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Venue: daadgalerie
Was also part of: exp. 1
Born 1973 in Madrid, ES – lives and works in Madrid
Although the cartographies of Andrés Fernández might lead nowhere, they take us into the very mystery of existence, the time and place before birth. The atlases, perspective drawings, and lists of words that make up his body of work comprise a fabulous geography, the unexpected result of some Big Bang. Images of distant islands like Sumatra, personal scenarios, and experiences are fused into a secret mythology that takes us through the birth canal itself, through the mysterious transit zone of Cundinamarca. Some of the works seem to be underlined by patterns that recall the structures of urban planning, a city’s topography, or a traffic system, but Fernández’ drawings ultimately follow only the zigzagging movements of an inner logic and a dogged curiosity.
His compositions could be described as intimate maps for self-preservation. Some are shortcuts and illustrations taken from Fernández’ journeys through Madrid, taking the form of virtual tours, when leaving the house was not an option. As exuberant as they are practical, his travel guides feature neither monuments nor tourist attractions, although they may very well contain secrets for alleviating excess suffering or avoiding a fall into the abyss of meaning. The journey home is always bordered by psychic incidents and discomfort.
Andrés Fernández is member of Debajo del Sombrero, a Spanish artists platform that proposes new meanings for the word “disability.” His work does not just involve the production of images; it operates as an antidote, as a way to express forces far more powerful than the institutions of medicine and contemporary art. Leaving the beaten path and finding a new one involves danger. But it also offers the possibility of accessing new strategies and knowledge that help in the navigation of everyday life.
Alfredo Aracil
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
Maternidades subversivas
María Llopis
Monograph
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: daadgalerie
Was also part of: exp. 1
Born 1973 in Madrid, ES – lives and works in Madrid
Although the cartographies of Andrés Fernández might lead nowhere, they take us into the very mystery of existence, the time and place before birth. The atlases, perspective drawings, and lists of words that make up his body of work comprise a fabulous geography, the unexpected result of some Big Bang. Images of distant islands like Sumatra, personal scenarios, and experiences are fused into a secret mythology that takes us through the birth canal itself, through the mysterious transit zone of Cundinamarca. Some of the works seem to be underlined by patterns that recall the structures of urban planning, a city’s topography, or a traffic system, but Fernández’ drawings ultimately follow only the zigzagging movements of an inner logic and a dogged curiosity.
His compositions could be described as intimate maps for self-preservation. Some are shortcuts and illustrations taken from Fernández’ journeys through Madrid, taking the form of virtual tours, when leaving the house was not an option. As exuberant as they are practical, his travel guides feature neither monuments nor tourist attractions, although they may very well contain secrets for alleviating excess suffering or avoiding a fall into the abyss of meaning. The journey home is always bordered by psychic incidents and discomfort.
Andrés Fernández is member of Debajo del Sombrero, a Spanish artists platform that proposes new meanings for the word “disability.” His work does not just involve the production of images; it operates as an antidote, as a way to express forces far more powerful than the institutions of medicine and contemporary art. Leaving the beaten path and finding a new one involves danger. But it also offers the possibility of accessing new strategies and knowledge that help in the navigation of everyday life.
Alfredo Aracil
#fight4rojava
Graffiti
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
BLM KOREA ARTS
#BlackLivesMatter #BLMKoreaArts
Young-jun Tak
Statement
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: daadgalerie
Was also part of: exp. 1
Born 1973 in Madrid, ES – lives and works in Madrid
Although the cartographies of Andrés Fernández might lead nowhere, they take us into the very mystery of existence, the time and place before birth. The atlases, perspective drawings, and lists of words that make up his body of work comprise a fabulous geography, the unexpected result of some Big Bang. Images of distant islands like Sumatra, personal scenarios, and experiences are fused into a secret mythology that takes us through the birth canal itself, through the mysterious transit zone of Cundinamarca. Some of the works seem to be underlined by patterns that recall the structures of urban planning, a city’s topography, or a traffic system, but Fernández’ drawings ultimately follow only the zigzagging movements of an inner logic and a dogged curiosity.
His compositions could be described as intimate maps for self-preservation. Some are shortcuts and illustrations taken from Fernández’ journeys through Madrid, taking the form of virtual tours, when leaving the house was not an option. As exuberant as they are practical, his travel guides feature neither monuments nor tourist attractions, although they may very well contain secrets for alleviating excess suffering or avoiding a fall into the abyss of meaning. The journey home is always bordered by psychic incidents and discomfort.
Andrés Fernández is member of Debajo del Sombrero, a Spanish artists platform that proposes new meanings for the word “disability.” His work does not just involve the production of images; it operates as an antidote, as a way to express forces far more powerful than the institutions of medicine and contemporary art. Leaving the beaten path and finding a new one involves danger. But it also offers the possibility of accessing new strategies and knowledge that help in the navigation of everyday life.
Alfredo Aracil
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
Hatred Among Us
Lisette Lagnado
Essay
St Sara Kali George
Delaine Le Bas
Soundscape
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: daadgalerie
Was also part of: exp. 1
Born 1973 in Madrid, ES – lives and works in Madrid
Although the cartographies of Andrés Fernández might lead nowhere, they take us into the very mystery of existence, the time and place before birth. The atlases, perspective drawings, and lists of words that make up his body of work comprise a fabulous geography, the unexpected result of some Big Bang. Images of distant islands like Sumatra, personal scenarios, and experiences are fused into a secret mythology that takes us through the birth canal itself, through the mysterious transit zone of Cundinamarca. Some of the works seem to be underlined by patterns that recall the structures of urban planning, a city’s topography, or a traffic system, but Fernández’ drawings ultimately follow only the zigzagging movements of an inner logic and a dogged curiosity.
His compositions could be described as intimate maps for self-preservation. Some are shortcuts and illustrations taken from Fernández’ journeys through Madrid, taking the form of virtual tours, when leaving the house was not an option. As exuberant as they are practical, his travel guides feature neither monuments nor tourist attractions, although they may very well contain secrets for alleviating excess suffering or avoiding a fall into the abyss of meaning. The journey home is always bordered by psychic incidents and discomfort.
Andrés Fernández is member of Debajo del Sombrero, a Spanish artists platform that proposes new meanings for the word “disability.” His work does not just involve the production of images; it operates as an antidote, as a way to express forces far more powerful than the institutions of medicine and contemporary art. Leaving the beaten path and finding a new one involves danger. But it also offers the possibility of accessing new strategies and knowledge that help in the navigation of everyday life.
Alfredo Aracil
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.