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  • IÑAKI BONILLAS. Libro de horas: Sábado [“Book of Hours: Saturday”], 2020 | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    IÑAKI BONILLAS. Libro de horas: Sábado [“Book of Hours: Saturday”], 2020

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  • IÑAKI BONILLAS. Libro de horas: Jueves [“Book of Hours: Thursday”], 2020. (Detail) | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    IÑAKI BONILLAS. Libro de horas: Jueves [“Book of Hours: Thursday”], 2020. (Detail)

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    IÑAKI BONILLAS. Libro de horas: Jueves [“Book of Hours: Thursday”], 2020. (Detail)

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  • ASIER MENDIZABAL. Figures and Prefigurations (Divers, B. Munari, 1935), 2010 | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    ASIER MENDIZABAL. Figures and Prefigurations (Divers, B. Munari, 1935), 2010

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  • JOCHEN LEMPERT. Untitled (Automimikry), 2018 | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    JOCHEN LEMPERT. Untitled (Automimikry), 2018

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  • PIETER VERMEERSCH. Untitled, 2020 | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    PIETER VERMEERSCH. Untitled, 2020

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    PIETER VERMEERSCH. Untitled, 2020. (Detail)

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    PIETER VERMEERSCH. Untitled, 2020. (Detail)

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    PIETER VERMEERSCH. Untitled, 2020. (Detail)

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  • HANS-PETER FELDMANN. Women Legs, n.d. | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    HANS-PETER FELDMANN. Women Legs, n.d.

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  • HANS-PETER FELDMANN. Women Legs, n.d. (Detail) | FIAC ON LINE VIEWING ROOMS: FIVE WORKS | ProjecteSD

    HANS-PETER FELDMANN. Women Legs, n.d. (Detail)

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FIAC ON LINE VIEWING ROOMS: FIVE WORKS

Dates: 4.03.2021 - 7.03.2021
From
4.03
To
7.03
Of
2021

ProjecteSD’s presentation, FIVE WORKS, is constructed around the idea of the “collage”. A French term that comes from the word coller, or “to glue” that was coined by cubist artists such as Braque, Picasso and Gris, who began working with various mediums to create avant-garde assemblages in the 1910’s. Much has happened since then.

The five works chosen by ProjecteSD are not collages in a literal sense, but they all do explore and refer to the “collage” notion from different points of view. Five artists are presented. Iñaki Bonillas (MX, 1981) who extracts images from a photo archive to subvert the canonical use of negative strips of film and generate new narratives. Asier Mendizabal (ES, 1973) who refers directly to the photomontages of the early decades of the XXth century to put into perspective the complex articulations between the aesthetic and the political. Through the exploration of the properties and materiality of the photographic image and his acute observation of the natural world Jochen Lempert’s (DE, 1958) creates astonishing images that resist categorization. Some of them can be read as collages of life. A new work by Pieter Vermeersch (BE, 1973) a “painting” on marble is a perfect example to rethink the significance of collage in questioning the nature of painting itself. Last but not least, a real collage by Hans-Peter Feldmann (DE, 1941), artist who is “par excellence” a master in using this medium to explore the repetitive function of collecting pictures, iconic in Feldmann’s universe.