Juan Asensio ‘s sculpture looks out onto the contemporary artistic landscape with the aim of proclaiming itself as an alternative; “Alternative” that, above all, goes through the recovery for each of the works of that foundational character that distinguished art in its modern phase. In fact, one of the impressions that most quickly derives from the contemplation of Asensio’s works is his claim to found a place for the gaze, insofar as if there is something that distinguishes postmodern “visual equalization” it is, precisely, the transformation of the gaze into a non-place, that is, into an experience that has completely lost its ritual condition.
It is only possible to speak of rite in the unity of the place; just as it is only possible to refer to the place from a distance and the uniqueness of the aura. And, certainly, in the case of Juan Asensio, both conditions are fulfilled, since the functioning of the sculpture as a “place for the gaze” —a place, on the other hand, interchangeable, inviolable— gives it that auratic presence that was minimized. as a consequence of the “technological meditations” to which art was subjected.