EXPLORING ABSTRACT TERRITORIES<\/h3>\n

Eman Grima<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

2012<\/h2>\n

Essay from the catalog\u00a0\u201cJuego de Espejos\u201d Patrimonio Museum (MUPAM). M\u00e1laga. March 2012.<\/p>\n

WRITTEN ON HIS FACE<\/h3>\n

Laura Revuelta<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog\u00a0\u201cJuego de Espejos\u201d Museo del Patrimonio Municipal (MUPAM). M\u00e1laga. March 2012.<\/p>\n

JOSE MANUEL CIRIA: PAINTING AS STRATEGY<\/h3>\n

\u00d3scar Carrascosa<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog\u00a0\u201cJuego de Espejos\u00bb Patrimonio Museum (MUPAM), M\u00e1laga. March 2012.<\/p>\n

THE MIRROR GAME OF JOS\u00c9 MANUEL CIRIA<\/h3>\n

Rafael Sierra<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

2011<\/h2>\n

Essay from the catalog\u00a0\u201cRorschach Heads\u201d Amarillo Museum of Art, Amarillo (Texas). May 2011<\/p>\n

TESSTING AND PROJECTING THE SELF: CIRIA\u2019S RORSCHACH PAINTINGS<\/h3>\n

Donald Kuspit<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog\u00a0\u201cRorschach Heads\u201d Amarillo Museum of Art. Amarillo (Texas). May 2011<\/p>\n

THE EXECUTION OF THE SOUL-RECENT PAINTINGS BY JOSE MANUEL CIRIA<\/h3>\n

Robert C. Morgan<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog\u00a0\u201cRorschach Heads\u201d Amarillo Museum of Art. Amarillo (Texas). May 2011<\/p>\n

RORSCHACH HEADS<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cConceptos Opuestos 2001 \u2013 2011\u201d. Instituto Valenciano de Arte Moderno (IVAM), Valencia. September 2011<\/p>\n

STATES OF OPPOSITION: An interview with Jos\u00e9 Manuel Ciria<\/h3>\n

Kara Vander Weg<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Text from the catalog \u201cConceptos Opuestos 2001 \u2013 2011\u201d. Instituto Valenciano de Arte Moderno (IVAM), Valencia. September 2011<\/p>\n

JOSE MANUEL CIRIA: THE MARRIAGE OF HEAVEN AND HELL<\/h3>\n

David Anfam<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cConceptos Opuestos 2001 \u2013 2011\u201d. Instituto Valenciano de Arte Moderno (IVAM), Valencia. September 2011<\/p>\n

THE RECENT PAINTINGS OF JOS\u00c9 MANUEL CIRIA<\/h3>\n

David Carrier<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cEl Mito de Prometeo\u201d Galer\u00eda Cordeiros Gallery, Porto. November 2011<\/p>\n

CIRIA: PAINTING TO STIR THE CONSCIENCE<\/h3>\n

Esther Esteban<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2010<\/h2>\n

Essay from the catalog \u00abFive Squares\u00bb Palacio Simeon. Orense. 2010<\/p>\n

FIVE SQUARES (The American Series)<\/h3>\n

Carlos Delgado Mayordomo<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog\u00a0\u00abFive Squares\u00bb Palacio Simeon. Orense. 2010.\u00a0(Continuation of \u00abFIVE SQUARES (The American Series)\u00bb)<\/p>\n

THIRD STOP: DOODLES<\/h3>\n

Carlos Delgado Mayordomo<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Text from the catalog \u201cCiria, Heads, Grids\u201d Fine Arts Circle, Madrid. Noviembre 2010.<\/p>\n

CIRIAN LOGIC AND THE PAINTING OF PRECONSTRUCTION<\/h3>\n

Mark Van Proyen<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cCiria, Heads, Grids\u201d Fine Arts Circle, Madrid. November 2010.<\/p>\n

TERPSICHORE IN PAINTING: JOS\u00c9 MANUEL CIRIA\u2019S IMAGES OF DANCE<\/h3>\n

Robert R. Shane<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cCiria: Beyond\u201d. Monasterio de Prado. Consejer\u00eda de Cultura de la Junta de Castilla y Le\u00f3n. Valladolid. March 2010<\/p>\n

THE BODY OF FORM: JOSE MANUEL CIRIA\u2019S PAINTING<\/h3>\n

Dr. Melanie Mari\u00f1o<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2009<\/h2>\n

Essay from the catalog \u201cEris Et Pel\u00bb Couteron Gallery, Par\u00eds. October 2009<\/p>\n

JOSE MANUEL CIRIA: THE FRATERNAL COMMUNITY OF PAINTERS<\/h3>\n

Alain (Georges) Leduc<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cAlasdurasyalasmaduras\u201d Annta Gallery, Madrid. May 2009<\/p>\n

CIRIA. THE PAINTING\u2019S SKIN<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cAlasdurasyalasmaduras\u201d Annta Gallery, Madrid. May 2009<\/p>\n

CIRIA\u2019S PAINTING, A COMMUNICATIVE TOUR DE FORCE<\/h3>\n

Patrick B. Goldstein<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog Zoellner Arts Center, Lehigh University, Bethelhem, Pennsulvania. September 2009<\/p>\n

CIRIA Interview<\/h3>\n

Ricardo Viera<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2008<\/h2>\n

Essay from the catalog \u201cBox of Mental States\u00bb Art Rouge Gallery , Miami. November 2008.<\/p>\n

BOX OF MENTAL STATES<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cBox of Mental States\u00bb Art Rouge Gallery , Miami. November 2008.\u00a0(Continuation of the section ‘Carlos Delgado. Art Rouge Gallery. Miami. I’)<\/p>\n

BOX OF MENTAL STATES II<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cBox of Mental States\u201d Art Rouge Gallery , Miami. November 2008.\u00a0(Continuation of the section ‘Carlos Delgado. Art Rouge Gallery. Miami. I’)<\/p>\n

DIVING INTO THE UNKNOWN<\/h3>\n

Valerie Gladstone<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cMadrid \u2013 New York. Trabajos recientes. Exposici\u00f3n Museo da Alf\u00e2ndega, Oporto. January 2008<\/p>\n

ON THE LIMIT, AND BEYOND<\/h3>\n

Celia Montol\u00edo<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog Fundaci\u00f3n Carlos Amberes, Madrid. Museo de Arte Moderno (MAM), Santo Domingo. National Gallery, Kingston. Museo del Canal Interoce\u00e1nico, Panam\u00e1. Museo de Arte (MARTE) San Salvador. Museo Antropo\u00f3logico y Arte Contempor\u00e1neo (MAAC), Guayaquil. Museo de Arte Contempor\u00e1neo (MAC), Santiago de Chile. Museo de Arte Moderno de Medell\u00edn (MAMM), Medell\u00edn. Abril 2008.<\/p>\n

RARE PAINTINGS, POST-GENRES AND DR. ZAIUS<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog Fundaci\u00f3n Carlos Amberes, Madrid. Museo de Arte Moderno (MAM), Santo Domingo. National Gallery, Kingston. Museo del Canal Interoce\u00e1nico, Panam\u00e1. Museo de Arte (MARTE) San Salvador. Museo Antropo\u00f3logico y Arte Contempor\u00e1neo (MAAC), Guayaquil. Museo de Arte Contempor\u00e1neo (MAC), Santiago de Chile. Museo de Arte Moderno de Medell\u00edn (MAMM), Medell\u00edn. Abril 2008.<\/p>\n

RARE PAINTINGS, POST-GENRES AND DR. ZAIUS II<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog Fundaci\u00f3n Carlos Amberes, Madrid. Museo de Arte Moderno (MAM), Santo Domingo. National Gallery, Kingston. Museo del Canal Interoce\u00e1nico, Panam\u00e1. Museo de Arte (MARTE) San Salvador. Museo Antropo\u00f3logico y Arte Contempor\u00e1neo (MAAC), Guayaquil. Museo de Arte Contempor\u00e1neo (MAC), Santiago de Chile. Museo de Arte Moderno de Medell\u00edn (MAMM), Medell\u00edn. Abril 2008.<\/p>\n

RARE PAINTINGS, POST-GENRES AND DR. ZAIUS III<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Text from the catalog Fundaci\u00f3n Carlos Amberes, Madrid. Museo de Arte Moderno (MAM), Santo Domingo. National Gallery, Kingston. Museo del Canal Interoce\u00e1nico, Panam\u00e1. Museo de Arte (MARTE) San Salvador. Museo Antropo\u00f3logico y Arte Contempor\u00e1neo (MAAC), Guayaquil. Museo de Arte Contempor\u00e1neo (MAC), Santiago de Chile. Museo de Arte Moderno de Medell\u00edn (MAMM), Medell\u00edn. Abril 2008.<\/p>\n

TRAGIC MODERNISM: JOS\u00c9 CIRIA\u2019S LA GUARDIA PLACE PAINTINGS<\/h3>\n

Donald Kuspit<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2005<\/h2>\n

Text from the catalog \u201cLimbos de F\u00e9nix\u201d Galer\u00eda Bach Quatre Arte Contemporani, Barcelona. Octubre 2005<\/p>\n

REFORMULATION OF THE CHAOS<\/h3>\n

Carlos Delgado<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Text from the catalog \u201cLimbos de F\u00e9nix\u201d Galer\u00eda Bach Quatre Arte Contemporani, Barcelona. Octubre 2005<\/p>\n

JUAN ESTEFA FREIRE\u2019S CONVERSATION WITH JOS\u00c9 MANUEL CIRIA<\/span><\/h3>\n

Juan Estefa<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Text from the catalog \u201cLimbos de F\u00e9nix\u201d Galer\u00eda Bach Quatre Arte Contemporani, Barcelona. Octubre 2005<\/p>\n

THE MASTER OF THE VOLCANO, or THE FIRE\u2019S FAVOURITE, or SAVAGE IS HE WHO SAVES HIMSELF<\/h3>\n

\u00c1ngel Antonio Herrera<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLimbos de F\u00e9nix\u201d Bach Quatre Arte Contemporani Gallery, Barcelona. Ocober 2005<\/p>\n

JOS\u00c9 MANUEL CIRIA YEAR ZERO: the flapping of an effable painting<\/h3>\n

Anna Maria Guasch<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa).January 2005<\/p>\n

BENEATH THE SKIN<\/h3>\n

Fernando Huici<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). January 2005<\/p>\n

ONLY LIGHT CAN CREATE SHADOWS<\/h3>\n

Alicia Murr\u00eda<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Text from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). Enero 2005<\/p>\n

ON THE LIMIT, AND BEYOND<\/h3>\n

Celia Montol\u00edo<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). January 2005<\/p>\n

CROSSROADS OF MEMORY<\/h3>\n

Celia Montol\u00edo<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa).January 2005<\/p>\n

EPIPHANIES<\/span><\/h3>\n

Guillermo Solana<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). January 2005<\/p>\n

SMUDGE AND MEMORY: PAINTINGS OF JOS\u00c9 MANUEL CIRIA<\/span><\/h3>\n

Guillermo Solana<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). January 2005<\/p>\n

AN AFFIRMATION OF A DIFFERENT COHERENCE IN PAINTING<\/h3>\n

Javier Maderuelo<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). January 2005<\/p>\n

THE SUBJECTIVE PAINTING OF CIRIA AT THE END OF MODERNITY<\/h3>\n

Jes\u00fas Rem\u00f3n Pe\u00f1alver<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Esssay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). January 2005<\/p>\n

PAINTING, SINGULAR<\/h3>\n

Juan Manuel Bonet<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa).January 2005<\/p>\n

JOS\u00c9 MANUEL CIRIA-IN THE EVENT OF A CRISIS OF THE IMAGINA<\/h3>\n

Marcos-Ricardo Barnat\u00e1n<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). 2005<\/p>\n

THE CREATIVE DREAM OF JOS\u00c9 MANUEL CIRIA: THE FINAL INSTANT OF TRADITION<\/h3>\n

Mercedes Replinger<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cLas Formas del Silencio. Antolog\u00eda cr\u00edtica (los a\u00f1os noventa). Enero 2005<\/p>\n

WHERE SIGNS AND BORN<\/h3>\n

Miguel Logro\u00f1o<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2003<\/h2>\n

Essay from the catalog \u201cTeatro del Minotauro\u201d itinerante organizada por el Consorcio de Museos de la Comunidad Valenciana y la Caja de Ahorros del Mediterr\u00e1neo.\u00a0Lonja del Pescado, Alicante.\u00a0<\/span>Casal Solleric, Palma de Mallorca.\u00a0<\/span>Museo de Arte Contempor\u00e1neo, Ibiza.\u00a0<\/span>Museo de la Ciudad, Valencia. Febrero 2003<\/span><\/p>\n

BORDER ANIMAL<\/h3>\n

Alicia Fern\u00e1ndez<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cTeatro del Minotauro\u201d itinerante organizada por el Consorcio de Museos de la Comunidad Valenciana y la Caja de Ahorros del Mediterr\u00e1neo.\u00a0Lonja del Pescado, Alicante.\u00a0<\/span>Casal Solleric, Palma de Mallorca.\u00a0<\/span>Museo de Arte Contempor\u00e1neo, Ibiza.\u00a0<\/span>Museo de la Ciudad, Valencia. Febrero 2003<\/span><\/p>\n

MONSTER IN THE MAZE<\/h3>\n

Guillermo Solana<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cTeatro del Minotauro\u201d itinerante organizada por el Consorcio de Museos de la Comunidad Valenciana y la Caja de Ahorros del Mediterr\u00e1neo.\u00a0Lonja del Pescado, Alicante.\u00a0<\/span>Casal Solleric, Palma de Mallorca.\u00a0<\/span>Museo de Arte Contempor\u00e1neo, Ibiza.\u00a0<\/span>Museo de la Ciudad, Valencia. Febrero 2003<\/span><\/p>\n

INTERSTICES: UNDERLYING REALITIES<\/h3>\n

Javier Hontoria<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

Essay from the catalog \u201cTeatro del Minotauro\u201d itinerante organizada por el Consorcio de Museos de la Comunidad Valenciana y la Caja de Ahorros del Mediterr\u00e1neo.\u00a0Lonja del Pescado, Alicante.\u00a0<\/span>Casal Solleric, Palma de Mallorca.\u00a0<\/span>Museo de Arte Contempor\u00e1neo, Ibiza.\u00a0<\/span>Museo de la Ciudad, Valencia. Febrero 2003<\/span><\/p>\n

BODIES OF PAINTING OR PURE MORPHOLOGY<\/h3>\n

Jos\u00e9 Mar\u00eda de Francisco Guinea<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog\u201cTeatro del Minotauro\u201d itinerante organizada por el Consorcio de Museos de la Comunidad Valenciana y la Caja de Ahorros del Mediterr\u00e1neo.\u00a0Lonja del Pescado, Alicante.\u00a0<\/span>Casal Solleric, Palma de Mallorca.\u00a0<\/span>Museo de Arte Contempor\u00e1neo, Ibiza.\u00a0<\/span>Museo de la Ciudad, Valencia. Febrero 2003<\/span><\/p>\n

WORDS, WORDS, BLOOD<\/h3>\n

Julio C\u00e9sar Abad Vidal<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog\u201cTeatro del Minotauro\u201d itinerante organizada por el Consorcio de Museos de la Comunidad Valenciana y la Caja de Ahorros del Mediterr\u00e1neo.\u00a0Lonja del Pescado, Alicante.\u00a0<\/span>Casal Solleric, Palma de Mallorca.\u00a0<\/span>Museo de Arte Contempor\u00e1neo, Ibiza.\u00a0<\/span>Museo de la Ciudad, Valencia. Febrero 2003<\/span><\/p>\n

I HAVE TRACED A WINDOW ON THE CANVAS WALL<\/h3>\n

Pedro Nu\u00f1o de la Rosa<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cMemento Somniare\u201d\u00a0<\/p>\n

POLLOCK AND THE FLIES<\/h3>\n

Mariano Navarro<\/strong><\/strong><\/strong><\/h4>\n

VER TEXTO<\/a><\/span><\/p>\n

\n

<\/h4>\n

2002<\/h2>\n

Text from the catalog Tel Aviv. 2002<\/p>\n

DETAILED PORTRAYAL OF A SPANISH PAINTER BETWEEN TWO CENTURIES<\/h3>\n

Juan Manuel Bonet<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2001<\/h2>\n

Text from the catalog Glance Reducer. Galer\u00eda Athena Art. Kortrijk, Septiembre 2000.<\/p>\n

THE POLYHEDRAL VISION OF CIRIA<\/h3>\n

Ignacio Calder\u00f3n<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n

<\/h4>\n

2001<\/h2>\n

Text from the catalog . Rekalde Space, 2001.<\/p>\n

Portrait of the artist as a bricoleur. Odds and ends in the painting of Jos\u00e9 Manuel Ciria<\/h3>\n

Fernando Castro<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

2000<\/h2>\n

Text from the catalog Galer\u00eda Salvador D\u00edaz. Septiembre 2000. Madrid<\/p>\n

THE ICONOGRAPHIC MAGNET<\/h3>\n

Cristina Garc\u00eda Lasuen<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Texto cat\u00e1logo exposici\u00f3n Glance Reducer. Galer\u00eda Athena Art. Kortrijk, Septiembre 2000<\/p>\n

THE POLYHEDRAL VISION OF CIRIA<\/h3>\n

Ignacio Calder\u00f3n<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

1998<\/h2>\n

Essay from the catalog \u201cMasks of the Glance\u201d Athena Art Gallery, Kortrijk Wind Gallery, Soest. September 1998<\/p>\n

SMUDGE AND MEMORY: PAINTINGS OF JO\u00b4SE MANUEL CIRIA<\/h3>\n

Guillermo Solana<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n

<\/h4>\n

Essay from the catalog \u201cMasks of the Glance\u201d Galer\u00eda Athena Art Gallery, Kortrijk, Wind Gallery, Soest. September 1998<\/p>\n

SHADOWS IN THE PAINTING OF CIRIA<\/h3>\n

Annelette Hamming<\/strong>
\nVER TEXTO<\/a><\/span><\/strong><\/strong><\/h4>\n
\n","protected":false},"excerpt":{"rendered":"

2015 Essay from the catalog \u201cFauces\u201d. TEA Tenerife Space of Arts, Tenerife. 2015 ONE WORLD OR ANOTHER? ONE WORLD AND ANOTHER! Aldwin Kroeze VER TEXTO Essay from the catalog \u201cFauces\u201d. TEA Tenerife Space of Arts, Tenerife. 2015 MOVING THROUGH DREAM \u2013 TIME Robert C. Morgan…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages\/10583"}],"collection":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/comments?post=10583"}],"version-history":[{"count":59,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages\/10583\/revisions"}],"predecessor-version":[{"id":11420,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages\/10583\/revisions\/11420"}],"wp:attachment":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/media?parent=10583"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}