Axel Reusch does not like to place his works in any style, he says to have a bit of all and none. He believes that his painting can be abstract and figurative and realistic but any style doesn’t define him, he has his own style.
Above all, his painting is analytical and ambivalent and he does not want to create references with other images.
When he speaks of his works he likes to call them “objects”, that are created by themselves as if they had own life, he only creates them, the purpose is to make questions rather than obtaining answers.

These recent works extend two long and unfinished projects: The Untitled Project and Floating Logos. Started in U.S. in 2002, The Untitled Project has focused on Europe, exploring the complex relationship between literary visual communication. These diptychs treated digitally focus on advertising and other forms of communication in the urban landscape. Floating Logos takes this concept directly with digitally treated photographs, creating the illusion of great signs levitating above the ground. This new work represents the second phase of the project called Series II. This approach of the photography comes from the traditional landscape and allows the signal to float in context with its surroundings.

Permanent Vacation is the name of the exhibition that the German artist Felix Weinold born in 1960 in Augsburg presents. The title of the exhibition is inspired on Jim Jarmusch film; as the characters of Jarmusch’s films, those of Felix Weinold’s works seem to be distant and out of context. This impression is the result of the search that Weinold uses to develop his works: everything can be the start and the base for an image, all the art history is a mine for him. He finds his reasons in Internet, in newspapers, magazines, graphic collections, biology books, historic publications. After the process of appropriating and processing the material is fully integrated. A great part of the work abstraction comes out from the tension of the different elements that form it, but it also forms an amalgam of the components that subordinate under the speech of the artist. Nevertheless the artist says that his works are not figurative, what it is irritating, because the spectator can recognise clearly figurative and real elements.
Weinold refers to the work as an autonomous space, that above all is a composition of elements with tension between classical disagreements: line-space, big-small, transparent-opaque, structure-plane, hot-cold, etc.
The mixing of different styles refers to an essential theme of the postmodern art: art always talks – also or completely- about art, and HOW is more relevant than WHAT.
Baselitz directs the spectator’s attention to the IMAGE instead of to the REASON; on the same way Weinold interrupts some parts of the work purposely (with reasons put on top), he removes others (with colour flat surfaces) or he collects elements to deface the image. Weinold uses the same technique in his photographs. Although what is important for him is not the theme but the miracle of a good work.

Power and its symbols in contemporary culture are both origin and end. Some do not appear without the other.
Icono-narrator’s experience in digital aesthetics is the mechanism used. The intensity level fluctuates between high and low tones, and so on. Conceptual fractures and content arise with the natural methodology of television screen; creating typical-atypical situations, distorting reality and focusing illusion. In this visual mental zapping we observe the fragmentariness that we are subjected, but above all we understand the cultural predation we support.
Some institutions use categorizations that touch the most basic physiological incontinence. Perhaps that is why, in some exhibitions, we touch very closely “acts of faith” shared between artist and audience. “Acts of Faith” difficult to label but fascinating at the bottom. Why not?

Everything is inside or outside the drawers. The universe is one of the things that is inside and outside. So, inside.
If I were a stone, I would be everything, but my mind separates me.
Projected outside my side, undermined by sensations and reasoning that empty the glass, it waits that from the other side, flowing towards the level that separates me from the rest, everything soaks inside, as the liquid that obeys Archimedes’s law: what empties me and what fills me.
José Carlos Balanza

Alex Pascual understands the process of painting as a fact not lineal and premeditated, but as a fact cumulative, unstable and experimental.
The surface is designed as a space where any action, which is isolated at a given time, is incorporated into the construction of the image. The challenge is to let flow the image, it destabilized in a process of de-construction and permanent construction. The accumulation of actions, of errors and random itself, eventually lead the image to a resting state and the dynamic process stops.
He gives great technical and conceptual maturity to his work. In his short career he already has several awards and scholarships.

An artist with a work of great poetic content since the beginning.
She experiments with different materials, with unusual media, with multiple concepts and meanings in lucid and surprising associations.
Not satisfied with her discoveries, she researches and explores new territories, dissolving the frontiers between different artistic disciplines and showing the values of a free and communicative art.
With direct language and without formalities she provides a personal view full of contents and suggestions
Joaquim Sancho

Aureli Ruiz’s work is one of the most representative of the generation that appeared in the eighties. During this time, he has combined his creative side with cultural management, which began in 1997 when he assumed the responsibility of the Area of Art and Creació de l’Institut Municipal d’Accio Cultural de Reus. He has been the curator of numerous exhibitions, programmer of artistic cycles and designer of magazines and catalogs. In 2006 he returns to the public career he started in 1982.
In his works there is a clear tendency to treat the issue of symmetry, the object and its image, the image and its double and mirror image, which is one of the recurrent motifs along the path of Aureli Ruiz.
His way to talk becomes a metaphor for the fact of being in the world in search of references in the midst of the uncertainties of the here and now.

He holds workshops with the artist Hernández-Pijoan. He studied at Carlos Capelin workshop ‘Jet Lag’. Centro Galego de Arte Contemporáneo. Painting workshop in the artists’ residence Point B. Williamsburg. New York. USA. Capelin Carlos workshop ‘Jet Lag 2′. Kunstakademiet. Bergen. Norway. Engraving workshop. Liceo de Noia. A Coruña.
In 2001 he performed his first shows. In his work it stands debugging, in an argument that derives from the architectural, and mainly from its context, in pieces that summarize the urban reference of the visual, signalled to acknowledge himself in the fragmentary that summarizes the surface.
He is a very active painter, his works are usually large format, alternating painting with photography creating a very peculiar and current mixture composition.

Studies in the School of Arts and Trades in Tarragona the speciality of wall painting 1989-1997 and engraving in the University of Barcelona 1992-1996.
She makes her first exhibitions in 1991.
Lidia Perez works regularly with all kind of daily objects, manipulated and deformed, that become a different work through the photography.
The social situation of the woman has been one of the worries you can find in her works and she gives us a look in between the tenderness and the irony to the quotidian world of women of the sixties and seventies. She presents us a constellation of kitsch images, that let us create a world full of printed cards of Communion, patterned plastics or television icons out of fashion.