Author name: jorgelopez

As an aesthetic paradigm, landscape contemplation reflects on the supersensible components that highlight the archetypal elements of the scene being observed. On the other hand, being in the landscape, belonging to the environment, interfering in the scene, is a political exercise that marks the landscape according to the relationship between the subject and the environment.

Raising these two statements together, we can say that those aesthetic acts of configuring experience through observation introduce altered forms of political subjectivity through the gaze.
Being in the landscape implies mentally defining the notion of “pays”, in relation to the orchestral forces of the states and the reality of the context. The political view of the landscape implies the presence of an observer in front of a real object, in his case, in front of a territory. However, the expansion of the landscape regardless of its physicality, the mental omniscape, has caused the identity and political considerations of the traditional landscape to be a psychological and ethereal body. The landscape as a recognizable medium has been transformed into a stage as a projected mental place.

The exhibition I Have a Dreams to cross the Reality is a set of critical positions of the place itself that evoke particular scenes, these being the representations of the lines drawn by the minds of its authors. These scenes combine in a logical whole the pieces that make up the project developed by Victoria Iranzo (Cuenca, 1989), Cristina Ramírez (Toledo, 1981) and Gema Quiles (Vila-real, 1994) in Jorge López's space. The works of these three artists exemplify how the creation of contextual scenes is a practice intended to give presence to the becoming-world of subjective, somatized and identity-based thought. The creation of these scenes, from an anthropological point of view, is a response to the end of political utopias. However, it is a negative response to the determination of such an end.

Each one, in turn, proposes a look at specific contexts in which identity offers a deregulation of the hegemonic positions of pictorial representation.

Iranzo's work alludes to the female body as a paradigm of representation, the body abandons the distance with the landscape and the embrace occurs between the represented objects.

Ramírez seeks the liminal spaces of representation between the real and the fictional, between the narrative construction of a coherent landscape that meets the subjective simulation of an unknown space.

And, for her part, Quiles' painting is a representation of an idyllic landscape, a symbolic imaginary in which the gaze zooms in and out at will to extract the landscape from the forces that sustain it.

Have a Dreams to cross the Reality ,is a plea for contemporary landscape painting that does not reject the utopian projection and, as a political response, clings to the return of the evocative. A painting that is reformulated with respect to the hegemonic currents of the 20th century as it loses the center of the body before the pictorial action, in favor of a questioning of the body itself before the symbols that represent its presence. It is no coincidence that this speech is delivered in the sum of the production of three women painters. The landscape, as a mental construction in the face of reality, cannot escape the significance of the body of those who analyze it and those who approach it; Representation cannot be indifferent to the biopolitics of space, nor to the identity of the gaze.

Welcome, learn how to dream

Estructuras constantes “Estructuras constantes” (Constant structures) converges in a spatial encounter of volumes and blueprints, the name of the exhibition has been imported from the theory and harmony of jazz and popular music. It refers to a consecutive progression of chords with different root notes that unites disparate tones into a cohesive entity.

A musical perspective transcended and surpassed in form. From the process of emptying to ensure that the void fills the work, that the emotion arrives without the need for explanation. Of art that excites without being explained, and of art that needs an explanation to excite. In Constant Structure we are going to talk about serene art, and that which is located on the side of permanent search; of the critical, of looking and feeling, of feeling and getting excited. Of creation as an encounter: approach, reading and reflection.

Two artists: Amparo Tormo (Valencia 1960) and Leo Burge (London 1991), meet in a suggestive dialogue, in an inspiring chord where the perceptions of both aesthetic realities are confronted, allowing us to compare and reflect on the artistic practices of both, as well as the interference of language between generations and the universes that unite and separate them.
The bet is to reflect on the encounter and verify that there are works that are close to each other – in a non-hierarchical or linear way –, establishing dialogues by themselves.
Hence this timeless game of symbolic or visual correspondence, where you can almost see, in a rhythm of constant structures, processes and transformations, different ways of addressing the same topics such as the survival of schemes, materials or themes. Light and shadows induce us to observation, to an analysis of what is essential; to reduce elements in a search for harmony, interrogating the limits of the sensitive and expressive capacity of the materials, with rigor, with perfection... it leads us to encounter slow changes that confer clarity, precision and objectivity to the work, thus achieving a logic composition of elements, although singularly structured.

As we walk through the exhibition, the line guides us through the length of the room, furrows it and interrupts it, as if it were a chord.
The works function as sounds and harmonies in space, some whisper, others beat in a legato, while the viewer wanders, between folds and structures, shadows and lights that waver around the plane, as if they were harmonics that rise and fall to achieve a melody.

Leo Burge's voice intersects with Amparo Tormo's murmur, one with the other, the other with the one. A succession of planes, lines, footprints, traces and shadows between volumes that present the invisible as a story, where there is precisely no “story”.
A constant structure as a result or escape, a perfect harmony, impossible to catch.
Estructuras constantes are arranged like jazz intervals, the works of Leo Burge and Amparo Tormo achieve moments of dissonance and harmony through repetition and serial variation, the contrast of two or more views and what emerges from them as representation. The use of robust and industrial materials by artists often conflicts with the lightness and ethereal fragility that their works embody, a dichotomy always present in this pentagram, from minimalism, to process art. We see how they are articulated, come together in distilled forms, atmospheres and textures that invite us to take our time and contemplate this staging

Oliver Johnson immerses himself in a long and complex process in which colors are applied to the support in countless layers with which he constructs transparent surfaces that together evoke a form of illusion as experiments within the frame, a series of methodical rules and color guidelines. expressing a space that cannot be perceived in any other way than in person. Its multiple glazes create a gap between the surface and the support, through which the light penetrates, causing a special effect, overwhelming and meditative at the same time.

His works reflects an experience that can hardly be translated into words.

In the work of María García Ibañezthe slow process becomes an end in itself that reveals the futility of an apparent reality. Her work involves systems of cells, understood as the minimum unit of representation that allows the artist to articulate other relationships between materiality and representation. Between the message and the structure that forms and sustains it.

Boneless is an experimental and new project in Spain.
It has been selected by Madrid Crea 2021 to be developed within the context of residence in Matadero Madrid.
The project reflects on the monstrous of today by using theatrical representation, mechanics and sound.
In the 19th century, devices called “Autómatas” were created, that imitated the figure and movements of an animated being. They were instruments or devices that contained within themselves the mechanism that gave them a certain activity. At the same time, Mary Sheele, in her novel Frankenstein, also questioned the human ambition to generate life after death and the origin of the monster. Can we conceive the monstrous as everything that we cannot control, that we do not see and that could have serious consequences for us?
For Arte Santander we present a group of soft sculptures (textiles) that dialogue as pictorial bodies in space together with a video resulting from the recording of the performance developed by dancers where we seek to give life to the inert figures and also reflect on the sinister as forms foreign to the regular order of nature.

The project proposes a joint vision and a vision of the other from a historical and cultural perspective of others: “others” in the classic Lacanian sense – cloaked in their condition of foreigners – are like the other.
“Together in 40m2” was conceived in Valencia, but was produced between Berlin and Altea; locations where artists have created their works.
Founded in 2022 and located in Valencia, the project and program of Jorge López Galería have been formed to establish a dialogue between young and established artists, highlighting rigor and commitment to contemporary art.
Jorge López Galería is a witness of time, who draws two-way bridges between Latin America and Europe, based in the Mediterranean.

A new gallery poses a beginning, a beginning poses a problem in its most basic form: an idea, a project, an effort. A good start requires precision and the ability to say things simply, at eye level.
A good start requires a new attitude, a regenerated attitude.
For this start of the season the attitude we are looking for is to say ENOUGH!… This is an explosion, like Punk. An attitude full of rage, speed, noise, incorrectness, nonconformity, denial, opposition and provocation that originated in the British countercultural scene in the seventies of the 20th century and that spread throughout the creative, social and political scene globally. An explosion whose effects make punk one of the most influential cultural references of the 20th century and which today is reinforced by contemporary cultural shifts.
This alternative way of perceiving society developed from a few bands born around fanzines, fashion stores and concert halls that showed their opposition to conventions and the sociopolitical landscape, making denial, speed and lack of virtuosity its leitmotif. It was a reaction to a society marked by the end of the hippie dream, the return of conservatism, the appearance of terrorism, the oil crisis and the lack of future for young people condemned to unemployment. “No future” was one of the slogans that punk.He appropriated previous cultural movements such as Situationism and Dadaism. But unlike them, punk emerged in the midst of mass culture, which led to its expansion beyond the Anglo-Saxon world and escaped the limits of music. This expansion surpassed the concrete historical phenomenon, turning punk into an adjective that qualifies a way of understanding the world.
The goal of PUNK. It is about corroborating an intuition that beyond the divisions that exist between artists, trends or media, there is a rabid noise that unites many creators. That is to say, the punk attitude, whose history can be traced from Dadaism to Situationism, is still very much alive in contemporary artistic production. To return to the famous phrase “punk is (not) dead” is to affirm that punk is indeed one of the living dead, a zombie that has continued to gain followers.
None of the artists in this exhibition were witnesses of the original movement by birth, but in them we find the use of elements that revive that attitude in a new moment, such as noise, cut-out typography, anti-design and ugliness; or the inclusion of direct musical references. Punk as an attitude: denial, opposition and destruction; DIY; the reference to fear and terror in a society that alienates individuals; nihilism; criticism of the economic system and anarchy; and the very demand for a sexual neoliberation, the body as a place of battle in a new contemporary artistic production and its strong union with the attitude of the seventies. ̈Punk Beginnings 2022 – New tracks ̈ reveals the main elements that define the attitude of a new generation of artists as a way of understanding culture and, by extension, of being in the world.
PUNK HAS NOT DEAD. LONG LIVE PUNK.

“Un estado salvaje. Windows Crashing” is the first individual exhibition of french artist Guillaume Cabantous (Paris 1977) in Spain. The exhibition is presented at Jorge López Galería with a comprehensive exhibition setup, which understands the interior space as an extension of the artist's support.
Cabantous' works are made with car windshields, as iconic consumer objects; as an analogy about the speed of our society. In this era of instant communication, multiple tasks and the deliberate disappearance of the borders between the physical world and the existing digital projection, a nervous and crazy mimesis is produced towards the memory of the landscape, a convergence to overcome the limits of contemporary speed . “Un estado salvaje. Windows Crashing” is a trip through a window at 180km per hour through a car glass, where the primacy of invisible space is superimposed over the visible in a collision with matter.
The end of a cycle and the transformation of a new one. A window at full speed where we see the world in motion to distort it, divide it and refocus it. A car window, which frustrates the memory of a landscape; scenes disintegrated into a mosaic of crystals like pixels that unite speed and materiality.
“Un estado salvaje. Windows Crashing” is an allegory to the contemporary world, where the image is a liquid concept, where themes are lost and fragmented into patterns, as if they translated digital images into a memory. Windows of reality transformed by a shock, a blow that bends them and shows us the crudeness, violence and fragility of our environment.
His work presents a dramatic effect present in the way he uses glass, an eternal material with magical characteristics. The artist breaks it with blows to transform it but in the end, it will always be what it was: a window, a windshield where you can see reality in motion.
The poverty of the materials reminds us of Arte Povera, but loaded with speed, updated, contemporized after a carefully studied gesture. Guillaume works with the accident, with the rupture and the fold, he represents the mythical failure of an aggressive society like a pile of modeled broken glass, discreetly dangerous but pleasantly sad. From its movement, its nature to its reactions, nothing is left to chance, it plays with the material to confuse us in the illusion of lightness and flexibility, banal and abrupt masses of glass. Fine and primitive at the same time.
Dystopias always seem utopian at first; everything is broken but still hopeful, transformation and change is reversible.

One of the dimensions of contemporary art focuses on the relationality of the object and its approach to the public. Through a series of coordinates, materials and experiences, a field of possibilities opens up, whose composition responds to the intentions of the encounter. Thinking as the artists Marcolina Dipierro and José Antonio Orts think leads us to consider the multiple ways in which the object, sculptural and electronic, creates the link, power and action of a perceptual and affective situation.
In one plane, which is the white wall, the stainless steel and aluminum stand out, accompanied by a sensor that connects with the viewer, a beam of light, a piece of rubberized leather, a red bow focuses the attention, breaking the geometric composition and highlighting the link, the fusion between artist, work and visitor, who, for a moment, become together a union, connected by a shared game, in which the three recognize themselves as participants in the same location. Orts talks about circuits and functions that match shapes, about photosensitive tubes that capture the movement of air and ambient light, transferring these inputs to the phosphorescences of light and color. Marcolina combines the tension between materials of different origins, thinking about the assembly with humor, almost as a resonance of the poetic object, even finding in the formal a capacity for contained action, for suggestion of the possible, be it a noise or a silence contained in the inner emptiness. In both, the legacy of minimalism and playfulness has accumulated, vectors that have determined the interest in the situation of the encounter between work and public, to question how we perceive, how we relate to the environment and to others, whether they are objects or bodies, and how these assumed, established, normative guidelines can be altered by bond, action, interaction, and intuition. Orts made toys, and that animation of the object is still valid in his work, Marcolina treats her pieces with the care of the artisan, from whom she knows the rhythm of the material.
In this reality that we have had to live in, a confusing network of co-dependent relationships, and standardization of human behaviors, as if they were also globalized products, the strange becomes uncomfortable, and we prefer the security of what is repeated, before attempting a profound transformation of the dynamics of domination, which entail exploitation and corruption. Is there another way to relate? That is the potential of the sculptures of Marcolina and Orts, which seek in the attention of the relational, an egalitarian, poetic, playful bond, whose radicality opens a process, an approach, in which everything can be different.