ARCO 2012


Alejandra Freymann
Alejandra Freymann is a Mexican artist born in Xalapa in 1983, residing in Spain and
who studied BB AA in Cuenca.
His first exhibition at Art Nueve was in 2010
For his young age, he has his own language that reverts to a different attitude towards
painting, very intimate and full of stories where color and suggestion take center stage,
outlining micro characters that carry the weight of the narrative.
For April 2012 he prepares an intervention in La Casa Encendida and also in that month together with
Juan Zamora will carry out a common project at the ABC Museum.
In Alejandra Freymann’s work, a subtlety can be seen in the way of articulation of
the stories and meanings of his painting. Little subtle, minimal stories sometimes
imperceptible, yet loaded with meaning and meaning. Disturbing stories
and dramatic, in the realm of the dreamlike and magical, which, despite its apparent smallness,
they condense psychic times and spaces and embody great and disturbing dramas. What
if it were micro-stories, Freymann’s painting presents the correct and precise phrase, in which
nothing is missing and nothing is left over.
The story reduced to its minimum narrative elements, with an opening towards the viewer
–Precisely due to the lack of evidence mentioned above–, which has to complete the
stories or give them a meaning, projecting their imagination and interceding with what is raised in the
painting, establishing an empathic relationship with what is painted for which, of course, it is necessary
attention and delay.

Prudencio Irazábal
(Álava 1954)
Attention and delay is necessary in the aesthetic and perceptual experience proposed by the work of
Prudencio Irazábal. A pictorial work that, through a chromatic abstraction inserted in the
tradition of modern painting, but aware of its contemporary evolution, reflects on
light, color and localized perception. This reflection is characterized especially by a process
concealment and glaze of the different pictorial surfaces, but also by the presence of
the hazy and the blur, which occur as a resistance to the fixed and stable vision of the
hegemonic regimes of vision. Faced with this staticity of the limited and the clear, Irazábal proposes
a mobilization of the spectator through the i-limitation of the chromatic layers. A use of
the misty and the blurred, but also the sparkle and the brightness, which walk towards a poetic
around the glare, the touch of light and the flash. And all that this entails. The flash
that stains the image, that turns it precisely into an image and questions its transparency. The
flash, which introduces a temporality in the image. A transitory point of light that mobilizes it
everything, but it also makes us aware of our position before the work.

Pablo Genovés
(Madrid 1959)
In the work of Pablo Genovés, photography is, of course, in the realm of the subtle. A
subtlety reached, not through minimalization and reduction, but through detail and
working with the suture of elements that belong to different contexts. But above all, the
subtlety is found in the way of articulation of different spaces and times that make effective
the presence of what Hal Foster has called “the incongruous”, the questioning of the expected.
The photographs of Pablo Genovés present unpredictable situations, moments, scenarios,
unexpected, apocalyptic scenarios, but also sublime images of the disaster. Spaces and
spectral situations of a future to come. But a future that, curiously, is shown as
a “previous future”, as if it were an archeology, a world dreamed of by the past. I know
In this way, it produces a crossing of times that misleads and worries the viewer. Past present
and future collide and overlap to result in a ruinous image of the future. Spaces
different and different times. Realities, in any case, that collide and cause in the
viewer a feeling of unease. A feeling derived from the question that one does not stop
be done before those images. What has happened? How to make sense of what is in front of our
eyes? Undoubtedly, meaning and meaning elude us. Nobody knows the why of the images, for
what can be said that the works stage a logic of enigma and mystery.

Juan Asensio
(Cuenca 1959)
The temporality of the perception, the reflection, the smoothness and the tactility of the work appear, in a certain way.
mode, in the sculptural pieces of Juan Asensio. Its abstract forms are always impossible to
perceive as stable forms. They break the mental schemes through which we adapt
knowledge to experience. Its slick and polished surfaces make any
stable vision of the works, which seem to constantly escape. That break of the unalterable
through surfaces that almost seem evanescent and mobile, but are nonetheless
solid and forceful, it requires, of course, a subtlety and diligence difficult to
achieve. Attention, care, meticulous and delicate work. Subtlety and elegance. Surreal shapes
reminiscent of Giacometti’s objects or even Tanguy’s imaginations, forms that
do not have their correspondence in the real world and that they are closer to the topology than to the
topography. Spaces and transitions that are almost impossible to represent. And that, precisely because
that, they seem to constantly escape the spatiality in which they are situated. A space twist
that maintains a paradoxical and contradictory relationship with the viewer, an impossible mismatch
of saving that makes one try again and again to enter the scope of the work, but never
get her out of your territory.

Javier Pividal
(Cartagena 1973)
Javier Pividal is a multidisciplinary artist. His work has traveled through the fields of video, the
drawing, photography and even, as now, the object.
Through all these fields, he has been shaping a discourse that has revolved around various
themes that have as their central axis a vision of the particular contemporary subject: decentered,
restless, residual, in a process of constant construction of his intimacy. To do this, he has
raised a poetics of the fragment, of the subtle, the neutral, which has put into play a process
virtual dissolution of modern visuality, an attempt to present in all cases a
alternative vision model to the hegemonic visual regimes that operate in the field of
show. The shadow has been, in this sense, his master strategy. A shady regime
which is opposed to the perpetual dazzling regime in which we are immersed.
Each of the works presented is intervened with a poem that is an encrypted dedication