BIO :

Jordi Alós (1993, Mexico City), plastic and visual artist offers the opportunity to see us through his creations thanks to his utopian and dystopian scenarios, masks and the different levels with which his art and society can be interpreted.

He studied advertising and design at the Institute of Marketing and Advertising, where he discovered that the limits of “what to be ” and “has to be ” gave space special for human expression. This is how what began with curiosity and exploration of being, they have led to exhibit individually and collectively in Hong Kong, Dubai, Netherlands,United States, Mexico, Spain, Switzerland , Edinburgh and London in addition to producing works for private collections around the world.

Among a world of filters, social networks and pretensions, Alós gives us the opportunity to see ourselves as beings humans in our different facets. With his masks and “Machangos” characters created by the artist, he emulates the sub-levels of being in everyday life, intimacy and that reflection that can only be seen in the mirror. With his learnings and experiences at the Konvent Zero residence -Spain- and Rhabarbarberhaus -Switzerland-, added to his very personal and varied style, Jordi Alós transports us to a world of painting that allows us to be who we really are and want to be.

ABOUT THE Machangos characters ;

Jordi himself refers to his works as art brut, a term used to catalog the works that go beyond the epistemological platform of modernity. More precisely, it is the term that arises to name the works of those producers who are not governed by logos but rather by the body, in other words, producers with mental illnesses. Although the artist has a healthy mind, his art is congenial to art brut at the time that both exist only when the body is placed over reason, as humans did in the period of the emergence of art.

As mentioned by Juan Miguel Hernández León, president of the Círculo de Bellas Artes de Madrid in 2006: The works of art brut are characterized by being the product of a creative process that is markedly intimate and free, responding to a personal mythology that cannot be approached with conventional iconographic criteria and thus forcing a rethinking of the different definitions of art be apocalyptic or integrated. The creations of the crazy people, of children, of those who decided to move away from civis do not in fact resemble popular arts, naive art, or countercultural productions. Art brut is an “unintentional art” that does not seek recognition or conflict with official art. His productions respond to the crudest need for expression and, thus, allow us to approach in a particularly stark way that unknown roots common to different artistic manifestations that, equally, impact and excite us.