By Appointment Only as interpreted by Belinda Martín
Marginal places have the peculiarity of generating uneasiness and strangeness by its very nature, still they fascinate and captivate the human imagination like non others, privileging the creation of fiction. Perhaps, back yards or gardens are the commonest examples of those disturbing, yet ordinary, artificial constructs often hidden from public view which trigger creativity.
In them we can shape nature’s inherent wildness in a controlled human-made environment, collapsing the natural and artificial, the real and the unreal. Nonetheless, inasmuch as they reflect a fragment of reality, they pervert it. As spaces of re-presentation which mirror and subvert something else from reality, works of art tend as well to act as containers and makers of heterotopia.
Interested in the process by which artworks acquire an hermeneutic and self-absorbed character, Andrés explores the paradox of intentionally inaccessible art through a site-specific that reflects on its mere mode of being. With the alteration of the context in which an artwork is conventionally required to be seen, what serves to articulate its content is not the subject itself but the deliberate act of concealment set into motion by the piece.
By neglecting its accessibility to a wide audience the artwork posits itself as a space of otherness. One that is both openly acknowledged as existing, yet not freely accessible, and which come about when individuals are displaced through a break with the ordinary ways of confronting a work.