Jordi Labanda Exhibition
This event has ended.
Jordi Labanda was born in Mercedes, Uruguay. He has lived and worked in Barcelona since the age of three. After studying Industrial Design, he began his career as a commercial illustrator in 1993. In Spain he has collaborated with the most important newspapers and magazines, such as La Vanguardia, el Magazine, Marie Claire, El País, Vanidad, AD España, Elle and Vogue.
In 1995 he began to work intensively with the international press, such as The New York Times Sunday Magazine, Visionaire, Wallpaper*, Tatler, W, Marie Claire Latam, Diario Clarín Argentina, Reforma Mexico, Fanzine 137, Vogue America and Vogue Italy. Among his corporate clients are JVC, American Express, Alessi, Zara, Danone, Adidas, Pepsi Light, Knoll Internacional, Nissan, Gallery Korea, Dior, Target, Neiman Marcus, Mango and Grand Marnier.
There are a number of noteworthy titles among his publishing projects. His first book, Hey day, was a collection of 9 years’ work. The second, Si te he visto no me acuerdo, was the result of his articles on the Op-ed pages of La Vanguardia. His Booklets, five mini-books on a range of subjects, such as “Modern Life”, “Enfants terribles”, and “The Wonderful World Of The Rich Kids”, have just been published. He has also created a line of stationery, pens, candles, rugs and other household objects. His products can be found in Europe, America, Asia and Australia.
International recognition has taken him to Florence, where he exhibited, patronised by Salvatore Ferragamo. Exhibitions of his work have also been held in Argentina, the MALBA, the Museo de Arte Latinoamericano de Buenos Aires, the Munal, the Museo de Arte Nacional in Mexico City and in the Instituto Cervantes, Tokyo.
When Félix Serraclara, the opera producer, suggested the creative direction of an opera, he automatically accepted. Opera had always fascinated him, since many of the things that he loves come together in the same place: stage-craft, wardrobe, lighting and, of course, music and acting.
It had all the ingredients that he needed in order to construct a tailor-made work: great female characters, a romantic plot – the war of the sexes and swapping of partners – that made it like one of those sophisticated Rock Hudson and Doris Day 50s comedies, but, above all, it is very funny.
You could say that the most valuable thing he has brought to the staging of this opera (still in production and with an opening scheduled near 2014) is the change in historical context. It moved from 18th century Naples to the glamorous Rome of the 50s, the Rome of Fellini and La Dolce Vita. It is there that he feels at home enough to be able to offer a “cinematographic” show, approaching the high comedy mentioned earlier. His aesthetical references in taking on this huge task are Raoul Duffy’s pictorial work, Rene Grau’s illustrations for Christian Dior in the 50s and, of course, Fellini’s La Dolce Vita itself.
From 2009-12-09 To 2010-02-20