subject and word 
the singular is very exciting complementation of the works exhibited here because, based on looks and techniques located in the antipodes, both artists present works esthetically and technically brilliant, in turn, impose upon us second readings that reveal the task of deconstructing the subject and that subject words.
PAUL LEHMANN
Free the objects of their function to introduce them into the world of art, is an operation that our culture has learned to understand, and is used as a resource for many artists. But the originality of Paul Lehmann is that it reverses the process by violating depriving the written word, letter by letter, of the medium on which they were printed. transparentation
This way, the written objectified and treated, transmuting the texts in textures, such as "textiles" in works of art whose poetic presence captivates immediately.
In turn, through a closer look The poetic is revealed as a philosophy. Then we can understand thoroughly that nothing Lehmann digs in the interstices of every letter, change its essence, the same way that the hole dug into a piece of gold transforms it into a ring. A true identity bypass operation which makes the role of language in ways that are now the raw material from which these works art are built.
Ultimately arguably Paul Lehmann, by insisting on breaking his attitude and experimentation, has invented an art anticonceptual "to neutralize and sound domestic aspects of the various texts, revealing the energetic power of the resulting aesthetics.
Lepez
that finally puts under his microscope, to show his men "invisible", against which we were disturbed to note the duality as current attitudes that can be summarized as: I see but I do not look, do not see why I do not notice. This underpinned on its proven expertise in the design and consecrated by the evident delight with which the artist confronts his pictorial work.
Complementarity
The unique exhibit of the works here is very stimulating Because, based on diametrically Opposed views and Techniques, Aesthetic Highly Both artists present works and Technically brilliant That, in turn, force us to a second That reading task deconstruction Reveals That the Subjects and Words Are Subject To.
The unique exhibit of the works here is very stimulating Because, based on diametrically Opposed views and Techniques, Aesthetic Highly Both artists present works and Technically brilliant That, in turn, force us to a second That reading task deconstruction Reveals That the Subjects and Words Are Subject To.
PAUL LEHMANN
Freeing Their objects from function and introducing them into the realm of art is something that our culture has learned to understand, and this is used as a resource by many artists. But the originality of Pablo Lehmann’s work is that he reverses the process when he disrupts the written word depriving it, letter by letter, of the medium on which it was printed. 
This form of transparentation objectifies these writings, transmuting texts into textures, and these “textiles” into works of art whose poetic presence immediately captivates us.
In turn, through a closer look, poetics reveals itself as philosophy. Then we understand that the nothingness that Lehmann carefully digs into in the interstices of each letter changes its essence, the same way that a hole dug into a piece of gold transforms it into a ring. A true identity bypass that subordinates language to the shapes that then become the raw material from which these works of art are built. 
This form of transparentation objectifies these writings, transmuting texts into textures, and these “textiles” into works of art whose poetic presence immediately captivates us. In short, it could be said that, by insisting on breaking away and experimenting, Pablo Lehmann has invented an “anticonceptual” art that neutralizes and domesticates the rational aspects of the various texts, revealing the energy and power of the resulting aesthetics.
JULIO ALAN LEPEZ
The individuals portrayed by Lepez show a duplicity that may sometimes be unsettling: they lack environmental references (we do not know where they are or where they are headed) but their social and temporal milieu is clearly highlighted: present-day urban youth. 
This ironic though complicit look he subjects his contemporaries to is displayed in these elaborate paintings that reflect many of the paradigms of this new century. It is very interesting to observe as spectators the way that Lepez highlights truly global situations, events, groups and sensations that every individual is subject to, depicting at the same time a specifically defined individuality. Then Lepez puts this individuality under his magnifying glass and shows us his “invisible” men, and we feel disturbed to notice the duality of current attitudes that can be summarized as “you But look at me you do not see me, I do not see you because i do not look. "
All this is underpinned by the artist's drawing skills and proven evidences Through Which The Obvious I delight with historical Approaches work.
until June 30
PALERMO HOLLYWOOD
While reading the texts that weave the works of Pablo is possible, the eye is confronted with a first vortex of words that confuses and amazes.
This obfuscation, of course, is sought. this mapping happens here, very cleverly, has been transformed into a maze.
guidance and our anxiety is that which is caught in the net.
Some jobs may be viewed as maps of the labyrinth, others as mere pieces of it, but all carry an air archaeological dye trace of a strange world, and yet familiar, inhabited by trivial objects, finally stripped of its coverage.
Thus, the words that guide us are usually our downfall: its threads disturb us, and do not fully know if the text is the object, or if the object is text.
And though the maze can be solved, the metaphor remains intact.
July
Alan Lepez 
Even though reading the wording weaved by Pablo’s works is actually possible, the eye is first confronted by a bewildering and amazing vortex of words.
We build our world with words, we define ourselves through words, and words are then, so to speak, our map.
Here this mapping system has very cleverly been transformed into a maze.
Some works may appear as maps of this labyrinth, others as mere pieces of it, but all carry an archaeological air, a slight trace of a strange and yet familiar world, inhabited by trivial objects once and for all stripped of their cover.
Thus, the words that usually guide us become our doom: their threads unsettle us, and we cannot tell whether the words shape the object or whether the words are actually the object.
The other crossed
Sometimes it seems that the painting bears the same passion as garments, building sheets between the exterior and interior, mask the body and can be seductive.
When this happens, the thin layers of colors, like skin and tissue covering the territory of helplessness anatomy. That seems to be the work of Lepez: to protect every piece, clothing and cross pigments figures to encourage spontaneous meetings, questions without answers, without reference traces.
If the tactic is the veil, then nothing is absolutely understandable and identifiable, there is more than one subject, another there, another face, another strikeout, another. Almost like the blink of an eye, the work of Julio Alan Lepez the skin and the wall painting is open (as you open the clothing) to meet some body as possible, with their strange intimacy. Refuse forms support, hands close over his pupils, the gaze can not be located but find our word and decreed that every portrait (as any framework) has an empty center.
Paul Lehmann, April 2010.
Another one struck off When this Happens, the thin layers of color, like furs and fabrics, shield the anatomic territory against helplessness. This seems to be Lepez’ work: to protect each fragment, to tuck in and cross out figures with pigments to encourage spontaneous meetings, questions with no answers, footprints with no source.
Almost like the blink of an eye, in Julio Alan Lepez’ work the skin and the wall of paint open up (like garments do) to go to the encounter of a possible body, with its odd intimacy. Shapes denying the medium, hands closing over the eyes, and eyes not Their bearings Finding Our new discovery But Concluding That word and all portraits (like all frames) Have an empty center. 
Paul Lehmann, April 2010
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