"For me it's life, for me the real life is to be working in the plastic arts." Juan Genovés speaks so emphatically in his program at Essentials (La 2), a rotundity away from any engolamiento, exactly the opposite of some planes of No-Do on its beginnings. Perhaps a complementary way to explain the Franco dictatorship is to broadcast those newscasts of obligatory exhibition in all the cinemas in which prosopopeya concealed an ignorance, if not a contempt, of the narrated. The viewer of Juan Genovés: 100×120 on, the excellent documentary directed by Ana Morente, will be able to verify the coherence of a life and a work of one of the Spanish painters of greater international projection.
"The engine of my life has been fear," confesses Genovés. "It has been an attitude towards fear, always. The fear of a regime, an absurd and ridiculous regime that could take you off the map at any moment. " On a few occasions, the combination of demonstration archive plans and police charges complements his paintings better, in the same way that few songs like the Diguem no, of Raimon, would improve the soundtrack: "We have seen fear / be law for all. / We have seen the blood / -which only makes blood- / be the law of the world. / No, / I say no, / say no. / We are not of that world … "
Antonio López values the clear-sightedness and simplicity of someone who was able to indicate with his works that under politics there is a more humanistic space. A humanism that reaches its peak in the picture The hug, the most representative work of the transition of the dictatorship and of which 500,000 posters were made to request political amnesty. For his friend the writer Antonio Muñoz Molina "that painting represents something as noble as the reconquest of fraternity". Coherence, simplicity, clairvoyance and solidarity are the concepts and words that define the indispensable Juan Genovés.