As an artist, Javier Núñez Gasco (b. Salamanca 1971) is continually evolving, with periodic silences marking stages when he is studying and developing new works. His creations result from thorough research methods, often taking forms that do not always conform to the norms of traditional art. Thanks to his ability to observe reality from alternative perspectives, Núñez Gasco has carved a path where, even within formal and conceptual innovation, there can still be discerned an underlying subtlety of the poetic.
Social hypocrisy, migration, trash TV, technology, the art market, precariousness, and collecting are just some of the threads intertwined in the complex web that Núñez Gasco weaves in his art. His direct,performative involvement features repeatedly and effectively in much of his work, as does the participation of audiences, who are essential to bringing his pieces to life. His projects possess their own collective logic, arising from a dynamic that seeks to create social realities and are nourished by interactions with the everyday.
From his theater collaborations in Lisbon, projects have emerged in an unusual blend of the performing and visual arts. In recent years, he has focused on the speculative impact of new technologies on creative processes, introducing other values to those that have reconfigured artistic practices through Phygital experiences, based on the burgeoning world of blockchain, NFTs, microchips, tokenization, and smart contracts.
His work has been awarded several honors and prizes and is held in numerous collections, including those of the Banco de España, Fundación Botín, Purificación García, Centro Ordóñez-Falcón de Fotografía, DA2 Domus Artium 2002, Banco Espirito Santo, Instituto de la Juventud, O Espaço do Tempo, Junta de Castilla y León, Centro Fotográfico Universidad de Salamanca, and the Associação para a Difusão Internacional da Arte Contemporânea.
As an artist, Javier Núñez Gasco (b. Salamanca 1971) is continually evolving, with periodic silences marking stages when he is studying and developing new works. His creations result from thorough research methods, often taking forms that do not always conform to the norms of traditional art. Thanks to his ability to observe reality from alternative perspectives, Núñez Gasco has carved a path where, even within formal and conceptual innovation, there can still be discerned an underlying subtlety of the poetic.
Social hypocrisy, migration, trash TV, technology, the art market, precariousness, and collecting are just some of the threads intertwined in the complex web that Núñez Gasco weaves in his art. His direct,performative involvement features repeatedly and effectively in much of his work, as does the participation of audiences, who are essential to bringing his pieces to life. His projects possess their own collective logic, arising from a dynamic that seeks to create social realities and are nourished by interactions with the everyday.
From his theater collaborations in Lisbon, projects have emerged in an unusual blend of the performing and visual arts. In recent years, he has focused on the speculative impact of new technologies on creative processes, introducing other values to those that have reconfigured artistic practices through Phygital experiences, based on the burgeoning world of blockchain, NFTs, microchips, tokenization, and smart contracts.
His work has been awarded several honors and prizes and is held in numerous collections, including those of the Banco de España, Fundación Botín, Purificación García, Centro Ordóñez-Falcón de Fotografía, DA2 Domus Artium 2002, Banco Espirito Santo, Instituto de la Juventud, O Espaço do Tempo, Junta de Castilla y León, Centro Fotográfico Universidad de Salamanca, and the Associação para a Difusão Internacional da Arte Contemporânea.