![](\"https:\/\/www.lasalavincon.com\/wp-content\/uploads\/2019\/img\/237.0a.jpg\")
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Paco Tod\u00f3 had his first solo exhibition at Sala Vin\u00e7on in 1946, 60 years ago.<\/p>\n
On the occasion of this anniversary, Tod\u00f3 and Vin\u00e7on meet again to review, with some key works, a trajectory in the recent history of our modernity.<\/p>\n
Tod\u00f3 has cultivated friendships and intelligent exchanges with writers, musicians, architects and thinkers. His work is the protagonist of some key episodes in the reconstruction of modernity in our country in the post-war period, with a singular joy and sensitivity.<\/p>\n
We commemorate Tod\u00f3’s first solo exhibition sixty years ago here, at La Sala Vin\u00e7on. In those difficult times, the resistance that Tod\u00f3 proposed, within the unequivocal avant-garde currents, was that of beauty, serenity and elegant irony. A wise and impertinent strategy: to pretend the country was a different one.<\/p>\n
Tod\u00f3 exhibited at Sala Vin\u00e7on in 1946 and 1948. From that period where we can appreciate the Cezannian root conception of the work, with a very marked constructive tendency. In the 1950s, Tod\u00f3 reconciled ingenuity and abstract geometrization in a very personal way. If the determining influence of his contemporaries was European informalism, he looked to Torres-Garc\u00eda and the drawings of Saul Steinberg. In the second half of the decade he would define his famous iconography of machines. These were complex years of intense ideological debates. Tod\u00f3 was at the center of the commitment to a committed, realistic and modern art, with a vocation for social transformation.\u00a0<\/span><\/p>\n Two important books are dedicated to him: Tres ensayos pol\u00e9micos sobre Tod\u00f3<\/i> and Homenaje a Tod\u00f3<\/i> published by Joaquim Horta in 1961. But his work, more than militant, was lyrical and sophisticated. In fact, he drifted towards an original Pop Art formula that gathered the constants of an aesthetic that Alexandre Cirici defined as essentially Barcelonian, made with refinement and domestic everyday life.<\/p>\n Paco Tod\u00f3 continues updating the prosaic and poetic ritual of summoning beauty painting.<\/p>\n","protected":false},"excerpt":{"rendered":" La Sala Vin\u00e7on. Francesc Tod\u00f3. Tod\u00f3-Vin\u00e7on. 2006<\/p>\n","protected":false},"author":1,"featured_media":9668,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[167,149],"tags":[],"class_list":["post-9667","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2006-en","category-exposiciones-la-sala-vincon-en"],"_links":{"self":[{"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/posts\/9667","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/comments?post=9667"}],"version-history":[{"count":3,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/posts\/9667\/revisions"}],"predecessor-version":[{"id":13783,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/posts\/9667\/revisions\/13783"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/media\/9668"}],"wp:attachment":[{"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/media?parent=9667"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/categories?post=9667"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lasalavincon.com\/en\/wp-json\/wp\/v2\/tags?post=9667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}