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Imprescindibles (2014)

Imprescindibles (RTVE) 2014
Dirección y Guión: Ana Morente
Producción: TVE, Trabajos ETRA S.L. y La voz que yo amo

Genovés habla acerca del proceso creativo


Juan Genovés habla sobre su obra


Genoves en su estudio


The Luminous Bars Of Beauty

Francisco Calvo Serraller

With his customary simplicity, Juan Genovés explains the euphoric creativity that radiates from his latest work, as a simple matter of organising his time well. Of course that may be, but not even the simplest strategy of everyday organisation of work is chance. Rather it is a result of experience and in the case of Juan he has been working constantly on his art for over half a century. However, whatever the reasons, or the trigger of creative process, what is important is to analyse the results and in this sense what is obvious is that Genovés’ work today unfurls like a sail full of dynamic prosperity, gathering up strength to sail in one direction. You could say that he is on a roll and that he is following his path but with a renewed sense of adventure. However where is he off to? The artistic, navigational map is marked by the wake you leave as you pass by and it can’t be set in advance. As Rimbaud would say it is a question of sailing the seas in a drunken boat that advances at an inebriated rhythm, which doesn’t mean that the voyage is simply a thoughtless meandering but that it is determined by passionate freedom. There is no predestined end in sight. It is a journey born from need and the pleasure of travelling.

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The Latest Undertaking Of Juan Genovés

Manuel Vicent

It is not clear where Genovés’ characters are fleeing, in which direction these panic stricken masses that overflow from the edges of the painting are running to. All the luxury and the junk of the sixties, the culture of consumption, of packaging, of design, the optimism of technology, of advertising, of movie stars, of rubbish bins full of shiny objects, were incorporated by Pop art into an aesthetic outlook, and Juan Genovés added to the symbols of these times, the political violence that the rebels were suffering and the police repression that raged upon the disinherited. In America, Kennedy’s assassination, the beginning of the Vietnam war, the death of Martin Luther King and the racial conflicts represented the other side of the coin to welfare, and in Spain silence and prisons got jumbled up in the first spoils of economic expansion. Among all the possible signs that define these times Genovés chose his flattened creatures.

I am only interested in people and the aggressions to which they are submitted. That is my subject. I interpret it in different ways but when it comes down to it I can’t avoid it.

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The Glance And Power. An Introduction To The Painting Of Juan Genovés

Eduardo Subirats

The incorporation of technical resources, full of the understanding of reality, takes place in two fundamental ways in twentieth century art. The first of these is “positive”, constructive and could be said to be not at all in favour of the tendency towards technical, scientific progress in the field of audiovisual media: reproduction, production and broadcasting. The artist works with these new technical instruments as a means of creating a new linguistic reality and as such, as an experience of the world. These new instruments such as the camera, the video or the computer are integrated into the composition and creation of the piece of art which is musical or architectural etc. This is the case in installation art, for example.

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Juan Genovés.

Philip Wright, 2014

“If I had to sum up the twentieth century, I would say that it raised the greatest hopes ever conceived by humanity, and destroyed all illusions and ideals.”

Yehudi Menuhin, citado por Eric Hobsbawm en su libro ‘The short twentieth century”

“Perhaps, some day, solitude will come to be properly recognised and appreciated as the teacher of personality. The Orientals have long known this. The individual who has experienced solitude will not easily become a victim of mass suggestion.”

Albert Einstein, quoted by Peter Conrad in his book ‘Modern times, modern places’

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Juan Genovés – Recent Work

Martin Coomer

See how they run. Charging across an unmodulated terrain dozens of tiny figures flee the ominous, circular form that threatens to consume everything in its path. It resembles a whirlwind, or perhaps a UFO. Either way, the abstract motif in Juan Genovés’ painting Rodamiento initially reads as a harbinger of doom. But look again. On closer inspection the form consists not of one circle but two, one floating across the other like a planet and its beautiful, benign moon. And not everyone appears to flee. Towards the bottom of the picture spectators stand, awestruck or simply unconcerned.

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Genovés, The Archaeology Of Panic

Pierre Cabanne, Enero 1991

What is this town, this country that we can see from the sky, which looks petrified, like a dead city; half in ruins? There is a kind of dust or a fog made up of ashes that covers everything and which is cut through by the glare from blinding lights in the pale light of the day. Frightened men run around in all directions, terrified and followed by those powerful, sweeping light beams. When they join up they are also chased mercilessly. The scare is over and they seem at peace again. On the beach or on the sand, in a dark crucible, overflowing with people, the powerful parallel beams of light sweep over them again like the bars of a prison.

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