Alejandro Monge’s Synthetic Future at LA BIBI Gallery in Palma de Mallorca
Synthetic Future
Artist: Alejandro Monge
Exhibition: Synthetic Future
Venue:
LA BIBI Gallery
City: Palma de Mallorca, Spain
Dates: 6 June 2026 – 7 September 2026
Address: Carrer del Molí del Comte 47A, Palma de Mallorca
Curator / Text: María García Marqués & Ester Almeda (Me Creative Strategies)
Image Courtesy: Courtesy LA BIBI Gallery, Palma de Mallorca
Synthetic Future by Alejandro Monge at LA BIBI Gallery in Palma de Mallorca
LA BIBI Gallery presents Synthetic Future, curated by María García Marqués and Ester Almeda (Me Creative Strategies), on view in Palma de Mallorca through 7 September 2026.
To inhabit the present is to coexist with a paradox that most people sense but rarely name. Never before have we been this connected, and yet the distance feels more real each year.
Alejandro Monge does not try to explain that paradox. He casts it in resin and cement and places it in a room.
Alejandro Monge , Synthetic Future (installation view), 2026. CourtesyLA BIBI Gallery , Palma de Mallorca.Alejandro Monge, Synthetic Future (installation view), 2026. Courtesy LA BIBI Gallery , Palma de Mallorca.
Synthetic Future , presented at LA BIBI Gallery**** in Palma de Mallorca, unfolds as a continuation of Synthetic Nature, recently shown at the IAACC Pablo Serrano in Zaragoza. Some works reappear here, shifted by a change of context. Others extend earlier lines of inquiry.
What holds the exhibition together is not a theme so much as a condition. The synthetic has already entered the body, the perception, the present moment, not as rupture, but as quiet inhabitation.
Monge's figures share the same room. They do not share the same reality. That gap, between physical proximity and actual encounter, is where the exhibition applies its pressure.
LA BIBI Gallery , Palma de Mallorca, is a setting that carries its own register, a Mediterranean light, an architecture with leisure built into its walls. Monge's uniform grey sculptures work against that register without forcing the contrast.
The figures neither belong nor clash. They simply persist in the space, absorbed and still, as though the room around them is beside the point.
The Grey Orchid places a reclining figure absorbed in a personal device. On the screen is a still life, the same one positioned in front of the figure. The present has become its own image. Experience does not disappear in that gesture.
Alejandro Monge , Synthetic Future (installation view), 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.
It gets distanced from itself, reproduced at one remove while the original sits right there, within reach and untouched. The work does not critique this. It records it.
The Last Nomad shows a figure seated on a motorcycle, an object built for speed, stripped of its function. Neither advancing nor resting, the figure holds a moment that seems to extend without resolving.
Alejandro Monge , Synthetic Future (installation view), 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.
The machine carries all the associations of departure, freedom, movement, escape. Here it sits still. The possibility of leaving and the impossibility of leaving occupy the same frame.
The Inverse Shapes works move outdoors, into the garden, where faces carved into stone disrupt the spatial logic of the rest of the exhibition. Dimensionality appears inverted. Androgynous figures emerge from the matter, as though rising from something eroded by time rather than carved by intention.
They observe. They do not interact. Monge uses portraiture not to individualize but to ask what it means that a form this close to a face carries so little recognizable interiority.
Alejandro Monge, Synthetic Future (installation view), 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.Alejandro Monge, Synthetic Future (installation view), 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.
Across all three bodies of work, the material reinforces the argument. Resin and cement produce surfaces that simultaneously recall stone, concrete, and something that might be called synthetic skin.
The uniform grey removes chromatic hierarchy. Looking at these sculptures takes a moment of adjustment, not because they are strange, but because they feel almost familiar, and that familiarity is precisely what unsettles.
What Monge is tracking is not a crisis yet to come but a shift already underway. Hyperconnectivity and isolation, physical proximity and emotional distance, are not predictions.
Alejandro Monge, The Inverse Shapes (IV) , 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.Alejandro Monge , The Inverse Shapes (VI) , 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.
They describe something that most people recognize from their own experience right now, if they stop to look at it. The exhibition places that recognition in a room and holds it there, without resolution, without diagnosis.
Working within a Spanish sculptural tradition that runs from Juan Muñoz's theatrical figures through Jaume Plensa's meditations on interiority, Monge shifts the terms into a present shaped by technological mediation.
Alejandro Monge, The Grey Orchid (detail), 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.
The certainty that the body once carried, in classical statuary, in the figure as site of moral and aesthetic order, has been replaced here by a sustained question.
What does it mean to remain human when the boundaries between body, technology, and identity have quietly moved?
Alejandro Monge , Synthetic Future (installation view), 2026. CourtesyLA BIBI Gallery , Palma de Mallorca.
One comes back to the figures in the garden. Carved into stone rather than built out from it, they emerge inverted, their surfaces worn, their features suspended between presence and geological record.
From a certain angle, they look like something that has already been here longer than the exhibition. From another, they look like they are just arriving. That ambiguity is not a stylistic choice. It is where the show's argument lands.
Instagram Alejandro Monge La Bibi Gallery Instagram
Ester Almeda on Instagram María García Marqués Instagram
Alejandro Monge, The Grey Orchid (detail), 2025. Courtesy LA BIBI Gallery, Palma de Mallorca.
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