Andrés Fernández Pasando por Calais

27 Jun - 20 Sep 2019
Pasando por Calais


“You have reached the end of the line”, a distant voice awakens me from dream and I understand that it has happened to me again, I have abstracted myself and arrived, once again, at the end of the line, at that moment I think : How will Andrés Fernández interpret this phrase? These are convulsive times, of media speed, rain of images, stories and events; the earth moves as alwaysbut we feel that it goes faster, that it leaves us behind, that time flies away. Art is affected by these changes, the artist is not the same as before, now he is not only in the studio, he is moving from one place to another, he is dodging a number of situations, he is surviving day to day, the artist “can be anyone”, the subway driver, the person who brought you a coffee today, the lawyer, the teacher, the doctor. That makes me think: where is the art, what is its place? As in all artistic movements, art has occupied a place, has created diverse and sometimes unforeseen spaces of meaning. Someone with a lot of calm told me one day: “You will not know yet, it’s too early to know.”

But there are aspects that persist or at least I try to point them out whenever I can, bring them up. I made a small list:

  • art is an act of resistance.
  • art saves.
  • art is a way to see and understand the world, to generate meanings that will then be placed in view of all, in spite of their fragility and vulnerability, with courage.
  • art is the silence of things, or at least it is in that pause between two great cries, a space between storms.

In the face of Andrés Fernández work, I think about these aspects and I imagine that, while I am at this moment thinking and writing these words, he is drawing a map or making a list, he is persisting in the existence of his own language, of his intimate universe and, That is not an act of courage? I would say it is, exposing the fragility of the trace to a voracious world like ours. He stops and offers everyone a work that doesn ́t promote the speeds or superficialities of our environments, but rather takes us inward, to our unique individual conformation, to everything he calls the “hidden states of our world.”

Recently the diaries of young Susan Sontag were published. In them, she reveals how important it is to make lists; granting things a value insofar as they are named: “Things (Beethoven’s music, movies, business enterprises) will not exist unless I indicate my interest in them, at least write down their names. There is nothing unless I keep it (for my interest, my potential interest). It is a last concern, especially subliminal. Therefore, we must always be, both in the most active theory, interested in everything. Taking into account that knowledge is my province”. These lists of innumerable things, likes and dislikes created her world, as she calls it. As it happens in the work of Fernandez: a kind of knowledge as a province.

The artist sees the world, represents it and in that representation re-signifies it. Andrés creates maps, scenes and plans with a fragile trace that seems like the thread of a memory, a cartography of the experience. It reminds me of artists born from the situationism movement, to the idea of “psychogeography”, but at the same time I recognize their work in the difference. Fernández portrays himself on each map, on each drawing made without lifting the pencil from the paper, representing only what is in his field of vision (as Sontag would do with her lists), in compilation mode. Fernández does not carry out a conscious cartographic research nor a formal artistic study: he is saving himself through art, he is being, making everything around him exist and that we all become silent, a silence that interrogates about the place that art occupies and the role of the artist, an eloquent silence. We at Ana Mas Projects are witnesses of this event and it is a pleasure to share it.


Diana Rangel

Ana Mas Projects

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