Beauty and sensuality are returning to art concerns. Whereas 20th Century art considered beauty as deceptive, a subject to regard with suspicion –or even treated directly as a totally negligible aspect by those same avant-garde and post-vanguard movements that tried to remove it from art practice– beauty is once again featured on the agenda. However this is all happening under a new relation with “realism”, now beauty appears to act as a binding element, bringing together subjects and objects, keeping them attached to the real world; committing them, meanwhile, to their ultimate intentions and their resulting projects. When facing true moments of action, beauty is an integral agency of any assemblage.

The four artists that take part of this exhibition adopt beauty as a bait, one that aims to catch our attention, that intervenes the course of things, structures alternative relations and awakens the potentials of differential thinking. They differ, therefore, from the last traces of an ordered and old aesthetic idealism and that popular thought that believes that all “real beauty” comes from the “inside”. Instead, the concept of beauty, as it is evident now in art, is exclusively concerned with the external aspect of things, their sentient surfaces, which implies, consequently, more realism than idealism whenever we try to understand and follow it.