.png){kind=small}
La courte échelle
Guest-curated by Yto Barrada, Mateo Lopez and Carlos Garaicoa
Meriem Bennani, M'Barek Bouhchichi, Yaima Carrazana, Johanna Castillo, Juliana Góngora,
Dania González, José Manuel Mesias, Mazenett Quiroga and Santiago Reyes Villaveces
Online viewing room
July 1 to August 8, 2020
Santiago Reyes Villaveces
Andaluz, 2016
Wood found object & steel bar
250 x 30 x 85 cm
Courtesy of the artist and Instituto de Visión, Bogotá
Quoted prices are exclusive of taxes,
custom duties and shipping costs
Andaluz was conceived and produced in the Andalusia Spanish region. The two objects: the wood ornament and the bar, were found wandering in Andalusia. With no apparent relationship between them, the ornament is common in the Andalusian region and the bar is a generic tool-bar for labouring in fields. Andaluz is a sculpture ruled by the principle of reciprocity: the wooden ornament and the metal bar relate in a dependent way to configure the standing structure assembled by gravity. In a reciprocal relation, there is no subordination of one to another. However, in Andaluz, the bar is slicing the wood as the blade cuts the eye in the surrealist film Un Chien Andalou (An Andalusian Dog) [1929] of Luis Buñuel and Salvador Dalí.
Santiago Reyes Villaveces
Footer, 2017
Wood, graphite and gallery’s hammer
243 x 28 x 140 cm
Courtesy of the artist and Instituto de Visión, Bogotá
Quoted prices are exclusive of taxes,
custom duties and shipping costs
Footer is constituted by a combination of mechanical and symbolic forces. A wedge system assembles two shinny found wood logs; originally carved to be used as a fence gate. All wedges are exerting reciprocal forces in the orifice to maintain the assemblage. The same hammer used to batter the wedges, precisely fits in the bottom gap to support the structure. The red hammer becomes the mean and the end. All the elements that constitute Footer are exerting a structural function except the graphite and its allure effect.
Biography
Santiago Reyes Villaveces is a Colombian artist whose practice explores sculptural and post-sculptural processes. He combines a research focus with material studio aspects. His current practice includes installations, sculptures, drawings, prints, archival fictions, and performative actions that forge speculative relations across diversely produced material. Through his practice, Santiago often explores site responsive aspects, which might mean that he seeks to transform, determine, modify, and interfere in the spaces in which they operate. His current projects revolve around mineral histories. Blending geopolitics of spatial conquest with a critical engagement with colonial histories, his research grapples with questions about matter as the system of the mineral world and its relationship with the construction of the sociopolitical histories, fictions, and speculative processes. These projects use film, neon, prints, sculptures, and readymade objects from the collection of institutions to spatialize his research process.
In 2015, he won the Abraaj Royal College of Art Innovation Scholarship 2015/2017. Santiago holds an MA in Sculpture from the Royal College of Art in London (2015/2017) and a degree in Visual Arts and History and Theory of Art from the Universidad de los Andes in Bogotá (2009). In 2019 he was the winner of the Matteo Olivero Award in Italy, nominated by the Italian curator Eugenio Viola and selected by the jury composed by Chrissie Iles, Anne and Joel Ehrenkranz Curator of the Whitney Museum of American Art, New York and Stefano Raimondi. His works and projects have been presented in public and private spaces, in South America, North America, Asia, Europe and the Middle East.
Lives and works in Bogotá and Ambalema, Colombia.
