16 Sep De carne y éter: Picasso, Miró y Tàpies
Source Credit: Content and images from Wall Street International Magazine by . Read the original article - https://www.meer.com/en/82883-de-carne-y-eter-picasso-miro-y-tapies
The practice of the Spanish painter and street artist Julio Anaya Cabanding (Málaga,
1987) has so far been characterised by reproducing ‘masterpieces’ of Western art on
worn-out cardboard and graffiti-laden walls.
For his second exhibition at ADN Galeria, titled De carne y éter: Picasso, Miró y Tàpies,
Anaya has decided to pay tribute to these three central figures of the 20th century
avant-garde, coinciding with the commemorations that will be dedicated to them in
Spain between 2023 and 2025. The exhibition is included in the programme of the
Barcelona Gallery Weekend 2024.
The Opening will be attended by the artist.
Made on fragile media, the trompe-l’oeil paintings by Julio Anaya Cabanding (Málaga, 1987)
establish dialogues with works from a historical moment that is not our own. Irreverent in
practice but respectful in technique, Anaya Cabanding’s copies examine certain ideas that
have to do with authorship, authenticity and ownership, as well as with the competencies
of the institutions that govern the art world, such as the conservation and transmission of a
legacy.
Along these lines, De Carne y Éter includes versions of iconic works such as Picasso’s La
femme qui pleure (1937) and La siesta (1932), and Tàpies’ Tela blanca amb cartró cosit
(1963). By recreating these works halfway between copying and meta-painting, Anaya
pays tribute to these artists and also invites the public to reflect on the condition of their
artistic methodology – acrylic painting on abandoned cardboard – and to reflect on the
nature of their work.
The use of humble materials in Julio’s work establishes a direct connection with the claim of
the historical avant-gardes to explore the possibility of elevating everyday objects to
artistic status. But cardboard is not the only medium with which Julio Anaya works. The
ephemeral impact of his works has also been transferred to the street. Although many of
them have been erased or damaged, Julio’s ‘tributes’ have also populated the walls of
Malaga’s urban environments.
From the beginning of his career, Anaya has questioned the value of a work according to its
place of exhibition, questioning the traditional notions of validation and prescription
that we tend to associate with museums and the rest of the agents in an artistic context.
Something that, if we go back to the list of syntonies between Julio’s work and the
ambitions of modern art, connects with that of fusing art and life and with the question of
the accessibility of these two elements to everyone.
In this way, Julio’s works seem to approach – beyond the material obviousness – the concept
of the ‘poor image’, that which has already been squeezed and worn out by copy-paste and
its indiscriminate use. Considered in this way, perhaps the impression that Julio’s
productions allude to a reference in the history of art that holds the title of original, whose
translation in Julio’s cartoons would be a re-production, thus extending the original/copy
debate, is perhaps erroneous. On the contrary, what Julio works with is its condition as a
remixed, phantom image, exploited and distributed through channels other than the
official ones.
Julio’s proposal has the capacity to inscribe itself in so many debates initiated during
Modernity that it shows the pertinence of his work from different points of view. Firstly,
because it shows to what extent these debates remain unresolved in our present – or
perhaps we are still living with their poor resolution. Secondly, because it points to the
exhaustion of the concepts with which we have approached these same debates:
‘transhistoricity’ (Jameson), ‘authenticity’ (Adorno) or the ‘poor image’ (Hito Steyerl). It is
precisely this that should be seen as one of the important ‘themes’ of Julio’s work, beyond
homage, meta-painting and the urban condition.
The exhibition will open on 19 September at 12 noon at ADN Galeria (C/ de Mallorca, 205,
L’Eixample, 08036 Barcelona), and will remain open to the public until the end of
September.
The practice of the Spanish painter and street artist Julio Anaya Cabanding presents a
challenge to the history of art. On worn cardboard and graffiti-laden walls, he reproduces
masterpieces of Western art. In contrast to their fragile environments and substrates, his
trompe l’oeil works establish transhistorical dialogues with the works of past masters.
Irreverent in practice but respectful in technique, Anaya Cabanding’s prints examine ideas
concerning authorship, authenticity and ownership, as well as the competencies of the
institutions that govern the historical and contemporary art worlds, such as conservation
and transmission.
Throughout his career, the artist has participated in solo and group exhibitions in museums
and art centres such as the Russian Museum Collection (Malaga, ESP) or the Kulturpalast
Rabenstein (Chemnitz, GER). His works are part of collections such as Genalguacil Pueblo
Museo Collection (Málaga, ESP.), Casa Sostoa Collection (Málaga, ESP.), Begehungen
Collection (Chemnitz, GER)- Collection Diputación de Malaga (Málaga, ESP) – Collection of
the University of Málaga (Málaga, ESP).
Source Credit: Content and images from Wall Street International Magazine by . Read the original article - https://www.meer.com/en/82883-de-carne-y-eter-picasso-miro-y-tapies