RemarksThe sculpture rests on a base that can be adjusted to the closed and open condition. The title of the sculpture "Benarrabà" refers to a city in the province of Malaga (Andalusia).
For the viewer, the artwork can be seen as an abstract sculpture in both open and closed condition. Nevertheless, the title "Torso Benarrabà" suggests that the sculpture represents a figurative torso. According to the artist, she is also part of the Torsos section in his chronological catalog of the sculptures as a male torso.
Exhibition"Berrocal. Exposition de sculptures" Gal. Kriegel, Paris 1962
Literature"Berrocal" Denys Chevalier, Gal. Kriegel, Paris 1965, reprod.
"La Sculpture de Berrocal" Giuseppe Marchiori, La Connaissance, Brussels 1973, p. 52 reprod.
"Berrocal Catalogo General / Obras Recientes 1974" Miguel Berrocal, 1974, p. 68 reprod.
"Antologica Berrocal (1955-1984)" Ministero de Cultura, Madrid 1984, exhibition cat., p. 118 and p. 439 reprod.
"Retrospective Berrocal (1955-1985)" Centre Culturel de la Communauté Française Wallonie-Bruxelles, Brussels 1985, p. 26 reprod.
"Berrocal. 25 Ans de Sculptures editées 1964-1989" Miguel Berrocal, Artcurial, Paris 1989, p. 24 reprod.
"Berrocal" Jean Louis Ferrier, Éd. de la Différence, 1989, p. 129 reprod.
We would like to thank the Berrocal Foundation for their help when cataloging this work
Provenancecoll. Louis Bogaerts, Brussels ca. 1965-1995
For the majority of his iconographic works, Berrocal chose themes from the classical antiquity without losing sight of other sources of inspiration. His topics are male torsos, women figures, heads and portraits. In general its about the stylized, reconstructed, maimed parts of the human body. These anthropomorphic themes are apt to the most imaginative metamorphoses and have been a source of infinitive variation in art for thousands of years through the ages and for all art forms. If one studies objectively the artistic evolution of torsos, one can determine that after early baroque, during which the physical appearance is in contrast with the inner complexity and the abstraction, follows a more anatomical morphology in which the organization of structures tend more towards the essence, the joints become more functional and the technical performances of the composition are concentrated on organic tensions (Jean Dypréau, Brussels, 1983).