Manuel Alcaide Mengual (Cordoba, Spain, 1962)

Lawyer in Geography and History by the University of Cordova.
Professor of History of secondary, enters itself of self-taught form in the world of the photography from 1983.

=> Individual Exhibitions:

* April 1987, “Unknown Venice”, audio-visual exhibition and in El Vagante, Cordoba.
* November 1987, “Light and Form, photo-graphs”, House of Youth, Area of Culture. City council of Cordoba and University of Cordoba.

=> Collective Exhibition:

* April and May 1989, “Young Cordoban Creators, 22 sub 35”, Palace of Viana, Area of Culture. City council of Cordoba.

=> Next exhibition:

* Autumn 2007, La Carbonería (Seville, Spain): ILUSORIA, OF MANUEL ALCAIDE MENGUAL;
“the only true trip, the only bath of youth, would not be to go towards new landscapes, but to have other eyes, to see the universe with the eyes of another one, of other one hundred, to see the one hundred universes that each one of them sees…” Marcel PROUST (in The Prisoner)

The artistic language, like such language, is an expression instrument. The truely irrelevant thing is the average instruments; the materialization of the idea is total and totally gratuitous. The photography, like Art in an aristotelian sense, for a long time it has not been imitating the life. The light does not need to resort but to she herself to arrive at the communicative message. As it affirmed Marcel Duchamp, the work with my own hands or by means of a technical instrument concerns little produced salary: the important thing is its election, the fact to start off of an element normal of the reality and to have it such form that loses the function for which it has been created. In this way, the chosen object acquires a new thought: the possibility of being thought like aesthetic element. The univocal vision of the object, often stupidly determined, the plasmación of the object - that single is possible to observe at different moments, always are put under at the same time, to a very concrete and immovable light. For that reason, the important thing is not what of reality it has the work, but the interpretation that becomes of that reality, its language. A constant tension between figuration and abstraction, the imitation and the idealización more or less simplified always exists. Attempt to extend figurative and the conceptual thing. I try to handle an abstract signología, undresses conceptually, primigenia of figuration, but that moves away and isolates of references to planes or pre-established figurations. The structural pick up of the object is not sufficient to me, since the formal parameters of knowledge do not express their nonconscious mobility.