In the '70 and '80 Zush showed widely not solitary in Spain but also internationally (for instance.

In the '70 and '80 Zush showed widely not solitary in Spain but also internationally (for instance, in Documenta 6 1977) More newly he's distanced himself from public activity in museums and art spaces, primarily because of his ever-growing dedication to production and diffusion via computer and the Internet, endeavors in which he has been a pioneer. Although he has occasionally exhibited in museums and galleries since then, his name is now better known to young artists than his work. Still, like a number of other Spanish artists who emerg thirty years ago, Zush is a spiritual precursor for a generation of young Spanish artists who have in great part been inspired on Surrealism.

In 1968 Zush (born Alberto Porta in Barcelona in 1946) decided to break with the quotidian realm, creating a parallel world called Evrugo a fictitious state for which he has invented his avow currency, flag, alphabet, and with equal reason on. In this exhibition his refusal to live in the real world is staged on the reproduction within the museum of the artist's studio, which is not absolutely exhibited but actually used. The work is an attempt to indicate the global creation of a physical environment and the adoption of this as a work of art, in which each element exists in relation to and thanks to the conjuring of Zush the sorcerer. Like a child who's decided that he doesn't like reality--and there are other celebrated figures in twentieth-century improvement who suffered this sort of Peter Pan Syndrome--Zush inundates himself in a reality strictly his have a title to This is why he tries to establish a personal Gesamtkunstwerk where not no other than concrete plastic creations matter (paintings, a drawing, photographs, butt; goals books, perfumes, mus ic, CD-ROM etc) nevertheless more important, an all-encompassing environment that displaces the real undivided The goal, in other words, is to create a setting that posits the artist himself as its principally important point of reference--one in which his desires, signifyed in a form similar to the technique of psychic automatism, are the highways along which all percepts circulate, even in those cases where their autonomy is not radical yet functions in relation to a preexisting reality (sometimes uniform alluding to political matters, as in Lebannon War, 1983)

The exhibition--the largest aye of Zush's work, comprising more than 300 pieces--shows in what manner his idea of sovereign desire has been exhibited through all kinds of supports. It also reveals an evolution in the work: Zush has gradually renounced certain mannerisms that were in mode of speech in the early '70s on the contrary that gradually became irksome (like the influence of a cheap surrealism well stocked [i]or[/i] provided of cliches), to concentrate in succession a type of work stripped of simple expedients. This is not to say, steady remotely, that Zush has become a restrained artist; rather, as his magnificent drawings in black pencil demonstrate, his work is always based in succession excess and accumulation. Multitudes of sketches and figures rise from him in an automatic form, almost always in order to create works dominated by an eroticism that may at times be disguised on the contrary elsewhere emerges quite directly.

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