esther achaerandio

My artistic interests are based on the logic of contradiction. My methodology aims to reveal the absurd side of the social structures that govern us and shape us culturally. I constantly use irony as a strategy for creating a certain distance from our pre-established, inherited constructions, which lets us think and play with possible realities that haven’t yet been colonised. Most of my work deals with close-to-hand concepts found in the everyday life of anyone in our current context. Meanings are trans gured, twisted and juxtaposed to create a contradiction, extravagant scene – dissent that lets spectators think from another perceptive. Link to a video interview: https://vimeo.com/66415347

statement

SHORT TALES CLEANING THE MONUMENT SELF IMPROVEMENT EXERCISES FINANCIAL TIMES INTER-VIEW

index

short tales

Abstract: Short Tales presents a selection of projects that the artist has been working on for pleasure since 2001. While this exhibition is comprised of a variety of works, they do not aim to ladder up to a singular thesis. That said, they are tied together as they all raise the same question: "What if...?" Short Tales o er up simple, but compelling, stories that transport us to a world where ction coexists with everyday realities. Imagination is needed to enter the realm of "Once upon a time" and with an appreciation for irony and parody this project will undoubtedly be entertaining, if nothing else...

LIBERTY TOUR

Photography 25x25 cm. / 9.8x9.8 in. 2011

OUT OF PLACE

Mixed Media 25x25x21 cm. / 9.8x9.8x8.2 in. 2011

BREAD CRUMBS TRAIL TO THE END
Bird poop on canvas 21x21x5 cm. / 8.2x8.2x2 in. 2011

BARE NECESSITIES

Mixed Media 70x60 cm. / 27.3x23.4 in. 2011

HANDCUFFS

Mixed Media 27x8x1 cm. / 10.5x3.1x0,4 in. 2011

WHO IS THE STUPID TO SHOOT FIRST?
Installation Site speci c 2011

THE MOST HEAVY ARTWORK
Mixed Media 5x5x11 cm. / 2x2x4.3 in. 2011

FLYING OVER GUERNICA
Installation Site speci c 2011

32+1

Mixed Media 10x15x1 cm. / 3.9x5.9x0,4 in. 2011

MODERN GRAFFITI

Mixed Media 15x6x10cm. / 5.9x2.3x3.9 in. 2011

MODERN GRAFFITI

Photography 10x15 cm. / 3.9x5.9 in. 2011

L.H.O.O.Q.

L.S.D. Postcard 10x15 cm. / 3.9x5.9 in. 2011

BROKEN MONUMENT

Mixed Media 8x8x18 cm. / 3.1x3.1x7 in. 2011

BLIND DEMOCRACY

Mixed Media 2x2x5,4 cm. / 0,8x0,8x2.1 in. 2011

NATIONAL'S ABSTRACTIONS
Installation Site speci c 2011

cleaning the monument

Abstract: CLEANING THE MONUMENT is a project about the Third International Monument that was never built, it is based on the Svetlana Boym’s book "The Future of Nostalgia", where she explains the two kinds of nostalgia that characterize our relationship with the past. First, the action to clean the monument, which is the main topic in the project, refers directly to the “restorative nostalgia”: a strategy to remove and erase the past memory and longing emotions, through thorough a transhistorical reconstruction of the lost home, to legitimize the existing order. On the other hand, the purpose cleaning of Tatlin’s Monument generates a ction that refers to the “re ective nostalgia” as a way to explore and inhabit many places at once and imagining di erent ways to understand the time, in other words, developing a re exive context to change over time and the manner in which the dust covers the objects, making them obsolete, even if it has never existed.

CLEANING THE MONUMENT

DV VIDEO 11’21’’ 2009 Video Link: https://vimeo.com/57863452

CLEANING THE MONUMENT
Serigraphy and drawing 50x50 cm. / 19.7x19.7 in. 2010

self improvement series

Abstract: CLEANING THE MONUMENT is a project about the Third International Monument that was never built, it is based on the Svetlana Boym’s book "The Future of Nostalgia", where she explains the two kinds of nostalgia that characterize our relationship with the past. First, the action to clean the monument, which is the main topic in the project, refers directly to the “restorative nostalgia”: a strategy to remove and erase the past memory and longing emotions, through thorough a transhistorical reconstruction of the lost home, to legitimize the existing order. On the other hand, the purpose cleaning of Tatlin’s Monument generates a ction that refers to the “re ective nostalgia” as a way to explore and inhabit many places at once and imagining di erent ways to understand the time, in other words, developing a re exive context to change over time and the manner in which the dust covers the objects, making them obsolete, even if it has never existed.

MONEY AFFIRMATIONS

DV VIDEO 5’18’’ 2009 Video Link: https://vimeo.com/57863447

MONEY AFFIRMATIONS
DV VIDEO 5’18’’ 2009

MONEY AFFIRMATIONS
DV VIDEO 5’18’’ 2009

MONEY AFFIRMATIONS

MONEY MASK 27x21x10cm. / 10.6x8.3x3.9 in. 2010

LOVE AFFIRMATIONS

DV VIDEO 4’ 2009 Video Link: https://vimeo.com/57863450

LOVE AFFIRMATIONS
DV VIDEO 4’ 2009

LOVE AFFIRMATIONS
DV VIDEO 4’ 2009

nancial times

Abstract: FINANCIAL TIMES proposes an irony about the current nancial crisis. As a result of an economy based on speculation casino games, it has been proliferated endemically nancial bubbles that produce large pro ts in the short term, although they are infesting the market structure. FINANCIAL TIMES is a metaphoric example of nancial terror that threatens against the global economic stability which is paid in terms of unemployment and social exclusion.

FINANCIAL TIMES

Installation (25 Parcels bomb) Site speci c installation 2009

FINANCIAL TIMES

Installation (25 Parcels bomb) Site speci c installation 2009

FINANCIAL TIMES

Installation (25 Parcels bomb) Site speci c installation 2009

FORBES RANK

Digital print 21x18.85 cm. / 8.3x7.4 in. 2009

COMMERCIAL'S SUPREMATIS
25 Paintings. Oil on canvas 50x50 cm. / 19.7x19.7 in. 2009

COMMERCIAL'S SUPREMATIS
25 Paintings. Oil on canvas 50x50 cm. / 19.7x19.7 in. 2009

inter-view

Abstract: INTER-VIEW is a video that deals ironically with the control and manipulation processes routinely found during a search for employment, particularly if young people with no experience are involved. The encounter between candidate and interviewer often turns into an unconscious act of degradation on the interviewer’s part who, in addition to wielding greater power over the job seeker, regularly abuses candidates and interferes in their private lives, even though this is illegal. Privacy’s boundaries are ignored and it is left totally unprotected, subject to need and the harsh glare of a voracious labour market. Nevertheless, we are usually obliged to make this kind of systematic concession, because if not, it is impossible to be part of “society”. Humiliation and discrimination lie within the context of what is politically correct.

INTER-VIEW

DV VIDEO 5’ 2008 Video Link: https://vimeo.com/57863446

INTER-VIEW
DV VIDEO 5’ 2008

INTER-VIEW
DV VIDEO 5’ 2008

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