El Corte Inglés Málaga hosts the opening of the painting exhibition “Jorge Lindell. Pintar la música”, on Thursday, 1 October at 7:30 p.m. The exhibition will run from 1 October 2026 to 8 January 2027.

• - Curator: Dr. Lourdes Jiménez Fernández, cultural manager and art historian.

There are artists whose relationship with music goes far beyond personal interest or the choice of certain themes: for them, music becomes a way of thinking about painting. This is the case of Jorge Lindell (1930–2015), one of the key figures in the renewal of Málaga’s visual arts during the second half of the 20th century. His career, marked by constant exploration and a desire for freedom from established languages, finds in music a fertile territory—one where rhythm, repetition, silence, pause and variation can be transferred to the pictorial surface without becoming literal images.

This exhibition invites visitors to approach Lindell through the relationship between these two languages. The aim is not to find a direct translation of a specific musical score in his paintings, but to observe how certain principles of musical experience find their visual correspondence in color, structure, surface fragmentation and the tension between forms—elements that Lindell captures with remarkable clarity.

At the heart of the exhibition is the Goldberg Variations series, created in 2011. The thirty‑one works that make up the series—small oil paintings on canvas, 27 × 22 cm—allow viewers to see, almost sequentially, how a single idea can transform without losing its identity. The title refers to Johann Sebastian Bach’s Goldberg Variations, one of the essential works of Western music and one of the most complex examples of construction through variation. In Lindell’s work, this idea becomes a visual method: each painting relates to the others, yet none is a mere repetition of the previous one.

Alongside the Goldberg series, other works appear in which music serves as a reference, such as Allegro ma non troppo, a title that introduces a direct musical indication into the realm of printmaking. The pieces connected to Brahms broaden this dialogue and show that Lindell’s interest was not limited to Bach, but extended to music as a possibility for visual thought.

Printmaking also occupies a significant place in the exhibition. Works such as El Ponto, Marihuana, Batalla de Troya and La Emboscada remind us that Lindell maintained a sustained relationship with graphic techniques and that his artistic activity cannot be reduced solely to painting.

The exhibition concludes with abstract works from his later years, especially those created from 2000 onwards, in which figurative references become increasingly distant and painting focuses on its own elements.

This exhibition thus recovers a revealing dimension of Jorge Lindell’s artistic journey: that of an artist who understood painting as a territory of rhythm, variation and listening. To look at Lindell through music is, ultimately, to pause and let the painting begin to sound.

The exhibition will be presented by its curator, Dr. Lourdes Jiménez Fernández, and will feature the presence of Óscar Lindell, the artist’s son.