Ad aeternum is presented as the third stage of the same project that includes two previous phases included in the exhibitions "UTOPOS / DISTOPOS" and "Perdido para siempre lo perdido".

A work that, in its germination, started from the study of the many and diverse utopian proposals that the human being has been proposing throughout history and their links with their dystopian reflection in contemporary society. Plato's Republic, early Christianity or the closest ideological trends of the 19th century, such as utopian socialism and communism, distorted in a socio-political future that filled the 20th century with totalitarianism and warfare. Trend that from the theoretical field has already been approached from different points of view by theorists such as Popper, Oakeshott, Hayek or Marcuse.

In the search for a plastic result that would reflect on the possible connection points between two questions, the choice of both ways of representation emerged: on the one hand, the Renaissance –the moment when Thomas More's novel Utopia appears, numerous urban studies are carried out that project the search for the "ideal city" or the conical perspective turned into an illusory tool in the pictorial field is discovered– as a utopian paradigm; on the other hand, a selection of diverse contemporary cities –mainly the Middle East for its architectural sobriety and austere chromaticism– devastated by wars as a dystopian paradigm. Following these two axes, the works that make up this project and, consequently, this exhibition were born.

In some cases, the Renaissance aesthetic –represented through colourful geometric floors and a marked perspective– is complemented by warlike landscapes –compositively more anarchic and chromatically more basic– generating a space where both concepts coexist and, in some way, they give rise to a third variant, an apparently illusory space that responds to the perpetual coexistence of those two attitudes that the human being has maintained throughout much of its history: the one of "building" from the nature of ideas and the other to "destroy" in order to put them into practice; in further cases, both aesthetics appear opposite, as is the case of the work “AD AETERNUM” that gives its name to the exhibition: reinterpretations of various Renaissance paintings with a marked symbolic character are juxtaposed with various landscapes or elements of war in an idea both of visual as conceptual confrontation.

It is on the root of these ideas that a work is developed that continually generates new secondary ways of reflection –the nature of the human being, his contradictions and his tools to assume and justify them or the new global formulas to achieve a more "just" society– that requires new plastic formulations. The result of all this is therefore AD ETERNUM, a phase of the project that covers the last two years of work now presented as an exhibition at Sala Parés.