JULIO ANAYA CABANDING
Malaga, Spain. 1989
Lives and works in Malaga, Spain.
My job is to carry out pictorial interventions in abandoned places. In these places I paint in trompe l’oeil paintings that are considered works of art of the pictorial tradition, displacing these paintings to inhospitable and decadent places, inappropriate to receive these valuable objects. We could define it as the poetic action of symbolically unlocking the paintings of the sacralized space of the museum to place them in other places, generating new meanings in that encounter.
I am interested in resorting to these paintings because they are icons of the pictorial tradition and considered works of art that any person, with more or less knowledge of the art world, accepts and identifies as art in capital letters, associated with the great museums and institutions.
I assume that the artistic activity that I develop makes use, or uses, of the rhetoric of the world of graffiti. This means that my interventions take place within margins of risk, which in many cases produce reactions of rejection that turn my work into a totally ephemeral proposal. These places where I work have in common that they are usually located in peripheral locations and their state is of absolute decadence. Leaving the safe and comfortable space of a studio to actively search for abandoned places to inhabit them for short periods of time. This aspect of the procedure highlights the importance of the procedural character in the execution of the work.
The ephemeral nature of my work makes photography fundamental in my process because, allowing the documentation of the work, it gives meaning to the artistic action. The story closes with this gesture: the painting of a painting, which may no longer exist.
In few occasions the spectator can approach the work and contemplate it live, since the interventions usually take place in places that are difficult to reach, so probably nobody will ever see them. The result is not just a painting that pretends to be a painting and its relationship with the environment, a sometimes strange and inhospitable scenery, it is also the action of taking the painting from the museum, stealing the image, stealing the painting and taking it out of the institution to put it in another place, in a place where it is never seen or seen differently