As well as the Museum, Documentation Centre and Publishing House, we carry out different activities in the Vivanco Foundation to fulfil our main objective: to research into the Wine Culture and disseminate and share it. That is why we are constantly on the go, moving forward, involving everyone in our projects and enjoying the Culture of Wine with them.
Culture moves, and so do we. Get to know the exhibitions we organise in our Museum: Photography, painting, comics … and many more. In order to disseminate the Wine Culture we update ourselves continuously with surprising collections, always linked to the Wine Culture.
Vivanco Foundation in 2014:
Alberto Corazón is much more than a graphic designer. Writing, painting, sculpture... are all tools that he continues to use to express the concerns of his creative power. We are extremely pleased to announce a showing of his particular vision of the universe of wine in our Temporary Exhibition Hall.
A large, modern and functional space that houses the family’s collections …
Our aim is to share and spread the Wine Culture far and wide, not just in Briones (La Rioja). This is why we also exhibit our collection in different places.
The Spirit of Wine. Wine as a religious value offers the visitor a historical and cultural journey through the many religious practices in which wine has been present. Starting with the ancient Semites, it visits Egypt, Ancient Greece, Christianity, Judaism and Islam. The exhibition is divided into four thematic areas: From the Tigris to the Nile, the wine of gods and kings – The nectar of the gods. Wine as a sacred food – The vine of Jehovah, the wine of promises – From Canaan to Emmaus, the wine of the Biblical Covenant.
Every year we hold the International Engraving and Wine Prize together with the ESDIR (Design School of La Rioja). Artists of different nationalities takes place, and the winning works are later exhibited in our Museum.
Opened the summons of this year, XIII International Engraving and Wine Prize!
They are fulfilled thirteen years since the Foundation Vivanco for Wine Culture and the High School of Design of Rioja (ESDIR), they were initiating his faithful commitment with consecrated and emergent artists of the engraving. This way it is reflected by the thousand of works that throughout this decade they have written the history of the International Engraving and Wine Prize Pedro Vivanco. Since then we continue with the intention of supporting the artists who use the engraving as platform of contemporary creation.
The hill of San Bartolomé de La Noguera rises above a large vineyard that reaches down to the
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"In my first look, the story begins with the silent winter vineyards, where the hundred-year-old trunks are gathering energy surrounded by a blanket of snow, getting ready for the green explosion in spring.Trunks in the snow, black on white, which I have resolved with violent graphite drawings, later transferred to large engravings on parchment paper. Black on white. White on black.
The story ends when the bottle is uncorked and the glasses are filled. The joy of life found its representation and continues to do so, in the pictorial genre of still lifes. From Greek and Roman mosaics, each era has found in the still life the most precise way to fix compositions, colours and pictorial solutions.
The great leap to modernity is given by Cezanne with his apples, and his approach is immediately picked up by Cubism, which adopts the still life as its emblematic setting.
The exercise that I wished to take on is that of painting five still lifes of the great masters of the twentieth century. I tried not to reproduce content but rather use my own experience as a starting point. The seemingly geometric rigour of Torres-García, the silence of Morandi, the chromatic gesture of Matisse, the unclassifiable suprematism of Malevich and finally, my permanent date with the Caravaggio fruit basket.
Around them, a constellation of small-sized paintings, very personal gestures in which I explore compositions, chromatisms and ways of painting”.
An itinerary that follows a single theme, wine as shown in comics, and divided into three sections: Wine in everyday life, Adventure and action, and The Vine and Wine as depicted in comics. The selection, over one year, of the 80 original works and covers of 68 emblematic comics in Spain shows that vignettes are a graphic and conceptual art form in which illustrations and texts tell the story of a country, reflect the values of an era and contain sharp satire, intelligent criticism and – naturally – the Culture of Wine. Following a conscientious selection process, the covers with the greatest impact were chosen for the exhibition thanks to their attention to detail and their colour. Some also stand out for their age (such as no. 139 of ¡Cu-cut!, from 1905), their importance (such as no. 1070 of TBO, which gave rise to the term ‘tebeo’ [‘comic’ in Spanish] or no. 129 of El Capitán Trueno), for winning National Comic Prizes (like the original artwork of page 94 of El Arte de Volar by Kim; pages 152, 158 and 208 of the Dublin work of Alfonso Zapico, or page 14 of El juego lúgubre by the cartoonist and scriptwriter Paco Roca, who won a Goya award for the best adapted screenplay for his graphic novel Arrugas), or for their curious nature. This is the case of no. 163 of Maravillas, published in 1942 in the Phalangist supplement of F.E.T. y J.O.N.S., Flechas y Pelayos; or no. 7, a colour edition by Roberto Alcázar y Pedrín from 1976 in which the hand of the censor was seen: as Pedrín was a schoolboy, his adventures had to take place at the weekend or during the holidays. The vignette, the graphical essence of the comic, has its origins in wine? ?If there is something very clear in this exhibition, it is that wine has been very present in daily life and culture. It appears quite naturally in any story. Indeed, the term ‘vignette’, the basic element in any comic, is a French word, the diminutive of vigne (vine), which in turn comes from the Latin word vinea. In the initial letters of the chapters, or the upper case of the manuscripts, there are so many bunches of grapes, stalks and leaves of the vine. That is why these adornments are called ‘vignettes’.
Sara Matthews
Eye on Wine: The Photography of Sara Matthews
From October 10th to January 5th
Photography
Last October 23rd the Vivanco Foundation inaugurated the travelling exhibition ‘The Spirit of Wine’ in the ‘Infanta Elena’ Museum of Contemporary Art (which belongs to the Virgen de las Viñas Cooperative in Tomelloso, Ciudad Real). Wine as a religious value.
It is an artistic tour with important works from different disciplines, epochs and origins that show the relationship of wine with religion, and also its presence and symbolism in different rites. Works by Dalí, Rembrandt and Picasso will be shown until December, together with valuable objects such as bronze vases from Iran (dated between 2 and 1 B.C.) or funeral urns from Ancient Egypt.
The exhibition is divided into four thematic areas: From the Tigris to the Nile, the wine of gods and kings – The nectar of the gods. Wine as a sacred food – The vine of Jehovah, the wine of promises – From Canaan to Emmaus, the wine of the Biblical Covenant. All the works belong to the private collection of the Vivanco Museum of the Culture of Wine, and most of them are on display to the public for the first time thanks to the joint efforts of the Vivanco Foundation and the Cooperativa Virgen de las Viñas de Tomelloso (Ciudad Real).
Marks thirteen years since the Vivanco Foundation for the Wine Culture and ESDIR, began their faithful commitment with established and emerging printmaking artists. As reflected the thousand works that have written the history of the international prize of engraving and Vivanco Foundation came along this decade. Since then, we continue with the purpose of supporting artists employing the engraving as a platform for contemporary creation.
For this twelfth contest, the main novelty is that, fot the first time, works by artists from the five continets, whether they reside in the European Union or not, can be received.
The award is open to different aspects of the engraving (engraving, lithography, aquatint, silkscreen, etching, intaglio and digital printing). The prints, which can combine several techniques, should go signed and with the initials BAT and ensure up to 100 copies.
The call is for older artists and resident in the European Union, the works must be original and unpublished and focus on the theme 'The World of Wine'. You may submit up to 2 recorded by contestant.
The jury will be integrated by professionals and scholars of recognized prestige in the field of engraving and Visual Arts, as well as representatives of the Vivanco Foundation and the ESDIR.
The award-winning works and a few recorded 30 finalists, selected from among those received in competition, will be part of an exhibition that will open in the Hall of exhibitions temporary of Vivanco Museum of Wine Culture. They also form part of a catalog in which the awarded and selected prints will be played. The prints award-winning pass to form part of the collection of the Foundation Vivanco.
RULES · English version in www.esdir.eu
The hill of San Bartolomé de La Noguera rises above a large vineyard that reaches down to the Ebro Valley from the bottom of the Sierra de la Hez, next to the village of Tudelilla (La Rioja). Although partially eroded, this hillock still conserves the archaeological remains of an old Roman farm under it, plus an Early Mediaeval monastery and a Cistercian farm. Since 2002 the Vivanco Foundation has been supporting and financing a dig on the hill, the objective being the excavation, rehabilitation and recovery of these vestiges of the past. Sites of particular interest here are the cellars, recesses and other winemaking installations, whose history helps us to understand the major role played by this activity in the development of ancient and mediaeval societies.
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