Andrea Canepa, an artist who reconciles and reinvents the pre-Columbian world with the Western world

More at Retiro, exhibition at IVAM It is the most ambitious project I have brought to the fore now Andrea Canepa, precisely in Valencia, where he trained as an artist. If it is a site-specific Designed for a room with two plants, its architecture poses huge display challenges.

These openings, however, seem to be in addition repugnant to the conception of this work; in this way the result is to move into a room and be catapulted into a project that turns out to be surprising.

Textile, a material that the artist has used practically since the beginning of her career, functions here as an essential element as well as an invisible substance, thanks to which everyone is like a catcher of experiences in a place that takes place elsewhere. In this way we understand Andrea Canepa’s talent for DIY, which is characteristic of his work and which is very effective given his interest in to conceive work as a function of space and not as simple objects.

This is how the display is strategically appropriate for the artist; an effect that draws attention to its theatrical character as understood by and through Rosalind E. Krauss erase boundaries between disciplines and barriers with the viewer, as part of the job.

In this sense, I would like to point out a similarity the importance that the material has in Andrea Canepa’s work. As we can observe in this exhibition, and it is common in its production, he turns to fabrics, madeira, metal or crystal to twist the expected form, elevated to a poetic and symbolic level.

Idea The charm of the sensual (translated as The magic of feelings) by David Abram – exploring the way modern Western culture is breaking down a sensory relationship with the natural world through written language and abstract ideas– is the source of Andrea Canepa’s inspiration for the development of this project, a peaceful conflict, two worlds: Western and pre-Columbian.

On the bottom plant, a series of multicolored hanging canvas caps and structures emerging from the ground form a cave landscape. On the womb side, this scenario seems to evoke a deep departure from the Earth’s interior. This allows us to be attentive to how much we drive, it helps us to establish a connection with the environment, where once in a while we progress through the mental and sensory space and what arises in us, but in which cases we can touch it. And so Andrea Canepa presents us with a summary in which the body moves further than thought. There, the experience takes on an unexpected dimension, collides in invisible places, lives in other worlds.

All change the scale in the stage space which can suddenly be a children’s garden open to play. In medium light, if you add hidden plants, caves, corridors and estalactitas leaves, until the waving of the leaves of the flying snake leads us to the upper plant, it flies towards you, at the height of the stairs, with a tapestry. The upper part of the pinton.

This jump to a large-scale canvas, between Hilma af Klint and Sophie Taeuber-Arp, landed in a superior space that could be heavenly, now despejado, where the line spreads horizons in all directions. Here abstraction does not definitively, in a more reductive sense, disfigure space until it leaves it at the intersection of the line. In this installation, an ablandamiento of the minimal human form for Robert Morris and Donald Judd, provoking a metaphysical leap that feels futuristic.

From a row, as a zócalo, to hang Extraordinary pies that like sombrosos quiebrosthey paralyze as long as possible. This transformation of the form and its subtlety as an ornament (Adolf Loos) projects other views of the world that we know from the dramas of the present without completely hiding them. Because of this food and drink loss of geometric shape density abstracta always calls for a sense of calm without losing sight of success, what is behind us and what was to come.

With him Andrea Canepa He seems to be invoking Inca culture and calling Utaca to indicate a path from which to recognize huacas, spaces of harmony, where it remains poetic and spiritual, even more than merely material.