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	<title>www.javierchozas.com</title>
	<link>https://javierchozas.com</link>
	<description>www.javierchozas.com</description>
	<pubDate>Fri, 15 Oct 2021 13:46:21 +0000</pubDate>
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		<title>Slideshow</title>
				
		<link>https://javierchozas.com/Slideshow</link>

		<pubDate>Sat, 31 Mar 2018 19:34:19 +0000</pubDate>

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		<title>La Piel Construida</title>
				
		<link>https://javierchozas.com/La-Piel-Construida</link>

		<pubDate>Sat, 12 Dec 2020 16:54:47 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/La-Piel-Construida</guid>

		<description>La Piel Construida


Tabacalera, Madrid
2020
&#38;nbsp;






	
		
		
	
	
		
			
				
					&#60;img width="1600" height="1143" width_o="1600" height_o="1143" data-src="https://freight.cargo.site/t/original/i/00a0db81b31be5ebff767763fc6aa508ae80446b2978b2bb8b9dd3fd9378817a/JAVIER_CHOZAS_DOC0797.jpg" data-mid="91921922" border="0"  src="https://freight.cargo.site/w/1000/i/00a0db81b31be5ebff767763fc6aa508ae80446b2978b2bb8b9dd3fd9378817a/JAVIER_CHOZAS_DOC0797.jpg" /&#62;General view, middle room. In the foreground ‘Divine’. Photo Geray Mena&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  

	Acaríciate. ¿Conoces esa capa de ti, suave y frágil, que te envuelve y te presenta al mundo? El mismo límite que te separa o te acerca a mí. Piel. En algunas zonas del cuerpo es más fina y delicada. La piel de los labios es más oscura, más rosácea y todavía más sensible. Reacciona antes, por ejemplo, al calor, al frío o los besos. La de los pies también. Y la del cuello. La piel de los ojos, su contorno, se arruga más rápido. Vivimos dentro de un saco vulnerable e inteligente, que va regenerándose y cambiando con el tiempo y con la vida. Contenidos en su interior, protegidos y expuestos a su través.
Sofia Corrales. Extracto de su texto para el catálogo.
	Caress yourself. You know that layer of you, smooth and fragile, that surrounds you and presents you to the world? That same boundary that separates you or brings you closer to me. Skin. On some parts of the body, it is thinner and more delicate. The skin of the lips is darker, pinker and even more sensitive. It reacts sooner, for example, to heat, to cold, to kisses. And of the feet too. And of the neck. The skin of the eyes, around them, wrinkles more quickly. We live inside a vulnerable and intelligent sack, regenerating itself and changing with time and with life. Contained inside it, protected and exposed through it.
Sofia Corrales. Excerpt from his text at the catalogue.





&#60;img width="1600" height="1143" width_o="1600" height_o="1143" data-src="https://freight.cargo.site/t/original/i/44fe9ca8201168806f3f81e4362a848bb0ed326628144d23e685973a97aceb75/JAVIER_CHOZAS_DOC0798.jpg" data-mid="91922008" border="0"  src="https://freight.cargo.site/w/1000/i/44fe9ca8201168806f3f81e4362a848bb0ed326628144d23e685973a97aceb75/JAVIER_CHOZAS_DOC0798.jpg" /&#62;

General view, middle room. On the right side ‘Not to be said’. Photo Geray Mena&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	Chozas hace evidente su intención calculada de desestabilizar el campo visual dentro de sus instalaciones al reunir distintas formas escultóricas en estados variables de integridad o descom- posición. Cada objeto permanece inmóvil, pero hay potencial de transmutación, que se observa y se lee en la instalación como un conjunto.

Habda Rashid. Extracto de su texto para el catálogo.

	Chozas points to his considered intention to unsettle the visual field within his installations by bringing together a cluster of sculptural forms that are in variable states of wholeness or decomposition Each object is held in stasis but the potential for transmutation exists and is both registered and read from the installation as a whole.
Habda Rashid. Excerpt from his text at the catalogue.
 





&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
&#60;img width="1143" height="1600" width_o="1143" height_o="1600" data-src="https://freight.cargo.site/t/original/i/ce228ea2fbf17591b07892857f8d293c80cf5203a6bf9a795f4752789aef00f7/JAVIER_CHOZAS_DOC0845.jpg" data-mid="91922078" border="0"  src="https://freight.cargo.site/w/1000/i/ce228ea2fbf17591b07892857f8d293c80cf5203a6bf9a795f4752789aef00f7/JAVIER_CHOZAS_DOC0845.jpg" /&#62;
&#60;img width="1143" height="1600" width_o="1143" height_o="1600" data-src="https://freight.cargo.site/t/original/i/3c0b8b2a4946e4f0ffdc816c4f1a4fe7cf0a1c7bb4f5f5daaddabba8a64ef9fe/JAVIER_CHOZAS_DOC0875.jpg" data-mid="91922140" border="0"  src="https://freight.cargo.site/w/1000/i/3c0b8b2a4946e4f0ffdc816c4f1a4fe7cf0a1c7bb4f5f5daaddabba8a64ef9fe/JAVIER_CHOZAS_DOC0875.jpg" /&#62;
&#60;img width="1143" height="1600" width_o="1143" height_o="1600" data-src="https://freight.cargo.site/t/original/i/dc3ee0db9175c5e90a4b9d2e0874be10104bff6c99c751ad3ac603645fd3cdb2/JAVIER_CHOZAS_DOC0852.jpg" data-mid="91922080" border="0"  src="https://freight.cargo.site/w/1000/i/dc3ee0db9175c5e90a4b9d2e0874be10104bff6c99c751ad3ac603645fd3cdb2/JAVIER_CHOZAS_DOC0852.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Detail from ‘Cherry groove’ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; ‘Fantasy in Black’ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; ‘You and me (lip sip)’ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/378fa254bbe26d05f0bcff8efbe4148bb3b4708b946bf413f1258235f1755a20/Tabacalera2020_LaPielConstruida_Sala_ALTA_28.jpg" data-mid="91922292" border="0"  src="https://freight.cargo.site/w/1000/i/378fa254bbe26d05f0bcff8efbe4148bb3b4708b946bf413f1258235f1755a20/Tabacalera2020_LaPielConstruida_Sala_ALTA_28.jpg" /&#62;‘Juicy Lucy’ &#38;nbsp;© Galerna Foto. Ministerio de Cultura y Deporte &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;       

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1c917c6fc4c1a5896bd0bab44631b650f942dc214a518cdae4da6eb4ed3760f7/Tabacalera2020_LaPielConstruida_Sala_ALTA_37.jpg" data-mid="91923159" border="0"  src="https://freight.cargo.site/w/1000/i/1c917c6fc4c1a5896bd0bab44631b650f942dc214a518cdae4da6eb4ed3760f7/Tabacalera2020_LaPielConstruida_Sala_ALTA_37.jpg" /&#62;
‘Rampage Joy’.&#38;nbsp;© Galerna Foto. Ministerio de Cultura y Deporte  &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;         
&#60;img width="1280" height="1600" width_o="1280" height_o="1600" data-src="https://freight.cargo.site/t/original/i/86fa1a89202aa83ce17728f3060eada0d152002e1be8c4ab13d72ff9b78b0c2e/JAVIER_CHOZAS_DOC0964.jpg" data-mid="91923887" border="0"  src="https://freight.cargo.site/w/1000/i/86fa1a89202aa83ce17728f3060eada0d152002e1be8c4ab13d72ff9b78b0c2e/JAVIER_CHOZAS_DOC0964.jpg" /&#62;&#38;nbsp;&#60;img width="1280" height="1600" width_o="1280" height_o="1600" data-src="https://freight.cargo.site/t/original/i/e08604f6faee7d06413dbb4e89889d9b7b5f96d1971056cb082728487f588693/JAVIER_CHOZAS_DOC1014.jpg" data-mid="91923982" border="0"  src="https://freight.cargo.site/w/1000/i/e08604f6faee7d06413dbb4e89889d9b7b5f96d1971056cb082728487f588693/JAVIER_CHOZAS_DOC1014.jpg" /&#62;Details from ‘Rampage Joy’ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;    &#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/7a98cfe0498bfc632c6f623138c6634329c55a458d395b9197290f313d41f1bd/Tabacalera2020_LaPielConstruida_Sala_ALTA_41.jpg" data-mid="91924150" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/7a98cfe0498bfc632c6f623138c6634329c55a458d395b9197290f313d41f1bd/Tabacalera2020_LaPielConstruida_Sala_ALTA_41.jpg" /&#62;&#38;nbsp;&#60;img width="1280" height="1600" width_o="1280" height_o="1600" data-src="https://freight.cargo.site/t/original/i/3ff2cc9d364d090d237e5137f2b8ed4db4a359a36fcde70210b58e46e9effe6b/JAVIER_CHOZAS_DOC0934.jpg" data-mid="91924309" border="0" data-scale="16" src="https://freight.cargo.site/w/1000/i/3ff2cc9d364d090d237e5137f2b8ed4db4a359a36fcde70210b58e46e9effe6b/JAVIER_CHOZAS_DOC0934.jpg" /&#62;
‘Unicorn’





				
			
		
	



	
		
		
	
	
		
			
				
					En La piel construida la historia ha perdido el hilo de su trama. Chozas escinde la tela narrativa y descubre la malla a través de la cual el desarme emerge. Lo informe desafía la noción totalizadora del relato; por ello, donde antes había progresión, detallismo y conclusión, ahora hay agrupaciones blandas, capas, pellejos y un permanente estado de fluctuación. Sin comienzo, clímax o conclusión.

Mariano Mayer. Extracto de su texto para el catálogo.

	In La piel construida, the story has lost its plotline. Chozas splits the narrative fabric and reveals the mesh through which the dismantling emerges. The report challenges the all-encompassing notion of the recounting. Thus, where there was once progression, meticulousness and conclusion, there are now soft groupings, layers, skins, and a permanent state of flux. Without beginning, climax or conclusion.

Mariano Mayer. Excerpt from his text at the catalogue.


Catálogo / Catalog (bilingual edition spanish /english) :


https://www.culturaydeporte.gob.es/dam/jcr:e112f313-da59-4e49-8cbd-0b265a32a735/yxnb-catalogo-la-piel-construida-aaff-web.pdf

https://www.promociondelarte.com/filedb/2020/yxnb_CATALOGO-LA-PIEL-CONSTRUIDA-AAFF-WEB.PDF


Project produced by:
Ministerio de Cultura y Deporte Subdirección Generalde Museos Estatales.
Project of activities:
Sofía Corrales
Texts:Sofía CorralesHabda RashidMariano Mayer
Activities:
LED SILHOUETTE
Ignacio Tejedor
Javier Cruz
Acknowledgements:
Begoña Torres 
Guillermo González
Mariflor Sanz
 Eva UtreraMarta Van Tartwijk 
Antonio Menchen 
Raúl MarcosJulia Fuentesal 
Pablo M. Arenillas
Paloma

Cati
Adriana
Esteban
Mercedes
Intervento Team

				
			
		
	
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	<item>
		<title>Still Waters Run Deep</title>
				
		<link>https://javierchozas.com/Still-Waters-Run-Deep</link>

		<pubDate>Wed, 06 Mar 2019 21:24:12 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Still-Waters-Run-Deep</guid>

		<description>Still Waters Run Deep
Curated by Riet Timmerman

Tenderpixel gallery, London
2018
&#38;nbsp;






	
		
		
	
	
		
			
				
					&#60;img width="1565" height="1044" width_o="1565" height_o="1044" data-src="https://freight.cargo.site/t/original/i/a836598d629fbed44093e5d9f304e106dd2b5e5bf105c54df3420ba7e3b6db9a/Tenderpixel_JChozas_004_TPweb.jpg" data-mid="37014014" border="0"  src="https://freight.cargo.site/w/1000/i/a836598d629fbed44093e5d9f304e106dd2b5e5bf105c54df3420ba7e3b6db9a/Tenderpixel_JChozas_004_TPweb.jpg" /&#62;
The Story of the Eye

&#60;img width="1565" height="1044" width_o="1565" height_o="1044" data-src="https://freight.cargo.site/t/original/i/06fb5ac9cf9379661ec72b0d24c30dd916b40b77d232ee92d0e7f372bacb83d0/Tenderpixel_JChozas_025_TPweb.jpg" data-mid="37014489" border="0"  src="https://freight.cargo.site/w/1000/i/06fb5ac9cf9379661ec72b0d24c30dd916b40b77d232ee92d0e7f372bacb83d0/Tenderpixel_JChozas_025_TPweb.jpg" /&#62;
&#60;img width="1044" height="1565" width_o="1044" height_o="1565" data-src="https://freight.cargo.site/t/original/i/2c1db541028b7cad3033b528f9ed303fd185c6a764ca452c5c6d5d1006b66b04/Tenderpixel_JChozas_065_TPweb.jpg" data-mid="37015327" border="0"  src="https://freight.cargo.site/w/1000/i/2c1db541028b7cad3033b528f9ed303fd185c6a764ca452c5c6d5d1006b66b04/Tenderpixel_JChozas_065_TPweb.jpg" /&#62;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Floating slipping fucking laughing
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


&#60;img width="1044" height="1565" width_o="1044" height_o="1565" data-src="https://freight.cargo.site/t/original/i/adfc8cb5bc821424970dc9b22ff2ee29a7edc8c1447cf70de77bd13398a150df/Tenderpixel_JChozas_060_TPweb.jpg" data-mid="37014934" border="0"  src="https://freight.cargo.site/w/1000/i/adfc8cb5bc821424970dc9b22ff2ee29a7edc8c1447cf70de77bd13398a150df/Tenderpixel_JChozas_060_TPweb.jpg" /&#62;
&#60;img width="1565" height="1044" width_o="1565" height_o="1044" data-src="https://freight.cargo.site/t/original/i/15a1fef51fdaf9cc42c9c2c8c10975a410c10a1cfb3ec85218309c7bddcdcf58/Tenderpixel_JChozas_056_TPweb.jpg" data-mid="37014908" border="0"  src="https://freight.cargo.site/w/1000/i/15a1fef51fdaf9cc42c9c2c8c10975a410c10a1cfb3ec85218309c7bddcdcf58/Tenderpixel_JChozas_056_TPweb.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; A stream without a gaze



&#60;img width="1565" height="1044" width_o="1565" height_o="1044" data-src="https://freight.cargo.site/t/original/i/10430fb7bce6799620986d88ebaf7de5a3028544b2c3132a081139586516f0f2/Tenderpixel_JChozas_083_TPweb.jpg" data-mid="37015003" border="0"  src="https://freight.cargo.site/w/1000/i/10430fb7bce6799620986d88ebaf7de5a3028544b2c3132a081139586516f0f2/Tenderpixel_JChozas_083_TPweb.jpg" /&#62;
&#60;img width="1565" height="1044" width_o="1565" height_o="1044" data-src="https://freight.cargo.site/t/original/i/aca28ddd2bdb431f71988b36e665193fc694d730212a0290a89a841fb501088b/Tenderpixel_JChozas_081_TPweb.jpg" data-mid="37014999" border="0"  src="https://freight.cargo.site/w/1000/i/aca28ddd2bdb431f71988b36e665193fc694d730212a0290a89a841fb501088b/Tenderpixel_JChozas_081_TPweb.jpg" /&#62;
&#60;img width="1565" height="1044" width_o="1565" height_o="1044" data-src="https://freight.cargo.site/t/original/i/73864b9f78a6768e7a08c117e46a78b2d4c25be2d1a3112be18e04f260700b44/Tenderpixel_JChozas_076_TPweb.jpg" data-mid="37014997" border="0"  src="https://freight.cargo.site/w/1000/i/73864b9f78a6768e7a08c117e46a78b2d4c25be2d1a3112be18e04f260700b44/Tenderpixel_JChozas_076_TPweb.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Slp,slp,plz &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The Crush&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Twisted wish&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 



	

The body implies mortality, vulnerability, agency: the skin and the flesh expose us to the gaze of others, but also to the touch, and the violence, and bodies put us at risk of becoming the agency and instrument of all these as well.' (1) Stones cannot be penetrated, instead, they splinter and break into smaller and smaller pieces without the water ever reaching their interior. They appear to be the same material through and through, surface being the same as the inside (2). As humans, we can try to turn our hearts into stone or to become hard as a rock, but our bodies and skin remain fragile and susceptible to exposure.The skin, as the largest and fastest-growing organ, protects us, shapes our bodies and identities. In the Greek myth of Marsyas, the satyr is stripped from his skin as a punishment for defying Apollo. During this murderous act, Marsyas shrieks “Why, art thou tearing me from myself” (3), implying that his embodiment is compromised, making him vulnerable to be wounded. Besides forming our physique, this epidermal surface acts as a memory palace for our physical sensations – from touch to irritation – building layer upon layer. Unlike Marsyas’ physical skin, these memories cannot be stripped away.In this exhibition, Chozas’ sculptural installations allude to opaque bodies, which have lost their outline and rigidity, dissolving into unstable, blurred, hybrid forms. There are traces left of hidden memories, untold stories or invisible secrets, which are slowly unfolded in the narrative and sound performances.Let us sink into surfaces, let’s move, let’s listen. It is time we uncovered the layers.
Text by Riet Timmerman, curator of the exhibition.



				
			
		
	



	
		
		
	
	
		
			
				
					
1) Judith Butler, Precarious Life, Verso, London, 2004.2) Emmanuel Alloa, Band(ag)ing The Body, in: Berlinde De Bruyckere, Edited by Angela Mengoni, 2014.3) Ovid, Metamorphoses, Book VI, Translated by Henry T. Riley, 1851.
	&#60;img width="1044" height="1565" width_o="1044" height_o="1565" data-src="https://freight.cargo.site/t/original/i/492b9286007f22b8ea091230057de74ba461f392a3afa45990669032665c2cf9/Tenderpixel_JChozas_095_TPweb.jpg" data-mid="37015102" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/492b9286007f22b8ea091230057de74ba461f392a3afa45990669032665c2cf9/Tenderpixel_JChozas_095_TPweb.jpg" /&#62;
&#38;nbsp; An unfinished tale of lust&#38;nbsp;


More information in:

http://tenderpixel.com/exhibitions/still-waters-run-deep


				
			
		
	
</description>
		
	</item>
		
		
	<item>
		<title>A Fountain that Seeks a River</title>
				
		<link>https://javierchozas.com/A-Fountain-that-Seeks-a-River</link>

		<pubDate>Wed, 06 Mar 2019 22:10:44 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/A-Fountain-that-Seeks-a-River</guid>

		<description>A Fountain that Seeks a River


Chalton gallery, London
2019
&#38;nbsp;






	
		
		
	
	
		
			
				
					
&#60;img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/741fce6b0d15f275991f6597b6a6133b81e95e383454d00bf8ff5961fbc29f49/IMG_9233-b.jpg" data-mid="37020232" border="0"  src="https://freight.cargo.site/w/1000/i/741fce6b0d15f275991f6597b6a6133b81e95e383454d00bf8ff5961fbc29f49/IMG_9233-b.jpg" /&#62;




&#60;img width="1000" height="1399" width_o="1000" height_o="1399" data-src="https://freight.cargo.site/t/original/i/455a74a87fea218c501d48653eff024d6720d218083f9e46c74edf27d76c93fd/IMG_9205-b.jpg" data-mid="37020228" border="0"  src="https://freight.cargo.site/w/1000/i/455a74a87fea218c501d48653eff024d6720d218083f9e46c74edf27d76c93fd/IMG_9205-b.jpg" /&#62;
&#60;img width="1000" height="1399" width_o="1000" height_o="1399" data-src="https://freight.cargo.site/t/original/i/a05a48bde4ec68bfd2a6e8d33f74546a5b3f1d1ae43f91af5f987b80dda46691/IMG_9206-b.jpg" data-mid="37020229" border="0"  src="https://freight.cargo.site/w/1000/i/a05a48bde4ec68bfd2a6e8d33f74546a5b3f1d1ae43f91af5f987b80dda46691/IMG_9206-b.jpg" /&#62;
&#60;img width="1000" height="1372" width_o="1000" height_o="1372" data-src="https://freight.cargo.site/t/original/i/654feb6ee6e47479c44764ecc2279b0a2e52318d82ba8c03cbe8f882d00b62eb/IMG_9216-b.jpg" data-mid="37020230" border="0"  src="https://freight.cargo.site/w/1000/i/654feb6ee6e47479c44764ecc2279b0a2e52318d82ba8c03cbe8f882d00b62eb/IMG_9216-b.jpg" /&#62;


	
		
		
	
	
		
			
				
					
It all happens at home, indoor. When you get in, you take off your coat, leave the things. You
lower the guard, the strength falls down. And time is more still and there are mirrors, and the
night falls, too. It is then, here inside, when the soul expands for a bit and you start glimpsing,
again, the fears you have been switching off during the day. The uncertain, unruly mental zones
that you try to escape.

					
()A Fountain that Seeks a River is the first solo show by Javier Chozas at Chalton Gallery. Here, the
artist presents a series of new-made sculptures that inhabit this instant of sudden and permanent
fragility. The exhibition parts from a reflection on social rejection, the fear that this provokes in us,
and the effects of this fear in our internal landscape. Plaster, látex, and steel materialize this
impact in small and connected cores, giving life to elements of a broken story that we’re invited to
reset.
Expanded throughout the two gallery rooms, the set of works reverberates in their physical
presence just as much as in the invisible fluencies that affect and shape their bodies. Each piece
has its own strength and, at the same time, coexists with the rest in the same continuum plane, in
a new autonomous universe. Javier Chozas has the strange and unique capacity to insert
emotional qualities in the materials until they spin inside and with them, almost becoming
palpable. Avoiding the figurative, his production translates a complex psychological maze into the
plastic language of scratches, folds, of exact and alive imperfections.
Possibly more intrigued by the process of digging deeper than by the wish to reach conclusions,
Javier Chozas’ work carries out a constant, deep, and radical exploration of some hidden parcels of
the human identity. Chozas incessantly works and confronts the materials as if he had found a
secret passage through this fog, and as if he could discover, across it, an authentic parcel of our
emotional skeleton. And magically, bring it to life, turn it physical.
In line with the processes and interests of his practice, A Fountain that Seeks a River does not
pursue a univocal representation of the human body or psyque, but the generation of a stage
device, full of potential, where these emotional energies are actualized and come forward to be
transited, escaped, perhaps touched.

					
Sofia Corrales Akerman

				
			
		
	
&#60;img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/aec28f6f8ab006ac055befcc501d42c6a1d15471b92b5eb276179b5055855e91/IMG_9271-b.jpg" data-mid="37020234" border="0"  src="https://freight.cargo.site/w/1000/i/aec28f6f8ab006ac055befcc501d42c6a1d15471b92b5eb276179b5055855e91/IMG_9271-b.jpg" /&#62;


&#60;img width="933" height="1500" width_o="933" height_o="1500" data-src="https://freight.cargo.site/t/original/i/042856ff90f861857462f38ec2a3b9dec48adba2787c5312461dac7d76b7c607/IMG_9261-b.jpg" data-mid="37020233" border="0"  src="https://freight.cargo.site/w/933/i/042856ff90f861857462f38ec2a3b9dec48adba2787c5312461dac7d76b7c607/IMG_9261-b.jpg" /&#62;
&#60;img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/174db5652cf501a509ee753d653efc361040d53c59cd0770494f45d95cd30175/IMG_9219-b.jpg" data-mid="37020231" border="0"  src="https://freight.cargo.site/w/1000/i/174db5652cf501a509ee753d653efc361040d53c59cd0770494f45d95cd30175/IMG_9219-b.jpg" /&#62;






</description>
		
	</item>
		
		
	<item>
		<title>Mud Soap Bubbles</title>
				
		<link>https://javierchozas.com/Mud-Soap-Bubbles</link>

		<pubDate>Wed, 06 Mar 2019 20:49:04 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Mud-Soap-Bubbles</guid>

		<description>Mud Soap Bubbles

Exhibited in News of the World gallery in London
2018
700x450x400 cm






	
		
		
	
	
		
			
				
					
&#60;img width="1096" height="1500" width_o="1096" height_o="1500" data-src="https://freight.cargo.site/t/original/i/ff292bd5b1f21b221bf8b8ad63f6150b1b385963cd5e57b7979d459e3a053875/IMG_9132-web.jpg" data-mid="37012704" border="0"  src="https://freight.cargo.site/w/1000/i/ff292bd5b1f21b221bf8b8ad63f6150b1b385963cd5e57b7979d459e3a053875/IMG_9132-web.jpg" /&#62;

	

	‘Mud Soap Bubbles’ departs from a passage from chapter 6 of ‘The Day of the Triffids’, the dystopian novel by John Whyndam. 


John Wyndham frames the episode as a confrontation. On the one side, a crowd, and a man arguing that the many, who have gone blind, should be supported, helped to find food and to live. 

On the other side of the gate, the few, who escaped harm, adamant that their own best chances of survival depend on keeping out this caravan of vulnerables and abandon them to their abject fate. 

We watch the unfolding scene through the eyes of the two protagonists who observe from a short, seemingly safe, distance. And do not intervene.

We witness the anger, the fear, the tensions, the gunshots. 

As readers, spectators, viewers, gallery visitors, the horrors of this world alter into an experiential dramatic device with which we can simultaneously bring our repulsion and radical dissent to the boil, and reconcile ourselves with our rational inaction.

Text by Pierre Coinde



&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/260ac2e4d0543785931f1ca233619c311d85c47b57a9b7ec798e277ad20766a5/IMG_9148-web.jpg" data-mid="37012730" border="0"  src="https://freight.cargo.site/w/1000/i/260ac2e4d0543785931f1ca233619c311d85c47b57a9b7ec798e277ad20766a5/IMG_9148-web.jpg" /&#62;
&#60;img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d2f913c820f221bd340d304223aa60becd0cb0bf60e8626edaaf73c838c725ed/IMG_9184_web.jpg" data-mid="37012733" border="0"  src="https://freight.cargo.site/w/1000/i/d2f913c820f221bd340d304223aa60becd0cb0bf60e8626edaaf73c838c725ed/IMG_9184_web.jpg" /&#62;


				
			
		
	
</description>
		
	</item>
		
		
	<item>
		<title>Escultura fantasma</title>
				
		<link>https://javierchozas.com/Escultura-fantasma</link>

		<pubDate>Fri, 15 Oct 2021 13:46:21 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Escultura-fantasma</guid>

		<description>Escultura Fantasma

Proyecto premiado con una de las ayudas de Investigación, Creación y Promoción en el campo de las Artes Visuales 2020 
Ministerio de Cultura y Deporte
 Gobierno de España

&#60;img width="3000" height="3927" width_o="3000" height_o="3927" data-src="https://freight.cargo.site/t/original/i/5a1cb090223da5c96beef6d2fbcfb5321f08ef698a2d4651cf2dd437d88657bb/IMG_20210927_150722.jpg" data-mid="121698679" border="0"  src="https://freight.cargo.site/w/1000/i/5a1cb090223da5c96beef6d2fbcfb5321f08ef698a2d4651cf2dd437d88657bb/IMG_20210927_150722.jpg" /&#62;





	
		
		
	
	
		
			
				
					


	

	Escultura fantasma propone la producción de un conjunto de esculturas que emanan de la reflexión acerca de la política de cuerpos del presente, cuerpos anhelantes obligados a imaginar el contacto de otros cuerpos, de cuerpos fantasma.

[...]

...el baile ha sido en las últimas décadas una herramienta esencial para dotar de expresión a nuevos colectivos minoritarios y para vehicular sus reivindicaciones. En el baile, los cuerpos se relacionan a través de un espacio vacío fluido e inestable.Del mismo modo, nuestra relación con otros es cada vez más similar a un baile; nos relacionamos con otros cuerpos ausentes a través de un espacio vacío que llamamos Internet. Los cuerpos, convertidos en imágenes, están desprovistos de corporalidad. Al bailar con otros lo hacemos imaginando sus cuerpos, completándolos en nuestra imaginación.




				
			
		
	
&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9978d2090170d97aff20053712b2dc9f831f8c891c65284975a10d783e23867d/IMG_20210923_174241.jpg" data-mid="121698387" border="0"  src="https://freight.cargo.site/w/1000/i/9978d2090170d97aff20053712b2dc9f831f8c891c65284975a10d783e23867d/IMG_20210923_174241.jpg" /&#62;

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	</item>
		
		
	<item>
		<title>Any-Space-Whatever</title>
				
		<link>https://javierchozas.com/Any-Space-Whatever</link>

		<pubDate>Sun, 01 Apr 2018 17:25:09 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Any-Space-Whatever</guid>

		<description>Any-Space-Whatever
‘Any-Space-Whatever’ was shown on my Degree Showin the Laurie Grove Baths in Goldsmiths University from July 12th to July 19th 2018.



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&#60;img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/fcf1a346077cf39d2b32e1d496d907fb853598a12e5b0829ecbcaf9981a2e242/IMG_9003-d.jpg" data-mid="22366862" border="0"  src="https://freight.cargo.site/w/1000/i/fcf1a346077cf39d2b32e1d496d907fb853598a12e5b0829ecbcaf9981a2e242/IMG_9003-d.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Hrönir</title>
				
		<link>https://javierchozas.com/Hronir</link>

		<pubDate>Mon, 18 Sep 2017 22:36:01 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Hronir</guid>

		<description>Hrönir

2017800x650x250 cm























‘Centuries
and centuries of idealism have not failed to influence reality. In the most
ancient regions of Tlön, the duplication of lost objects is not infrequent.
Two persons look for a pencil; the first finds it and says nothing; the second finds
a second pencil, no less real, but closer to his expectations. These secondary
objects are called Hrönir.’

 Tlön, Uqbar, Orbis Tertius, a tale by Borges








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&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/fb0c920ce68fa8adf2a98ef3e64e339749f659cadc808a23d3c1f3af8786ee47/DSCF3055.JPG" data-mid="14061865" border="0"  src="https://freight.cargo.site/w/1000/i/fb0c920ce68fa8adf2a98ef3e64e339749f659cadc808a23d3c1f3af8786ee47/DSCF3055.JPG" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Not a nice view for a sexy single</title>
				
		<link>https://javierchozas.com/Not-a-nice-view-for-a-sexy-single</link>

		<pubDate>Sat, 31 Mar 2018 15:53:28 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Not-a-nice-view-for-a-sexy-single</guid>

		<description>Not a nice view for a sexy single

2017
350x350x450 cm.

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	<item>
		<title>Is it black really black really?</title>
				
		<link>https://javierchozas.com/Is-it-black-really-black-really</link>

		<pubDate>Sun, 01 Apr 2018 14:40:04 +0000</pubDate>

		<dc:creator>www.javierchozas.com</dc:creator>

		<guid isPermaLink="true">https://javierchozas.com/Is-it-black-really-black-really</guid>

		<description>&#38;nbsp;Is it black really black really?


Exhibited in Tabacalera Madrid as part of ‘Keep Calm and Carry On’, curated by Nerea Ubieto.

2016300x400x300 cm

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THE conscious and intelligent manipulation of the
organized habits and opinions of the masses is an
important element in democratic society. Those who
manipulate this unseen mechanism of society constitute an invisible government which is the true ruling
power of our country.

						
					
				
				
					
						
							
We are governed, our minds are molded, our
tastes formed, our ideas suggested, largely by men
we have never heard of. This is a logical result of
the way in which our democratic society is organized.
Vast numbers of human beings must cooperate in
this manner if they are to live together as a smoothly functioning society.

						
					
				
			
		
	

Propaganda, Edward L.Bernays, 1928




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