Although born in Gibraleón (Huelva), the first major city that the painter and graphic designer met was Seville, where he studied four internal years at the Colegio de los Jesuitas Portaceli. And that name, doors of heaven, has since operated as an allegory of destiny that has always wanted for the collection of more than 3,500 works by contemporary artists, mainly of creators who marked the eighties, who has been treasure of 350 pieces of its immense catalog, but whose definitive agreement is not news more than two years later.
“For me it would be a great satisfaction that part of the works of the Olontia Foundation were exhibited in Seville. It was the first big city that I met and dazzled me. Portaceli, as a metaphor, is perfect for this desire that accompanies me since child That protocol. A loan that includes pieces of artists such as Atín Aya, Carlos Pérez Siquier, Guillermo Pérez Villalta, Rafael Agredano, Luis Gordillo, Pablo Picasso, Joan Miró or Salvador Dalí, among many others.
The, and to which this newspaper has had access, aims to “set the intentions regarding the collaboration between the City of Seville and the Olontia Foundation” that must be formalized in a collaboration agreement, in which “the annual contribution of the Consistory for the maintenance, custody and conservation of the collection received in bailment” would be made.
An agreement that, more than two years after its signature, has nothing progress and on which, since the current municipal government team, headed by, no intention to carry it has been transferred, they indicate knowledgeable sources of the agreement. This newspaper has tried to confirm with the Hispanic City Council the state of the protocol and its purpose of developing it, without obtaining any response.
“It is another example of the neglect of the municipal government of the PP with the culture of the city,” says the former socialist mayor who signed the protocol and that puts as examples of that abandonment the closure, which lasts two years, of the Lope de Vega theater for works, which has taken the cultural sector to demonstrate because the City Council has eliminated in fact The theatrical programming of the city, or the controversy with the.
For Muñoz, the assignment of the works of the Olontia Foundation was a way to “improve the exhibition offer of the city” and to consolidate the “where in principle the donated pieces would be exhibited – in a“ strategic enclave for the culture ”of the Andalusian capital.
Precisely in that exhibition room dependent on the Sevillian Consistory, part of the works belonging to the Sycet collection and that would be part of that assignment contemplated in the protocol have been exposed in recent months, which also included “an exhibition program”.
The signing of that intention agreement coincided with the inauguration of the sample Olontia, a particular lookto which it followed, End of the centurythat is closed this Wednesday, May 14, in which art and music – two of the facets of which Sycet is a specialist – are chopped and in which they have been able to enjoy paintings by Rafael Agredano, Miguel Ángel Campano, Juan Antonio Aguirre or Txomín Salazar; Imaginary album covers of -, designed by Pepe Suppo, Antonio Belmonte or Sigfrido Martín Begué; and other collecting objects such as a stool by Javier Mariscal or the fork of Chus Burés, which appeared in the film Matadorby Pedro Almodóvar.
The continuation of the exhibitions of the works that Sycet planned to yield to the City of Seville in the Santa Clara space is in the air, given the indefinition by the Consistory of the consolidation of the protocol that was signed by the previous municipal government team, before the elections that meant the change of councilor.
The assignment, or what is the same, Sycet’s dream, is imbricated in the philosophy that led him to constitute the Olontia Foundation in 2018: to host and preserve the artistic heritage that the artist, one of the essential Andalusian painters of the generation of the eighties, has been treasured throughout the last four decades.
