Room 14

Certain figurative images have an extremely natural impact on the communicative dimension of visual language, and seem to invite us to read them as if they were a text, rather than looking for expressive or subjective aspects in them. These works almost function as signs of attention, as non-commercial advertisements.

A single colour can sometimes become a call for attention, an alarm bell, a signal of danger. Such is the case in the painting M-147 (ideograma), 1971, by Juan Genovés, and Baptism, 2012, by Paco Pomet.

In other cases, art invests itself with documentary resources as a means of specifying its critical and political meaning. Bouziane Geraniaceae and Bouziane Ahmed Khodja, both pained in 2015, by Juanli Carrión, feature a combination of rigourous and committed fieldwork with drawings of undeniable poetic weight.