Santiago Reyes Villaveces
Reside
April 20–May 28, 2016
Opening: April 20, 6pm
MLF | Marie-Laure Fleisch
13 Rue Saint Georges
Sint-Jorisstraat
1050 Brussels
T +32 (0)2 648 21 01
brussels [at] galleriamlf.com
Curatorial note by Eugenio Viola
On Wednesday, April 20, at 6pm, as part of Art Brussels’ Gallery Night, MLF | Marie-Laure Fleisch inaugurates its new space in Ixelles, the contemporary art district of Brussels par excellence. The opening show is the site-specific project of Santiago Reyes Villaveces, Reside.
Next to its complex polysemy linked to its figurative use, the verb “to reside” (from the Latin “residēre”) also indicates the legal and administrative choice of a particular residence in a specific place; or more generally, it denotes the choice of a fixed abode, or a place where one sojourns for a more or less stable period. This last meaning of the verb “to reside” expresses the modus operandi of Santiago Reyes Villaveces to create this exhibition: both his sojourn in the Belgian capital and the specificity of the exhibition space determined the conceptual parameters of his work.
The research of Reyes Villaveces confronts itself with the Brazilian Neo-Concrete tradition and the “Tropicália” Movement, in specific the work of Hélio Oiticica and Lygia Clark, and the poetics of the fragment inspired by Jorge Luis Borges. From the former, he derives a sense of transitivity and precariousness of the work; from the latter, a concept of the fragment as a representation of an aesthetics of ruins, interpreted in a non-romantic sense.
The artist’s preferred medium is sculpture, of which he explores its various possibilities, analysing different categories and the physical structures of materials. Therefore, his work tends towards a reciprocal system, in which the relation between materials, their form and collocation in space are destitute from any hierarchical organisation. Its plastic vocabulary creates a minimalist language, expressed in what the Colombian artist defines as an “immanent/silent architectural sensibility,” traced from the precarious structures that form the daily routine of cities in which he lived and worked: Bogotá first and foremost, and in this specific case, Brussels.
Cities can be considered as never-ending building sites swarming with objects that express a relentless tension between their residual and structural state. These objects lie at the heart of the artist’s practice, making “objets trouvées” the primary materials of his work. In his process of creation, they play a transitory function: residues or fragments of former constructions and a wide range of materials intelligently assembled, rendered un-functional and simultaneously raised to the level of art work, are used to study the expressive and formal possibilities of objects, and their interaction with space and light.
Reyes Villaveces’s work stretches the physical limits of matter, challenging the concepts of scale, volume, weight, tension, gravity, surface, resistance, pressure, limits, perspective and depth. His sculptures are represented as singular and visually forceful instruments originating from a short circuit between matter and surface, from mass and structure, expressed both as the synthesis of form and proportion that each single work takes on in respect to the rest. In this way, a few simple elements, sharply positioned in the exhibition space, question the sense of perception, and as such activate a relation between the architecture of the exhibition space, the viewer’s perception, and the temporal element of the viewing experience.
Santiago Reyes Villaveces (1986, Bogotá) lives and works in London. In 2015 he won the Abraaj Royal College of Art Innovation Scholarship 2015/2017 and is currently following an MA in Sculpture at the Royal College of Art in London (2015/17). In 2014 he was artist in residence at Cittadellarte, Pistoletto Foundation, Biella, Italy.
His works and projects have been presented in, among the others: SPACE, Irvine, California, 2016; Instituto de Visión Gallery, Bogotá, Colombia, 2015; Museo de Arquitectura Leopoldo Rother, Bogotá, Colombia, 2014; Cavallerizza Reale, Turin, Italy, 2014; Museum of Banco de la República, Bogotá, Colombia, 2013; Pinacoteca de Estado de São Paulo, Brazil, 2009.
