Kenor: “urban geometrism” en subasta.

KENOR (Barcelona, 1976).
“Invisible”, Barcelona, 2012.
Acrílico sobre lienzo.
Firmado en el ángulo inferior izquierdo. Firmado, fechado, titulado y localizado al dorso.
Medidas: 80 x 60 cm.

El artista urbano y escritor de graffiti Kenor es famoso por sus paisajes abstractos de líneas futuristas, trazados con un estilo rápido e impulsivo. Su trabajo se basa asimismo en un brillante cromatismo, que evoca sentimientos y sensaciones a través de las paredes de la ciudad. Hijo de un fotógrafo y pintor sevillano, Kenor se crió rodeado de arte, y a finales de los años ochenta descubrió el arte de la calle, comenzando a escribir graffiti primero en L’Hospitalet y más tarde también en Barcelona, en muros y trenes, reflejando un arte libre y en constante movimiento. Sin embargo, no será hasta el 2000 cuando decida sacar el arte que lleva dentro, su lenguaje más personal, tras una etapa inicial marcada por la fascinación por la tipografía y los logotipos. Creador de visiones y perspectivas absurdas, Kenor refleja en su obra el tránsito y la duda, mundos donde los cambios y las incoherencias juegan con el ser humano. La abstracción del espacio se dibuja en el soporte, y plantea al espectador infinitas opciones, convirtiéndolo en protagonista libre de la obra, capaz de elegir e imaginar una nueva dimensión que le permita crecer, explorar y salir del mundo. Comienza a exponer su obra en 2005, pintando en vivo en la sala Miscelánea de Barcelona. Al año siguiendo expone en Distrito Quinto y Kenovni Rojo Space, en la misma ciudad, y participa en el Festival Belio de Madrid. Ese mismo año da el salto internacional y participa en una exposición colectiva celebrada en la galería Mr Ego de Bruselas, además de tomar parte en la también colectiva Panta Rhei / Rojo Magazine, celebrada en Madrid y Bélgica. En 2007 muestra su obra en Nueva York (New City Art), Toulouse (Mediatheke Asociate), Berlín (Tacheles, Backjumps Graffiti Festival, galerías Bergestudel, Raum Weiss y XXStudio) y Dinamarca (Skenko Studio Viborg).

KENOR: History.

Not many graffiti artists like to paint the streets in the nude. But Kenor is not just any graffiti artist. A self-confessed extraterrestrial, a born performer, Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.

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Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.

Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular “Cualquier lugar, un dia cualquiera”, more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line.

 

2010 May Auction house Damien Leclere ; Marselle France

2010 May ”POLINIZA URBANART FESTIBAL”  Valencia Spain

2010 June ”5º ASALTO Festibal” Zaragoza Spain

2010 September_INFART EDITION 2010 Festibal_Bassano de la Grappa_Italy

2010 September_MURALES!.Gli Artisti di Proyecto Ritual alle Case Operaie di Mancasale_Reggio Emilia_Ital

Publications:

Rojo Magazine Spain

Belio Magazine Spain

Staf Magazine Spain

Modart Belgium

Zupi Mgazine Brazilian

Metal magazine Spain

La Mono magazine Spain

Wanted Magazine Spain

Mural Art 3 Grece

Muralismo Morte Germany

Abstract Graffiti  London

Hours Du Temps  II  France

Street Art _Alan Ket  New York

GraffitiArt Magazine  France

La Guide  de l’Art Contemporain Urbain 2012 France