Santiago Ydáñez and the heartbreaking beauty

 

 

El Jardín de las Delicias, 2017 (Al fondo)

 

 

Santiago Ydáñez studied Fine Art in Granada and for the last 14 years he has divided his time between Jaén and Berlin. He was born in 1969, in the town of Puente de Génave, Jaén. He was influenced by the contact with earth and the countryside, animals and hunting. These features will create his symbolic world: erothic or forbiden sensuality, huge and strident portraits, “dismemberments” as a type of vanitas, defiant animals close-ups, art history reinterpretation, etc. The axial line of his work rests on the basic, primitive feelings shared by both humans and animals.

 

 

Sin título 2014

 

 

The artist uses photography as source material. Taking it as an starting point, he firstly makes a quick charcoal sketch and then picks up his brushes. He paints swiftly and impulsively, applying energetic, grey and black strokes in a rapid brushwork. These pieces cause different emotions in viewers: pain, pleasure, ecstasy and nostalgia. The artist use different support surfaces: canvases, books or objects he picks up at markets.

 

 

Versión de la obra ¡…Y tenía corazón! / Anatomía del corazón de de Enrique Simonet

 

 

The exhibition features selected paintings from the last decade of his career. Among them, `El Jardín de las Delicias (2017)´, an enormous 315 x 1000 cm canvas, shows the face of a blonde girl whose melancholy gaze speaks of absence, versus the tranquil beauty of a lost paradise. It is a criticism of cultural and ethical decadence that brought Germany to Nazism.
His exploration of the philosophical links between original and copy can be seen in a version painted specifically for CAC Málaga of Enrique Simonet's work ¡… Y tenía corazón! / Anatomía del corazón (1890), now exhibited in the Museo de Málaga, that renders a doctor making an autopsy to a prostitute. Apart from these pieces, we can also find objects such as cutlery boxes, frames, a mirror and jewellery cases, on which he paints or draws the same motifs and characters that appear in his paintings.

 

 

Objeto intervenido

 

 

Ydáñez’s artwork can be admired until the 24th of September in Contemporary Art Centre Málaga, where can be also visited the permanent collection, several summer workshops or Danielle Van Zadelhoff exhibition, dutch photographer.

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.