WORK

Lumpenkult
Ruins of the Anthropocene
The Future Lies Behind
The Barbarians Among Us
Alternate Monuments
Rewriting the 21st Century
Rise and Fall of a Rogue State
Analog Documents
(Fake) Wall Paintings
Scenes of a Revolution yet to Come
Lives of Eminent Philosophers
Last Days of Capitalism
Banners
Posters
Classic Drawings
Concrete Processes /
Landscapes with Ruins
Rationalist Models
Decorative Sculptures
Vignettes / Cartoons / Other Suites
Early Drawings / Soft Sculptures
Miscellanea
 
 

CV/CONTACT

 

TEXTS

 
 
Licencia de Creative Commons


 

RUINS OF THE ANTHROPOCENE

The contemporary phenomenon of aestheticization of ruins, leaving aside the case of Detroit, has found its preferred source of imagery in the former Eastern Bloc. As in 19th-century Romanticism, and earlier in Renaissance, the current interest in the remains of bygone cultures has little to do with the historical reality of the periods from which formal references are gleaned. The rediscovery and exploitation of art of pagan antiquity in Late Medieval Italy was possible precisely because its connection with ruination neutered the potential danger posed by its non-Christian origins. Once the ruins have been emptied of their primitive political meaning, the cult of aestheticization contributes to feeding new ideological narratives about the past. A significant consequence of this process is the collapse of the temporal and spatial complexity into a single time and place: ruination obscures historical and geographic context.
This project consists in a set of fabricated ruins, familiar-looking fragments of ancient objects without a clearly identifiable origin. In the amalgamation of visual references we can pick out symbols and motifs from various human civilizations of the past (from Babylon to the USSR) as well as from our present. Considering such diverse ages and cultural traditions on the same level is just a step further in the mentioned process of appropriation of the aesthetic leftovers from a defeated civilization by a victorious one, including ourselves in the first category.
     
   





     



















Historical Relief
2016 / 125 x 178 cm / Plasterboard, acrylic paint
Still Life
2016 / 57 x 100 cm / XPS, clay, acrylic paint and airbrush
Humanity
2016 / 66 x 65 cm / XPS, clay, acrylic paint and airbrush
Warrior
2017 / 100 x 54 cm / Plasterboard and acrylic paint
Head
2017 / 100 x 54 cm / Plasterboard and acrylic paint
Beast
2017 / 100 x 54 cm / Plasterboard and acrylic paint
Working Machines
2017 / 71 x 60 cm / Plasterboard, clay and acrylic paint
Mosaic of Two Leaders
2017 / 55 x 75 cm / Wood, clay and plastic paint
Red Armies
2017 / 70 x 120 cm / XPS, clay, plastic paint and marker









Code of Law
2017 / 48 x 37 cm / XPS, clay and plastic paint
Common Chimera
2017 / 30 x 35,5 cm / Plasterboard, clay and airbrush
An Inhabitant of Europe
2017 / 62 x 61 cm / XPS, clay, plastic paint and airbrush
Tale of the Hare and the Dwarf (in Seven Parts)
2017 / 12 x 46 x 62 cm / Plasterboard, clay, plastic paint and airbrush

Installation View

Souvenirs from Nowhere / Matadero, Madrid / 2016

Installation View

Zena eta dena / Kartzela zaharra, Markina / 2017

Installation View

Zena eta dena / Kartzela zaharra, Markina / 2017