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Ghost painting 11, 2011                    
Adhesive spray on Ikea painting. 57 x 56,5 x 2,5 cm

Galvana 1: Indolencia Colonial, 2011
Paper and methacrylate. 31 x 22 x 4 cm

Ghost painting 1, 2011
Knock-off Malevich “Black painting”. Acriych and adhesive spray. 5 x 5 cm

Ghost Painting 2. 2011
Knoff-off Malevich “Black Painting”. Acrilych and adhesive spray. 20 x 20 x 7 cm

Ghost Painting 13, 2011
12 IKEA table panels with spray paint. 55 x 55 cm e.o.

Ghost painting 4, 2001
Sandpaper on wood. 20 x 20 x 4,5 cm

Ghost Painting 8, 2011
Acrilych and adhesive paint. 20 x 20 x 4,5 cm

Ghost Painting 11, 2011
Acrilych and adhesive paint. 180 x 300 cm

Ghost Painting 6, 2011
Acrílych and adhesive spray. 20 x 20 x 4,5 cm

Ghost Painting 9, 2011
Acrílych and adhesive paint. 40 x 40 x 4,5 cm

Ghost Painting 10, 2011
Acrilych and adhesive paint. Knock-off Hemo Zobernig. 40 x 40 x 4,5 cm

Ghost Painting 7, 2011
Decollage. 20 x 20 x 4,5 cm

Ghost Painting 5, 2011
Acrilych and adhesive paint. 20 x 20 x 4, 5 cm

Attempting to send a Morse code message, 2011
Edition of 5. Video 3.45’

Apparition, 2011
Edition of 5. Video 4. 52’

Me importa un comino, 2011
Edition of 5. Video 60:33’

Kristoffer Ardeña
¿Quién es José Rizal?
March 24 - May 14, 2011

4 notes on what to expect in the exhibition:

  1. The exhibition title refers to Jose Rizal, born in 1861, died 1896. He is the national hero of the Philippines. The question serves as the premise to analyze and understand alternative strategies in relation to the construction of identity and aesthetic paradigms.
  1. Ghosts Paintings: in the exhibition you will see knock-offs of Kazimir Malevich’s Black Square, Ad Reinhart’s Black Paintings or Robert Rauschenberg’s White Paintings. You can even see an IKEA painting found in the garbage in Barrio Salamanca, Madrid. These paintings have lost their original purpose and have been reduced to their face value. The idea is to convert painting into readymade. The painting is then painted using adhesive spray trapping dust and other residue in the site where it is located onto its surface. A process that is a continuous work-in-progress.
  1. Nowadays, artists are trained not only in painting, photography, sculpture, video, printmaking, drawing or even performance or its derivatives but how to formalize ideas. An artist’s ideas and strategies have become increasingly important. This can be done in a myriad of ways: by embedding philosophical claim or exploring theories until it yields an aesthetic condition, choosing a pseudoscientific way of working or injecting formal approaches to themes. As a consequence the act of conceptualizing has become an acquired skill just like any other traditional format. An artist was hired to conceptualize and produce an artwork based on the exhibition title.
  1. In the main exhibition space there are three videos and three sculptures. They are shown for two weeks at a time. The 1st two-weeks: a video and sculpture called Apparition consisting of a topographical map of the Philippines formed by accumulated dust. 2nd two-weeks: video called Attempting to Send a Morse Code Message about an Impotent Situation (Version 1) where a set of Christmas lights flickers to a Morse code message. With it, a sculpture called Dead Tree Bears No Fruit, a dried-up Christmas tree that has not been watered for 8 months. The 3rd two-weeks: one-hour long video that plays with the Spanish expression, Me Importa un Comino (which in English would translates to “I could care about a cumin seed”). Its textual significance has been reconfigured. Someone is counting 4,365 cumin seeds. A sculpture of a cumin seed bathed under a spotlight can be found in the same space.


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