Jesús Palomino

Jesús Palomino, Sevilla (Spain) 1969

For several years now, I have been concerned with site-specific art projects and site identity. Since my aesthetics concerns have been related to places, locations and communities where I have

been invited to work, inevitablely my practice has become oriented towards participatory and relational concerns.

Each of those installations and specific proposals were designed to provide an aesthetical comment on issues such as Human Rights, ecology, cultural dialogue and democratic criticism.

Nevertheless, as a visual artist the main interest of my practice is focused in aesthetics, aesthetics understood as this autonomous regime of the experience that is not reducible to logic, reason, or

morality; and especially suitable to deal with paradox and contradiction.

Since my art practice and its methodes are not able to solve any real problem, I have conceived such projects, actions and installations as artistic tools capable to imagine compensatory ways of dealing with suffering, oblivion and conflict solving. I have conceived my projects as a very idiosyncratic way of structuring social and human dialogue within History.

Some of my art projects emerge as creative actions in the face of real current situations that demand urgent reflection, resolution, and hopefully, transformation.




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