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Alberto García-Alix
From where there is no return

Alberto García-Alix. Afternoon in San Isidro’s feast. 1987 Alberto García-Alix.Two ladies. 1986. Alberto García-Alix. Lisa. 2005. Alberto García-Alix. Mr. Stoneman. 1988. Alberto García-Alix. La China. 2007. Alberto García-Alix. In Willy's absence. 1988. Alberto García-Alix. Self-portrait. The Prize. 1999. Alberto García-Alix. Grey mass in Orient. 2007 Alberto García-Alix. The time for mercy. 2007. Alberto García-Alix. The time a kiss lasts. 2001. Alberto García-Alix. Self-portrait. My feminine side. 2002.

Alberto García-Alix. Afternoon in San Isidro’s feast. 1987

Alberto García-Alix.Two ladies. 1986.

Alberto García-Alix. Lisa. 2005.

Alberto García-Alix. Mr. Stoneman. 1988.

Alberto García-Alix. La China. 2007.

Alberto García-Alix. In Willy's absence. 1988.

Alberto García-Alix. Self-portrait. The Prize. 1999.

Alberto García-Alix. Grey mass in Orient. 2007

Alberto García-Alix. The time for mercy. 2007.

Alberto García-Alix. The time a kiss lasts. 2001.

Alberto García-Alix. Self-portrait. My feminine side. 2002.

Moscow, 10.IX.2011—5.XI.2011

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Curator: Nicolás Combarro


Today García-Alix, following the spirit of the times, recognises the dangerous role of photography as an 'all-powerful medium'. In his text 'From Where There Is No Return' he muses: 'a collection of portraits is actually an assembly of future corpses'. Another interesting concept is his perception of the photographer as a collector of subjects, situations and life stories who is constantly searching for the magic formula to rescue life from time…

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Curator: Nicolás Combarro


Today García-Alix, following the spirit of the times, recognises the dangerous role of photography as an 'all-powerful medium'. In his text 'From Where There Is No Return' he muses: 'a collection of portraits is actually an assembly of future corpses'. Another interesting concept is his perception of the photographer as a collector of subjects, situations and life stories who is constantly searching for the magic formula to rescue life from time…

The viewer can't help thinking of unreal circumstances in which the artist makes his choice and thereby admits us to the realm of the obsessive collector. Insatiable curiosity propels him into an abyss that distinguishes reality from image. In his laboratory García-Alix ponders over the reality he sees portrayed on the negatives: a re-encounter with the subject-model and the start of a dialogue with the image. Such communication has an almost supernatural ability to outlast time.

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