{"id":14152,"date":"2026-06-18T18:16:38","date_gmt":"2026-06-18T16:16:38","guid":{"rendered":"https:\/\/juansilio.com\/?post_type=exposiciones&#038;p=14152"},"modified":"2026-08-08T13:40:24","modified_gmt":"2026-08-08T11:40:24","slug":"14152","status":"publish","type":"exposiciones","link":"https:\/\/juansilio.com\/en\/exposiciones\/14152\/","title":{"rendered":"Philipp Fr\u00f6hlich \u00abCabeza fuera del agua\u00bb"},"content":{"rendered":"<p>Juan Sili\u00f3 Gallery presents <em>Cabeza fuera del agua<\/em>, the first exhibition at Santander by the artist Philipp Fr\u00f6hlich (Schweinfurt, Germany, 1975), showcasing works created between 2019 and 2023.<\/p>\n<p>Fr\u00f6hlich defends painting against other means of image-making, though he does not do so in a traditional way. The themes of his works are based on models he first creates in his studio, inspired by texts of various kinds or by word-image associations. In his paintings, the scenes appear with a very distinctive veiled blurriness that seems to speak to us of the complexity inherent in what we call \u2018truth\u2019 and its relationship with the fantastical, resulting in enigmatic and mysterious scenes.<\/p>\n<p>&nbsp;<\/p>\n<p>NONE OF THIS REALLY HAPPENED<\/p>\n<p>From fantasy one might, naively, expect great things. If we are to invent, we might as well choose heroes over fops, palaces over huts. Yet there are great masters who dissent from such reasonable intuition. Verdi, mind you, spent three years of his old age setting to music the life of a loser. The opera, as you know, recounts one of the adventures of the knight Falstaff\u2014an elderly, spendthrift, drunken, and paunchy man who attempts to seduce two ladies with a romantic purpose: to settle his considerable debts with both their dowries. Among the many tensions contained in this apparently banal comedy, I would like to single out one: that Verdi chose to crown his most modern composition with a ten-voice fugue. It unfolds like this: after being deceived by his victims, Sir John turns toward the audience and snaps, \u201c<em>Tutto nel mondo \u00e8 burla.<\/em>\u201d Which is to say, life is a joke, and we\u2019ve all been had.<\/p>\n<p>Even in Verdi\u2019s youth, the fugue was already an old story. It was invented in the late 1500s and reached its height during the Baroque. Its name comes from the effect it produces: the melodies seem to chase one another in a flight so intricate that the fugitive and the hunter become indistinguishable. The artifice\u2014tender, like all of them\u2014nonetheless requires extraordinary skill, for the lightness of these sounds chasing each other through the air rests on a most calculated scheme; the slightest error in transposition would bring the whole house of cards down. Verdi knew this and plays with it: the festive jingle of the operatic finale grows into a crescendo that, in a flash, turns dissonant. (Have we been swindled? Was all that machinery only meant to undo us?) \u201c<em>Tutti gabbati,<\/em>\u201d Falstaff tells us, looking us in the eye. A silence follows. \u201cAll deceived,\u201d replies the chorus softly, as if realizing it at last. And suddenly, the jubilation returns.<\/p>\n<p>\u201cThey\u2019re not real scenes; I paint them from models,\u201d Philipp Fr\u00f6hlich admitted to me in his Brussels studio. The confession proves illuminating: I don\u2019t believe Jacques-Louis David witnessed the Oath of the Horatii, nor John Martin the Fall of Babylon, though there is no record to that effect. We tolerate without alarm that artists invent the great occasions of history, but it unsettles us when someone composes, with figurines and backdrops, an insignificant scene: a few cats licking their lips in the glow of a television; a pigeon landing, out of focus, on a patch of mud.<\/p>\n<p>It\u2019s worth remembering that the history of painting began with two trifles: a bunch of grapes and a curtain. Also with two deceits: first they fooled the birds, then the other painter. The trick rested on exquisitely refined details, meticulously arranged to mislead the eye. One imagines poor Zeuxis scratching with his fingers at the curtain painted by Parrhasius and turning toward the agora gathered there. \u201c<em>Tutti gabbati.<\/em>\u201d After an instant of astonishment, everyone\u2014surely\u2014burst into laughter.<\/p>\n<p style=\"text-align: right;\">Joaqu\u00edn Jes\u00fas S\u00e1nchez, 2025.<\/p>\n","protected":false},"featured_media":13980,"template":"","expos_categories":[162,50],"class_list":["post-14152","exposiciones","type-exposiciones","status-publish","has-post-thumbnail","hentry","expos_categories-2026-en","expos_categories-santander-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Philipp Fr\u00f6hlich \u00abCabeza fuera del agua\u00bb - Juan Sili\u00f3<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/juansilio.com\/en\/exposiciones\/14152\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Philipp Fr\u00f6hlich \u00abCabeza fuera del agua\u00bb - Juan Sili\u00f3\" \/>\n<meta property=\"og:description\" content=\"Juan Sili\u00f3 Gallery presents Cabeza fuera del agua, the first exhibition at Santander by the artist Philipp Fr\u00f6hlich (Schweinfurt, Germany, 1975), showcasing works created between 2019 and 2023. 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