Opening
Friday 1 September 2023
7pm
1 – 23 September 2023
Monday – Saturday
3pm – 8pm
proyectoamil
Lima
proyectoamil is pleased to present Burlador Burlado by Armando Andrade Tudela, Peruvian artist based in France. This exhibition is his second in our Camino Real space and brings together a series of works created by the artist between 2008 and 2023.
La Verdad ha Cambiado (2020-22) is a film that explores the complex relationships between pedagogy, the avant-garde, indoctrination, and violence in Peru’s recent history – recurring themes in the artist’s practice. The work documents a series of scenes performed by four actors based on a visual script created by the artist. This script arises from montages that interweave images from the photographic archive of the Art Department of the Universidad Católica with representations of physical torture and psychological abuse. A “game of mirrors” is created, where dynamics of submission and domination are integrated into the pedagogical functioning of the Faculty, opening what the artist considers a ‘third zone of behavior (or reparation)’.
The triptych Un Pentágono Tallado en Piedra (2008-2023), created specifically for this exhibition, is a visual montage made of the artist’s films produced since 2008. These films, mostly shot in 16mm and re-edited for this work, are what Andrade Tudela calls “visual signs that, once interweaved, generate new chains of content. This actualization extends their temporality.” The work also presents collages, personal photos, and found images. Andrade Tudela seeks to create a visual montage where the division between the political and the biographical, the actual and the archaeological yields to a ‘new form of tenebrism’, a zone of allegorical, acid opacity, with signs with/without history. Un Pentágono Tallado en Piedra is a ‘zone’ where diverse temporalities and sources converge in a continuous loop.
The film Huaco Deforme (2012) exhibits a Chancay ceramic in permanent rotation and shows the most deformed area of the circumference, intensifying the interplay between light and shadow. This approach gives the film an almost liquid quality, generating an atmosphere in which the object seems to be at the limit of visibility. Huaco Deforme challenges the perception of our collective heritage by exploring deformity and singularity, thus opening up a counter-archeological and counter-modern dimension.
The work Gavilán X7 (2023) is, in the artist’s words, “a very quirky reconstruction of the last seconds of life of the macabre sculptor Balthazar Gavilán.” According to Ricardo Palma in the story De cómo una escultura dio la muerte al escultor, the Colonial sculptor Baltazar Gavilán (XVIII) dies of horror when he finds himself in the half-light of his studio in front of what would be his last work: The Archer of Death. For Andrade Tudela, Gavilán’s life and work evoke the dark and eerie aftermath of the colonial project but also about the almost mischievous, or rather, tragicomic image of the “artist” as a mocker mocked by its own craft.
Cuatro checos deshacen un nudo (2018-2023) is part of a series of sound sculptures that the artist has intermittently produced since 2015. This work combines four different recordings of checos, an Afro-Peruvian instrument from Zaña, remixed and manipulated by the artist by extending the silences and spaces between notes. Andrade Tudela seeks to make audible the spectral dimension of what lies ‘behind the sound’ and, by confronting it with an unknotted rope floating in space, to provide it with material dimension. The work seeks to activate what the artist has called ‘an animist space, where the relationship between spirit and phenomenon acquires its own agency, materiality, and dramaturgy’.
Armando Andrade Tudela’s work addresses the processes of rupture and continuity that shape identity narratives, as well as their modes of representation and formalization. With this intention, the artist seeks to create an ecosystem in which the political converges with the material, the biographical, and the traumatic. Recently his work has been included in Chosen Memories, MoMA in New York, and Itinerarios XXVII at the Centro Botín in Santander as well as solo exhibitions at the CAP Saint-Fons in Lyon, Dvir Gallery in Tel Aviv, and Francesca Minini Gallery in Milan. He is currently preparing an exhibition at Carreras Múgica Gallery in Bilbao scheduled for May 2024 and a project for public space in Lyon.
Since 2018, he has held the position of professor of volume and installation at the ENSBA Lyon master’s degree.
The artist wishes to thank Merryl Bouchereau, Coco Debord, Espace Montebello, Julie Kieffer, Morgane Roumegoux, Franck Lestard, Bruno Silva, Alain Dumas, Elsa Boyer, Elfi Turpin, Julio Lugon, Ines Fontaine, the Botín Foundation in Santander, the Fondation des Artistes in Paris and the Fondation Bullukian in Lyon. He also thanks Jean-Marc Guillot and the audiovisual department of the Ensba Lyon, Guillaume Seyller, Jorge Vignati, Illiari Mujica-Dumas, Carlos León X, Valentina Jager, Noémie Besset, Studio Ganek, Verónica Majluf, Ralph Bauer, DRAC Auvergne-Rhône Alpes, Jimena González, Renzo Gianella, to all in proyectoamil, Alessandra Minini, the Association Sauf Imprévu, Ena Andrade Tudela, Ena Tudela, Armando Andrade de Lucio, Max Hernández Calvo, Emilia Curatola, the Carreras Múgica Gallery in Bilbao, the Massimo Minini and Francesca Minini Galleries in Brescia and Milan, and the Fortes D’Aiola Gabriel Gallery in São Paulo. Special thanks go to Magalie Meunier, Hannes Bock, Vincent Guiomar, Juan Carlos Verme, and Isadora Andrade Mujica.
*This film was produced with the help of filmmaker Jorge Vignati, “the continuous thread twists and turns on itself”.
