Alejandro Jiménez

(Alter-)

Working at the intersection of diverse disciplines, methods, materials, and spaces, the practice of Alejandro Jiménez inquires on the ways we perceive and understand reality. Using painting, sculpture, installation, and sound, his work aims at destabilizing the rigidity of categorization in modern knowledge and experience by instead exploring ambivalence and alterity as forms to create new meaning. Through a methodology of recollection and association, his work combines found objects, philosophy, sociology, and the sentient body, as a form of rehearsal of the real that can potentially be translated to the sociopolitical arena. His research often brings together unexpected pairings: zoology combines with geometry, aerodynamics juxtaposes with dance and poetry, architecture dialogues with the body and the ready-made, among others. Jimenez ultimately invites the viewer to rethink how poetic approaches can shift our experience of reality. Conceived as a spatiotemporal mind map of Jiménez’s ongoing research, (Alter-) inquiries on agency and movement, drawn from the notion of air as a resource to explore and mirror his personal experience with material and sociopolitical reflection. Influenced by Edouard Glissant’s notion of opacity and errantry*, and Donna Haraway’s defense on Situated Knowledges**, Jiménez challenges the presumed solidity of knowledge and perception by allowing to maintain things hidden, unresolved, and unstable. (Alter-) combines sculpture, found objects, sound, poetry, and imagery, to convey a sense of subtle delirium, a psychogeography that confronts presence with memory, ambiguity with reality, and air with solidity: an in-between situation with different agencies in negotiation. Subtle material gestures are put in conversation with sculptures that suggest aerodynamic bodies made with found objects that Jiménez collected over the past year in different contexts. Informed by Bosch’s De Tuin der Lusten, this airy state of affairs suggests the possibility of new, different, and other forms of producing (maybe only preliminary) conclusions, notions, and approximations to the appearance of space and the elements that activate it. Jimenez invites us to navigate this tacit situation, letting go the need for naming, grasping or concrete definitions as a form of rehearsal, resonating with the negotiations through (un)familiarity and (un)certainty he has made through his movements and changes of place.

* Poetics of Relation, Edouard Glissant, 1990.
** Situated Knowledges: the science question in feminism and the privilege of partial perspective,
Donna Haraway, 1988.

This page was last updated on July 7, 2025