For the Equipo 57, formed by Juan Cuenca (Puente Genil, Córdoba, 1934), Ángel Duart (Aldeanueva del Camino, Cáceres, 1930), José Duarte (Córdoba, 1928), Agustín Ibarrola (Bilbao, 1930) and Juan Serrano (Córdoba, 1929), form, color, line and mass did not exist as independent and autonomous elements since, according to the theory of interactivity of the visual art that they practised, all these elements formed part of a unitary continuum.

After they formed a group in Paris, and following their definitive consolidation in Córdoba during the summer of 1957, the collective work of Equipo 57 materialised in a dense group of works that covered painting, films, sculpture and design.

Aware of the value of art as a tool for achieving social change, their sculptures were conceived on a large scale for public places. In accordance with these premises, this work of steel rods was made in 1959 under a commission from architect Rafael de La-Hoz, the promoter in Córdoba of the integration of the arts and interdisciplicary harmony.


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