I thought the representation of the absurdity in most of our daily actions could become a fierce criticism. The absurd, by nature, doesn’t allow replicas, it can only help us to outline a smile in public, and in private makes us change.
A year has 365 days. That regular, closed number—symbol of order, repetition, and measure—is, in 365°, only a starting point. What Eugenio Recuenco proposes in this ambitious project is not a chronicle of time, but a plural and critical look at the stories, emotions, and symbols that shape our era, told through 365 photographs created over 8 years.
Each image functions as an autonomous scene, rigorously constructed, where technical sophistication coexists with a deep conceptual weight, yet connected to the whole by a shared sensibility: wonder, critique, irony, and beauty. Recuenco has developed his own visual language, a narrative suspended in time, where each photograph becomes a capsule of meaning, open to interpretation.
Halfway between tale and visual essay, 365° does not seek to illustrate a truth, but to activate a shared memory. Far from offering closed readings, these images challenge the viewer, placing them before scenes that oscillate between artifice and truth, between beauty and unease. In this sense, the project emerges as a narrator of the symbolic and a scenographer of the collective unconscious.
Here, echoes of the Baroque, Surrealism, cinema, and photography in their multiple forms resonate. But also pulse through the work are violence, irony, absurdity, nostalgia, and the fragility of the human condition. Recuenco does not quote; he transforms: the recognizable becomes allegory, the everyday becomes a sign, the intimate becomes a mirror.
It is a grand contemporary altarpiece in which, day after day, image by image, the multiple forms of the human experience are represented.
365º 6 Exhibitions & Press
365º All works
365° is an ambitious and singular artistic proposal: a visual journey through 365 images that, far from following a chronological path, open up multiple avenues of interpretation around time, history, culture, and the human condition. Through this project, Eugenio Recuenco unfolds a distinctive aesthetic universe in which each photograph functions as a closed, autonomous scene, yet remains connected to the whole through a shared sensibility—one of wonder, critique, irony, and beauty.
The structure of the project evokes a calendar: 365 days, 365 pieces. However, what is represented here is not the passage of time, but the symbolic density of each possible day. Each image is a fragment of staged reality, where the recognizable is transformed into allegory and the intimate becomes a mirror. Recuenco does not document; he interprets. His work draws on multiple references—art history, literature, cinema, fashion, and contemporary political and social realities—to construct a system of signs in which the viewer must actively participate.
365° stands halfway between staged photography, visual theater, and the image-based essay. Its unity does not lie in a single narrative, but in the gaze itself. For this reason, while each scene can be read independently, the project as a whole acquires a choral force, like a great contemporary altarpiece in which the passions, fears, contradictions, and obsessions of the present are represented.
As with dreams or mythological narratives, Recuenco’s images do not seek a definitive truth, but rather a shared emotion—a way of recognizing ourselves in what we see, even when what we see unsettles us.
