Ydañez tastes the soup of eels (aalsuppenstil) with which Aby Warburg compared its own tangled, complex and unfinished way of work. These eels coil together like the deadly snakes on the body of Laocoon and his children that illustrates both beauty and tragedy. Apollo and Dionysus. For Warburg, the history of Western civilizations is traversed by this polarity. Impossible to contemplate the nudes painted by Ydañez in his "intervened boxes" as an ideal form of art. Impossible to ignore the tensions that shake the entrails of his images. Impossible to isolate them from the threat that looms over the flesh of those bodies that share space with sharp knives and axes of the nineteenth century. Eros (beauty) knows his deadly destiny (Thanatos). To dissect is to open. To open means to tear but also to create possibilities. Ydañez's painting is an open painting of possibilities, which deconstructs the disciplinary boundaries...of the image and turns the history of art into a total archeological phenomenon where the traces of the paganism, the religious and the scientific converge. It is an obsessive painting, built of vestiges and survivals. Undoubtedly, and after so many announced deaths, the greatest survival is the art of painting itself that relives again and again under the speedy brush of Santiago Ydañez.
Santiago Ydañez: Painting as Archeology is the first solo exhibition of Santiago Ydañez in China, the exhibition is organized by Whitebox Art Center, The Ministry of culture of Spain and the Special cooperation of xd culture platform. The curator of the show is PhD. Susana Sanz.
Entrada actualizada el el 21 feb de 2018
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