Soledad Lorenzo, one of the Spanish coast lighthouses gallerism of the past 30 years, came to art by accident. His father, Pedro Lorenzo, was at fault. In the harsh post-war years, with the family ‘moved’ to Barcelona, one textile businessman victimized by their republican firmness every Sunday visited the galleries of the city with a girl’s hand. That párvula, after many vicissitudes and setbacks, overcoming difficult times and revoking a destination that at age 40 he was forced to reinvent itself, he arrived at the art world, rescuing mind those conversations about art with his father, those visits to galleries then , that passion for culture floating in his house. Much later, Soledad Lorenzo became one of the most respected galleries in Europe , assisted with the drafting of a solvent artistic landscape in the wasteland of Spain in the 70s and 80s (in the wake of Juana Mordo and in line with Juana de Aizpuru, Elvira Gonzalez and Helga de Alvear) and opened his own gallery.
His name was his trademark. That adventure lasted 25 years. And in December 2012 he folded the mythical space Street Orfila in Madrid, where he trained several generations for contemporary art. The same place where “unexpectedly” he says, eventually forged an excellent collection of works. It has decided to donate to the Reina Sofia Museum in which is the largest private transfer in the history of the institution : 385 pieces of 90 artists. Painting, sculpture, photography, installations, video and paper. A glittering shrapnel.
“A little over two years since I started thinking what to do with the collection. I have no children and my nephews would be inconvenient to keep all this ” Soledad Lorenzo explained to El Mundo. “Then I thought I should propose to the Reina Sofia was custodian of my works. It’s a great museum in the hands of an extraordinary director Manuel Borja-Villel. I was interested in the fate of my background was to stop a public museum, which serves society. One of the meanings of art, to me, is to educate the intelligence of the look, so there is no better space than the Reina Sofia “.
The right formula that both parties (museum and gallerist) set is a temporary record of the collection for five years with promising legacy. Just missing the final stages of printing company, which will be specified in these days. “ That is, the works will definitely be at the Museum ,” said Borja-Villel. “It’s an amazing gift and Soledad Lorenzo said enormous generosity.” It now remains to study how the works will be included in the permanent collection of the institution. “I have not put any conditions on how to expose” Lorenzo says. “I respect the judgment of the director and know it in the best way possible. All I request is that you use. Which is not stored in the warehouse, they become part of the museum alive.”
The Museum of Contemporary Art and Modern Santander (MAS) exhibited collection of Soledad Lorenzo last summer. And in winter was the Centro del Carmen Valencia who hosted another show on these funds. “The first person who made me see the amount of work I had was Salvador Carter, director of MAS.” The represented artists are some of the body giving payroll Gallery: Palazuelo, Barceló, Sicily, Uslé … And save all the pieces leftover anecdotes Soledad Lorenzo was acquired. In her living room, for example, hangs a fabric Uslé Series ‘I dreamed revelabas’, she acquired the artist in the last exhibition you did together in Madrid. “What is unique is that this work was pre-booked by a customer. Ie was half sold, but time passed and who wanted to acquire lost interest, so when the sale was dissolved me was me. As you will see, the accident again. “
In house Soledad Lorenzo there are eight large canvases and two or three sculptures . “These, for now, will stay with me while part of the donation.’ve Asked the museum I leave them., I do not wanna be without works accompanying me.’ve Even reached the agreement to exchange them for others as we deem appropriate. I mean, now is the Reina Sofía who I work pay me, “jokes the gallery.
There is only one piece that is not in the original document of this operation: Sculpture Spider series by American artist (of French origin) Louise Bourgeois. “It was a gift she made me shortly after we met. is a very special piece for me . That will stay with me until the end.”
And, once again, when you least expect, Soledad Lorenzo reaffirms what has continued to say “.’ve never been a collector, but gallerist Make it clear “. And of course it is, with the paradoxical detail that has made the largest donation to a Spanish museum contemporary works.
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