“The eye that you see is not, eye what you see is eye because it see”, said Antonio Machado. With these words Machado summarizes the human spirit of late 18th century. In the way to evolution, we could add The history of eye of Georges Bataille, the eye cut by sharp razor as proposes Buñuel in El perro andaluz and the inaugural canvas of Dalí Le jeu lugubre –which could be read as Le yeux lugubres-. Freud theorizes about the look of other, which is not other than own look, incapable to recognize in reflects.

The look substitutes an eye, in the new stage of human spirit, which leads to contemporary moment. The look of each other, objective, allows us to see art in different forms, without illusions and trompe l’oeil. Dehumanization of art bad understands as concept, because never this has been being so human, in Nietzsche words.

Sometimes, Art History is difficult, because the intention is classify, labeller, boxing concepts –called, movements- and related with associative things.

Six international artists join here under the heading “Una Mirada”, are sons of evolution of eye as active subject of artwork. Their works are conceived as eyes because, according to Machado, “they see”, they penetrate into our being and extended through the technique and formal qualities.

These six artists born between 1956 and 1961, related to the same of vital generation, sons of second Post-war, of Welfare society, of big artistic tradition and of popular and standardized culture. At the end, sons of a globalization, which acquires directional look as Georges Orwell announces in his novel 1984.

Look to individual time, kaleidoscopically and universal that we could save formal distances, techniques, styles. The strokes have evolved freely of informalist culture, of pop art and hyperrealism and of object deconstruction to conclude about object dimension: the interrogation about human nature and cosmic fortune.

Sculptures of Stephan Balkenhol (Fritzlar, Germany, 1957) are showed. The figures of Balkenhol seem to be lonely, waiting for Godot in their haughty smallness. Californian hyperrealism of Glen Rubsamen (Los Angeles, USA, 1959) to erotic collages from Thomas Hirschhorn (Bern, Switzerland, 1957). These two are in fight to materic orographies from dennis Hollingsworth (Los Angeles, USA, 1956) at the same time micro and macrocosmic. Bill Thompson minimal sculptures (Ipswich, USA, 1957) and installations of Baltazar Torres (Portugal, 1961) are exhibited in this occasion.

Six looks in one, daughters of the same spirit, further on of geography and particular tradition. We only have one look, rich, complicate, contradictory but able to see the universal in particular things.