The commitment, the only possible compromise is to be aware of the world around us, to practice and deepen essentially constant criticism in the language, this will enable timelessness.

                                                                                                                                 Josep Guinovart (1)

For life is commitment Guinovart, art is commitment and both elements can not be separated from each other, forming an indivisible whole, totally indistiguible. Therefore, to emphasize the concept of commitment in its path is the same time emphasize the commitment of art as an engine of transformation of our reality. Guinovart conceived the artist as a figure transmitter that exerts a critical and lucid around him, taking an attitude Davat reality and acts engaged in what happens: it raises new issues, points out contradictions and shows concerns tétotes aware that the answers, just many questions. The creator, for Guinovart, ésconeixedor no absolute truth, refrains from becoming head that proclaims his creed saving from an ivory tower and away from the dirigiste exessivament propagandistic message, but showing respect to the maturity of the observer his work.

There is a constant cry Guinovart and firmly against injustice becomes a real undercurrent that never fails to emerge in all their work. is already visible at the beginning of his career, at the end of the forties and during the fifties, through the representation of scenes starring humble characters, from the agrarian to the poorest neighborhoods of the city .
Subsequently, the artist experiences through artistic language, but never desentenderá of reality, we can say that will represent it in its work. The gesture of struggle, anger and tears will be established to what patents symbolically in a series of works nofiguratives, which handled, cream, tears and breaks the support on which he works, be it wood or paper.

The specific situation of the Spanish State will want to do more reporting these attitudes that will focus on topics that will be developed pilítics and throughout the sixties, up to Dallas to work as of Nixon (1969). It will be important popular participation in Stamp (1965), as well as conducting a series of pieces, started in 1967, departing from the iconography of Picasso's Guernica, the  mirror  always mistreated, according to the author , such as the burial of Guernica II (1982-1986).

In Guinovart this cry against injustítica not turn off ever, be more or less visible, but others will remain until late pieces that reflect the political and social issues of the moment: the Altarpiece of Jerusalem (2001) initiated a decade of deep critical insights in specific disputes that part to pass through the creative freedom and, thus turning them into symbols of pain and senseless contemporaries, as is the case in the series entitled The Pentagon Betrayal geometry (2003), inspired by the Iraq War.

Throughout his career becomes a consiència making a consistency question that ultimately shows that the same faith to engage in art becomes, from a good pricipios all a compromise, and that puts us in a world apart conditioned by the efficiency and productivity. Immersed in this context, we realize that making art, reflect, enjoy it or pass it becomes a declaration of intent, in a gamble for freedom, a critical and a creativity that allows the construction new realities.

                                                                                                                              Silvia Muñoz d'Imbert
                                                                                                                               critique d'art historian

1 << Work and life or work life and >>, Guinovart. Itinerary 1948-1988, L'Hospitalet de Llobregat, Tecla Sala Metropolitan Cultural Center
(November 1989 - January 1990), p 12.