Josep Vallverdú said, and not too long ago, since his transfer, Guillem Viladot and his plastic and sculptural work reveal an increasing interest. And I said it as a result of the many acts that were going on in order to keep alive its memory.

Espai Guinovart also wanted to add to these, more than deserved recognition in Viladot, and he has done so with an exhibition that goes beyond the memory and that is raised - that is how he has been entitled - as a tribute. One more than deserved recognition to a whole set of work and to the man who made it possible. Because, certainly, you can not pay homage to the work without doing it to the man that made it possible.

In this collective exhibition, there are more than thirty artists from all over Catalonia (including the exhibition Visual Catalan Poetry with the collaboration of the Santa Mònica Art Center) to honor the most plastic aspect d'en Viladot: in Viladot de Lo Pardal. That Viladot who knew how to express himself with the language of another alphabet. That one Viladot that by mouth of Carlos had sentenced that who gets stubborn in a single language is not to defend it but to hide the others that he ignores

More than a plastic artist, Guillem was an objectual poet. And his poetry, rather than materialize with forms and colors, materialized with objects and forms. And it is that Viladot went up to the last wagons of the Avantguardes train, so he performed his work on the border between discursive literature and the world of graphic design, and the result of all this did not say anything other than the objectual poetry . At the base of his theoretical possession, Freud and psychoanalysis. Also Lacan. And above all the language, always the language. Not by chance, Guillem himself had stated that "language is becoming faster and faster every day, which only uses short sentences, which are becoming more concrete, trying to summarize the mind to the fullest." It is because of synthesis, then, that the viladotic language became more and more plastic every day, and at the same time, also for this reason of synthesis, the poem was no longer a discursive entity to become an exclusively visual theme, where the language was reduced to minimal words. Only in letters or sums of letters. And this viladotic speech was not for the general public. Guillem knew it and wanted it. That is why he was also part of his creation to enjoy the audience that he considered to be an accomplice of his creation. In Guillem he liked to make his work cicerone to those few with whom he established communication with the work. And friends and acquaintances were their best recipient. Especially in Lo Pardal.

And this is another aspect that should be highlighted here. This exposition of Espai Guinovart brings together colleagues and acquaintances of the trade. But this exhibition includes, above all, the work of friends. Of those, everyone, who under the silent and wise hand of Josep Guinovart have wanted to pay homage to the art. And they have done it with words, with tones and sounds, of each one. Surely the best tribute that could have materialized to Guillem Viladot who was so pleased to know himself as a friend of his. And yet, a tribute made to his verals and from his verals. And to fight against the ephemeral one is that all that more than deserved recognition has given to the stamp, because when it pleases us we can enjoy it in the form of tangible object. And save your memory.

Carme Vidal Huguet
Director of the Institute of Ilerdencs Studies