Alonso’s work reveals a clear interest in the relationship between audiovisual products and their viewers. Initially pictorial, it has come to embrace a wide range of media such as video installation, electronic music, visuals for theatre or painting.
Hugo Alonso’s individual recent projects are Blonde (Pigment Gallery, Barcelona, 2016), Pendulum (CEART, 2016, Madrid), Believers (La Salina, 2015, Salamanca), How to resurrect a dead fly (Medina Film Fest, 2013), To my father and to the memory of my mother (Adora Calvo Gallery, 2011, Salamanca), Drop (Faquir Fest, DA2, Domus Artium 2002, 2010, Salamanca), Frederick Treves and the surgeon’s room (Salvador Díaz Gallery, 2010, Madrid) or Paintingdrome (DA2, Domus Artium 2002, 2007 Salamanca).
He has been part of group shows such as TOC (DA2, Salamanca, 2016), Poétique quotidienne (Galerie Youn, Montreal, 2016), This is not a love song (Pera Museum, Istanbul, 2015), Expanded light: new technologies in Spanish videoart (Telefónica Fundation, Mad rid, 2015), Unlikely landscapes (CyL Institution / Theatre of Guarda, CyL / Spain, Portugal, 2012), Art and Videoclip (Loop Festival, Barcelona, 2012),
2008 Generation (La Casa Encendida, 2008), Della Pittura Digitalis (Caprice Horn Gallery, Berlin, 2007), Mixed Emotions (DA2, Salamanca, 2008), Existence (MUSAC, León, 2007), and Heterotopies (Oktogon HfBK, Dresde, 2007).
His recent highlight achievements are Art Madrid Noca Paper Best Solo Project 2016, Gaceta Fundation Young Painters Prize 2013, Young Art Castilla y León Institution 2011, Painting Prize Caja España 2008, Optica Videoart Prize 2008/2007, and Young Artists Prize Castilla y León Caja Burgos 2007.
He has been present in national and international contemporary art fairs such as ARCO (Spain), ART TORONTO (Canada), PAPIER (Canada), ART MADRID (Spain), CIRCA (Puerto Rico), ART FAIR (Germany), ART ELYSEES (France), CONTEXT (USA), ART SANTANDE R (Spain), FORREAL (Netherlands), ART ON PAPER (USA), CROSSROADS (UK), and Art Paris (France).
His work can be seen in public collections such as MUSAC (Contemporary Art Museum of Castilla y León), DA2 (Contemporary Art Museum Domus Artium 2002), CAB (Contemporary Art Museum Burgos), BMW Fundation, CEART (Contemporary Art Museum Tomás y Valiente), Diputación de Salamanca, Gaceta Fundation and Caja España among others.
The solo exhibition RAW is part of a personal, global and open project through which I explore the relationship between cinematic reality and our everyday reality as well possible analogies between the history of painting and the history of cinema.
Film fiction helps me to both understand the environment in which I live and know myself. Cinema is my source of visual and conceptual resources. It interests me how, given its fictional nature, it allows the addressing of unimaginable issues within the social codes that make a reality like ours remain regulated.
The projects I put into practice, which are intentionally hybrid, ambiguous and transdisciplinary, are displayed in the exhibition hall in different ways, using the possibilities offered by the audiovisual medium, sound or painting.
In my recent work, light has taken on a special prominence; projected light in video, light represented in painting and symbolic light on a conceptual level, darkness being its counterpoint and the play between them both providing an evocative context for emotional and psychological stimulation.
Cinematography and its ambiguous approach to life, and vice-versa, constitute the central concepts of my artwork.
In Mirror, some of my most recent paintings, the presence of figures becomes clear: anonymous figures, isolated ones, in movement, ambiguous. As the empty and phantasmagoric spaces extracted from films seem to be incomplete and claim a semantic conclusion from the viewer, the characters we see on the canvases can be reflections of the public on a subjective level made out of memory, suggestion and desire.