Alejandro Jurado's BLOOM, curated by Michael Simpson, shows an emphatic journey through a wide repertoire of pieces by the young painter Cuban Alejandro Jurado. This curatorship speculative, as explained by its referee intellectual, “far from being methodological, brings a new perception of the curator in their relationship with the artwork and with the artist ”. And I do not doubt that its setting on stage demonstrates it, nor do I doubt that the enthusiasm aroused from its curator reaches its levels of demonstrativeness, but, in this case, I It is especially interesting to refer to the artist's painting, which is ultimately the first and last object of this relevant digression.
Contrary to the lethargic curatorial discourse that usually runs about the most dissimilar samples of contemporary art in the Institución-Arte in Cuba, BLOOM, shades the white empty walls canvas, model eternal "white cube" in favor of a different look at the order of things.
The scoop on subdividing the process creative supports the curatorial narrative of this exhibition. The intention, far from being methodological, it provides new perception of the curator in his relationship with the work of art and the artist.
The content of the pieces hides clear guidelines in the intrinsic consolidation of the idea, the materialization of the concept, the refusal to homogenize the system. Behind the strokes,
the tones, the support, the game eternal between "the form" and "the content" and the background that Alejandro brings to its pieces, we fall squarely in the causality of order in the creative process. This show, as a strike of subjectivized academicism in the artist's mind, endows the works with conceptual organization, even before the curatorial idea is conceived.