As we are accustomed to seeing in his latest exhibitions, Hugo Alonso (Spain, 1981) invokes the temporal spirit that inhabits every filmic work that plays to be a painting. Already from its title, in direct allusion to David Cronenberg’s 1996 work, we can catch a glimpse of the interests that the film showcased. Hugo wants to recall those interests, especially the exploration of the weird relation between desire, technology, chance and fragility that resides on every living thing that exists. Crash onomatopoeia of a sound that time and time again emerged from that film in which the chrome and aseptic surfaces seemed to dissolve into something undefined, cold and organic. This seems to be present when we look at the curious projections that nowadays happen voluntarily and involuntarily in front of the omnipresent screens.

Just like the surface of the water that returns the projected image of Narcissus, decomposed and formless as it is disfigured by his precipitation in the lake, the strange virtuality in which we insist on living and where it seems that things “happen”, disintegrates into something distant and close at the same time. Some sort of double emulation of perfectly constructed and emotionally powerful but disconcerting in essence. That is why the union of technology and emotion is so attractive. Perhaps because technology appeals to the human drive to play at controlling or understanding such essential things as the passage of time, memory, nature or the future.