Joaquín Vaquero Palacios (Oviedo, 1900-Madrid, 1998) worked in Asturian power plants, in Salime (1945-1955), Miranda (1956-62), Proaza (1964-68), Aboño (1969-1980), and Tanes (1980). Joaquín Vaquero Ibáñez, a grandson of the multifaceted artist, is the curator of the exhibition, for which he has selected a series of models, original plans, sketches, period photographs, and industrial objects.
“Joaquín Vaquero Palacios: The Beauty of the Huge, 1954-1980”
February 15, 2017 – May 6, 2018
ICO Foundation Museum
C/ Zorrilla, 3 Madrid
These are shown alongside ninety photos that Luis Asín took specially for the exhibition. Considered major examples of Spain’s industrial heritage, the works of Vaquero Palacios all dignify the workplace through artistic creation and architectural design, mitigating the feeling of burial in underground plants formed by excavating the rock, with labyrinthine tunnels and huge dimensions, that dig as much as 300 meters deep.
The architect, painter and sculptor Joaquín Vaquero Palacios (Oviedo, 1900-Madrid, 1998) was a total creator who approached the creative process in a global way. The exhibition ‘Joaquín Vaquero Palacios: The beauty of the extraordinary. Asturias, 1954-1980 ‘in the ICO Museum focuses on the work that, fruit of 30 years of collaboration with the Cantabrian Hydroelectric, materialized in five Asturian power plants conceived as works of total art.
Prolific in all disciplines, this exhibition focuses on the work that, fruit of thirty years of collaboration with Hidroeléctrica del Cantábrico, materialized in five Asturian power plants conceived as works of total art: Salime (1945-1955) -one of the best examples of Spanish industrial architecture ascribed to the Modern Movement-, Miranda (1956-62), Proaza (1964-68), Aboño (1969-1980) and Tanes (1980).
Murals, sculptures, furniture, industrial design – alone or with the collaboration of his son, Joaquín Vaquero Turcios – and, in some cases, even architecture, make Vaquero Palacios a Renaissance man who was able to transform the enormous structures of these power plants in authentic industrial cathedrals of the twentieth century.