The artist Javier de Juan has been selected for this MaF – Málaga de Festival 2024 edition to intervene at Centre Pompidou Málaga with his work ‘Hay un tiempo grande y hay un tiempo pequeño’. The opening of this intervention, planned in two installations, took place today with the presence of the artist, the director of the Public Agency for the management of the Pablo Picasso Birthplace’s Museum and other museum and cultural facilities, José María Luna, and the director of the Malaga Festival, Juan Antonio Vigar.
 
Javier de Juan, with an architecture background, has worked since the 80s on art as a present and evolving component of civil society, aiming for presence and visibility through media, techniques, and content. All his work starts with the ‘idea hunter’ paint, as well as the basis of all artistic creation. These concepts led him to work with all possible styles.  From comic to great murals, among them, we find the Barajas airport in Madrid, or on the island of La Palma, in the Canary Islands. From collaborations with the press and on posters, to facade projections in the last few years.
 
There are two installations planned in 'Hay un tiempo grande y hay un tiempo pequeño’: the entrance stair is filled with ‘El tiempo grande’, a sea that dances eternally with itself, oblivious to the human being. ‘But we remain privileged spectators of its movement and its existence. It moves in geological time, in cosmic eons, in light years… but in our smallness, it is part of ours now, of our here’, explained the artist.
 
When entering the exhibition space, the spectators are immersed in the ‘tiempo grande’ that welcomes them indifferently; in the transit room of the small staircase, floor -1, 'El tiempo pequeño' is displayed, a mixed installation of technological pieces, audiovisuals, related paintings and intervention on the wall. 'It is the perception that we live in an increasingly compressed, shorter, more pressing time, with information, knowledge, and life passing at high speed, affecting the human being, our soul, with a new immaterial stamp, with as yet unknown effects,' explains de Juan.
 
The digital intervention is complemented by the oil paintings on paper, fixing in analogue time the stills of the audiovisual. At the top of the small staircase, in the small hallway room on floor 0, there is a screening of a looped projection of a digital sea, where once again the public will experience sensations of ‘cosmic, extra-human proportions’, he concludes.