PRESS. Precipitados

“We have arrived at the beginning of the end and we´ve lost our delight in ideas. “Precipitados” is a contained, almost hopeful apocalypse. We are still in time to change things”

Pablo Genovés. Extract from an interview in the ABC Arts Supplement nº 922.


(Precipitados) Time's Alchemy

Only the sudden bursting in of nature can liberate an image of its own lie, contradict its eternal validity

In Genovés images the World -which we think we inhabit- seems to have been destroyed some time ago. The only thing left is a representation: its appearance, its shape and its reflections but no humanity. Thus the violent arrival of nature can no longer take any life. However, it could perhaps return it.

Culture conquered by nature, or nature imprisoned within culture? In Pablo Genovés images the struggle between both is eternal and it is no longer obvious which is attacking which. The fight for space results in scenes of destruction, the end of an era with airs of catastrophe that are so relevant today. At the same time these images proceed from a pre-existent reality: old images which the artist rescues and transforms, liberating the photographic image from its eternal validity and equipping the elements of the past with a new ability to stir up memories.

"Times Alchemy" proposes a farewell journey to everything that represented our past achievements. The physical destruction of these spaces is no more than the materialisation of an earlier destruction -current and ours-, the signs of which are as shaky and ambiguous as the truth found in postcards from a by-gone era.

Lucia Carballal


“Little by little Pablo Genovés´ work has imposed its own personal and unique stamp on contemporary Spanish photography. In his photographs he catches something more than mere images. Behind the smooth, shiny surface there lies a rich, personal and dreamlike vision of memory”

Etract from the magazine EXIT nº 35


“Since he began his artistic venture Pablo Genovés has pursued the achievement of images capable of combining a visually stunning piece with the discredited reality that it represents.

His primary motives were to recuperate a certain sentimental memory ­ which over time has developed into a rectification of the original memory. From the instrumentalisation of the memory a representation of the present has appeared which is entirely false and which reveals the reality of events. It is in this wherein lies the wealth of this exhibition “Precipitados” which is the most complete of all his exhibitions to date.”

Mariano Navarro El Mundo , El Cultural


“(Precipitados) suggests the idea of something terrible which is about to happen, something which will radically transform our traditional relationship with knowledge”

Miguel Cereceda, ABC Cultural supplement.


“(Precipitados) alerts the spectator to the disproportionate rush of our times which stops us from savouring the present and learning from the past.”

Javier Díaz Guardiola, ABC Cultural Supplement.


“In this exhibition, the ruins are part of an exceptional beauty. Precipitados is an exhibition about the permanence of memories (…) and incorporates the paper the photograph is printed on into a document.

The expert eye of this photographer from Madrid reconverts images into snippets of history”

Carlos García Osuna, La Vanguardia.


One of the most outstanding members of Spanish photography.

Javier Memba, El Mundo.

PRESS. Previous expos

I use images that come either from appropriation or are taken by me personally. Then I transform them with the computer and mix them with photos of previously painted canvases. Once more I manipulate this symbiosis digitally. The resulting  combination is converted to photographic paper with digital printing.

By gathering all these elements I try to create a convergence of different disciplines, an intersection of mediums. I give them an appearance of reproductions which have been painted, or more precisely, of photographic enlargements of artwork.

I'm interested in creating an atmosphere of 'true' or 'false', I want the viewer to realize that a reproduction can be the original work of art.

The intangible space created by the mixture of mediums fascinates me, and I aim for self-expression in that area of uncertainty that springs from the rooted base. The virtual world opens up and allows me endless possibilities bringing me close to what could be called an artistic sentiment.

It is a 'non-place' where a dialogue is established between pictorial elements, as a way of representing reality.

My work generally focuses on the masculine and the feminine worlds with their yearnings for mutual approach: the moment before touch, between seduction and desire with its gestures and demeanours.

Pablo Genovés


Pablo Genovés´ series entitled "Interior Voyage with Landscape", first shown in 2005, maintains the artist's particular creative proposals.

These organic forms, having acquired life beyond any outside control, begin an inverted journey toward the past until they inhabit fake postcards, dated at the beginning of the 20th century, in an attempt to link the future (allusion to the extraterrestrial), the present and the past in their pathways through the memory. It is exactly at this moment that they are captured in a new photographic snapshot, to be later shown publicly in large, full colour images.

Pablo Genovés´ images are characterized by holding, under their shiny appearance, an unusual view of memory; possibly fabricated, without doubt manipulated, a collection of dream fragments, reminiscences and surprises from the artists' unconscious. Celebratory suppers and luxurious, almost delirious ceremonies in a surreal atmosphere create a surprising mystery that urges the viewer to uncover it. Contemplating these images opens the mind to a world in which time melts, a bit like it does in the painting and photography used in the original technique developed personally by the artist.

Thus, painting, photography and elements of art history are re-read using contemporary imaging technology to create the artists' tools, allowing for this hybrid of techniques, disciplines and transpositions.

.....both procedures, pictorial and photographic, act in these pictures as vehicles for their own historic baggage and culture which resound like an echo from afar in the midst of each piece. On the one hand the painting, which from representing nature has moved on to a preoccupation with itself as a language, a reflection of its own material qualities, both visual and tactile. On the other hand, the photography, which instead of being a procedure for the objective knowledge of an object is more a distorted reflection of this, a fiction that generates an imaginary copy of what is real.

Enric Mira from the text of the "Extravios"catalogue.


....faces which are eyes and lips, sexual marks which neither compel nor invite, kisses which sway on the undercurrent of the media.....

Francisco Lopez for "El Mundo"


....carefree images which focus on the face, the smile, the kiss, desire, seduction...

Josina Suarez for "El Pais de las Tentaciones"


....isolated from their original context, rescued from a remote past, the images and their subjects reappear, ambiguous, astray....spectral apparitions, distorted images, moments and faces rescued from the ruins of a hazy past.

Joan Bufill for "La Vanguardia"


....shiny, immaculate photographs which both literally and metaphorically throw back the reflection of our own image and what surrounds it....

J.A.Alvarez Reyes for "Diario 16"


...together the pieces transmit a feeling of unreality, as if these images were really surrounded by the deforming mist of oblivion and distance....

Catalina Serra for "Pais Babelia."


...all that he sees is made up of substitutes, of icons (advertising) and idols (of the masses), of objects which represent other, different objects (such as the record player) or substitutes them (such as photography), or supplants them (like the blow-up doll)...

Javier Rubio Nomblot for "ABC Cultural"


......first he deforms and then visually shapes objects which he finds half way between the solid and the liquid state, in a real process of fictitious liquefying which frees the photography from its´ dependence on reality...

Carlota de Alfonso for "El Punto de las Artes"


....his images which join instants captured by the camera, manipulated by the computer and transformed by paint, have the powerful presence of contemporary icons...

Nuria Barrios for "Vogue"


.....they want to talk to us about painted photography or certainly about photographed paintings. Tell us that purity no longer exists, but that everything must be more complicated and move towards the mixing of territories......

Sergio Rubira for "Lapiz" magazine these perspex blocks, behind the smooth and shiny surfaces, like butterflies, are the fragments of a different structure to memory...

Rosa Olivares from the text of "PhotoBolsillo"



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