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| Santiago Ydáñez‘s work represents another
extension of the poetics on the body that have been so
influentual over the past years in the international
scene. Nonetheless, in his case it is around painting -
as it is in other different cases from Luc Tuysmans to
Marlene Dumas - that different questions, that seem to
interest critics and artists, are formulated about identity
or human nature. The fact that a painted portrait is an
instrument of choice - and we are purposedly calling it
instrument rather than theme - has made it so that he
be associated with, above all a tradition that includes
Edward Munch and Francis Bacon, rather than the
poetics that we are referring to now. Because of this he
has been classified as, I think superficially,
Expressionist or Neoexpressionist, based solely on the
appearance of his work. What is worse is that a careful
analysis of appearance, in truth, leads to opposed
conclusions. The formidable influences that Formalism has on Spanish critique - that continues to classify by appearances rather than content - is responsable for this serious myopia. As we will see Ydáñez’s paintings are not exactly Expressionist. Moreover I think that his distancing himself from Expressionism is what makes them more interesting. Ydáñez speaks to us - as all artists do on the other hand - of the depths of the human soul, but the way in which he does so is also with metalinguistic and conceptual thoughts of equal importance. The self-portrait is a genre which compares the work of art to the artist - it seems to say “my work is me”- but in this case, as in many others, there is no tendency towards realist verisimilitude, nor - even more suprisingly - towards psychological characterization. What we see are studied faces. Or, in the same space, masks :functional and useful, they reveal and hide simoultaneously. Santiago Ydáñez definitely offers us an extensive repertoire of screams and complaints which couldn’t seem any more Expressionist. Yet, although he presents us with extreme expressions of his own face or of other people’s faces, he does so through analysis , method, serializing, and chromatic restraint. He purposefully never lets himself be swayed by subjectivity or improvisation. In contrary to Wilhelm de Kooning, who tried to capture something felt or real, that is not exactly visible through repetition - women, landscapes, or women as landscapes - Ydáñez concerns himself with how that moment of capture can be expressed. For him painting is an instrument and not an aim unto itself, something characteristic of all of the postmodern aesthetic tactics. In the case of repetition, it is not a heroic and tragic act, but something that has more to do with the neutrality of minimalist serializing. On the other hand, the chromatic use of black and white refers to the apparent photographic or cinematographic objectivity (and, in fact, many frames demonstrate an interest in film - Paco Barragán has spoken of Cassavetes and Lynch - as relevant as the interest he has for painting). Yet, all of us are aware nowadays that photographic neutrality can be used subjectively. Ydáñez’s paintings speak to us, precisely, of the opposite, of how the subjectivity of painting as it refers to gestures can be used objectively. By doing so he is, perhaps, fleeing from the anonymous subject of the fateful Neoepressionists that gave such a bad reputation to painting after a euphoria that was not always, in order to be fair, groundless. In any case the absence of color in Ydáñez’s work highlights its conceptual nature. By avoiding Naturalism and Symbolism, that would allow for those violent chromatisms that one can imagine as inherent to those distorted faces, he converts his work into declarations and consequently into representations. A careful study of his brushstroke - the primordial instrument of gestural Expressionism - reaffirms our opinions. His are ample, loose brushstrokes of a definite relaxed appearance. Nonetheless, they are the result of an iron will to control. They are, I think, thoguht out more than they are improvised or felt. With them he is going after a specific effect far from that of producing them as a physical reflex from a psychic act, as was typical of Expressionism. These brushstrokes are not produced by Ydáñez in this way, but he paints this way in order to obtain a certain effect, and this effect is a kind of energetic monumentality. Even in the smaller formats, the faces that he paints have one more dimension to them than what is natural. Even more clearly, in the larger formats, the enourmous mouths cause us to lose ourselves in their interiors. The open mouths suggest shouting in a literal form, but metaphorically they speak of a double yearning or double desire. The artist’s desire to devour us through his discourse in the search for complicity - and to also proclaim his personality and identity. And, (to proclaim) the artwork’s spectator’s will that searches for the door to the total space of desire within it. All the same, seeing that the human face is the physical door to its interior, these paintings remind us that all spiritual experience cannot proceed without us. In other word , his paintings reminds us that the keys to what we are, are inside of us and that we will not find the ultimate maps of the meaning of existence if it is not within our interior. Santiago Ydáñez’s paintings have made me think of the famous sculptures of facial expressions that Frank Xaver Messerschmidt made in Austria in the XVII Century and that fascinated so many different artists - from Arnulf Rainer to Marc Quinn. In any case, Messerschmidt’s work has something encyclopedic about it, like a medical inventory. Yet, Ydáñez’s work is impregnated with skepticism. Instead of an inventory filled with possibilities, he repeats the same gestures in a conscious and studied way. He seems to imply that communication and paining - in one last word, art - have their limitations, finding, like Gerhard Richter, a certain optimistic pathos in the ritual repetition. Ydáñez speaks to us about what we are like, about our pains, joys and yearnings. He makes us think, as Cioran recalls, that lamentation always arises from a longing for paradise. |
2011 |
Storyboard, BonelliLAB, Mantova |
| Santiago Ydáñez - Selected Group Exhibitions | |
2012 |
Io sono, LipanjePuntin artecontemporanea, Trieste (Italy) |
| Il fuoco della Natura/ The Flash of Nature, Salone degli Incanti -Ex Pescheria, Trieste (Italy) | |
2011 |
Digues-me que m'estimes encara que sigui veritat, Galeria Sicart, Vilafranca del Penedès (Barcelona) (Spain) |
| Storyboard, BonelliLAB, Canneto sull'Oglio (Mantova) (Italy) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2010 |
Invaliden 1, Berlin (Germany) |
| 1000 Ways to keep one love, Galeria S.E, Bergen (Norway) | |
| Palácio de los Condes de Gabia, Granada (Spain) | |
| Presente perfecto, Memória de Andalucia, Caja Granada, Granada (Spain) | |
| MACO Mexico, Galeria GE, Monterrey (México) | |
| Galeria Carlos Carvalho, Lisboa (Portugal) | |
| Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Roma (Italy) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2009 |
Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Trieste (Italy) |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Arco, Fernando Santos Gallery, Madrid (Spain) | |
| Art Brussels, Fernando Santos Gallery, Brussels (Belgium) | |
| Bienal Internacional de l'Arte , Cerveira (Portugal) | |
| TIAF. Toronto International Art Fair, Artcore Gallery , Toronto (Canada) | |
| Are You Famous, t20 Gallery / Invaliden 1 Gallery, Murcia (Spain) | |
| Kunsthalle Kiel / Invaliden 1 Gallery, Berlin (Germany) | |
| , Isabel Hurley Gallery, Malaga (Spain) | |
| Chirivella Soriano Collection, Bellas Artes Museum, Castellon (Spain) | |
| Art Basel, Ge Hot Gallery, Basel (Switzerland) | |
2008 |
3 points of view, Spirale Arte, Verona (Italy) |
| Art Verona, LipanjePuntin artecontemporanea , Verona (Italy) | |
| Evil Christmas, Wonderland Art Space, Copenhagen (Denmark) | |
| Toronto Art Fair, Artcore Gallery , Toronto (Canada) | |
| Bienal de Sevilla, Ars fundum, Sevilla (Spain) | |
| CAC Malaga, Malaga (Spain) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| ARCO, G.Horrach Moyà-G.Fernando Santos, Madrid (Spain) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Art(verona, LipanjePuntin artecontemporanea, Verona (Italy) | |
| Espai d'Art Contemporani, Castellon (Spain) | |
2007 |
Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) |
| Sin cuerpo, LipanjePuntin artecontemporanea, Roma (Italy) | |
| ARCO, Galeria Luis Adelantado, Madrid (Spain) | |
| Art(verona, LipanjePuntin artecontemporanea, Verona (Italy) | |
| Faccia lei, Arsenale Novissimo Spazio Thetis, Venezia (Italy) | |
| Scenes du sud, Musée d'Art Contemporain, Nîmes (France) | |
| Wir haben keine probleme , Invaliden1 Gallery, Bergen (Norway) | |
| Toronto Art Fair, Artcore Gallery, Toronto (Canada) | |
| Lisbon Art Fair, Galeria Fernando Santos, Lisboa (Spain) | |
2006 |
Muestra 001, Galeria Luis Adelantado, Monterrey (Mexico) |
| ARCO, Galeria Luis Adelantado, Madrid (Spain) | |
| Art Miami, Galeria Luis Adelantado, Miami (USA) | |
| Art Chicago, Galeria Luis Adelantado, Chicago (USA) | |
| FIAC, Galeria Luis Adelantado, Paris (France) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Riparte, LipanjePuntin artecontemporanea, Napoli (Italy) | |
| KunStart, LipanjePuntin artecontemporanea, Bolzano (Italy) | |
| Art Basel Miami Beach, Galeria Luis Adelantado, Miami (USA) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Art(verona, LipanjePuntin artecontemporanea, Verona (Italy) | |
2005 |
MACO, Galeria Luis Adelantado, (Mexico) |
| Art Basel Miami Beach, Galeria Luis Adelantado, Miami (USA) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Art Chicago, Galeria Luis Adelantado, Chicago (USA) | |
| Six Ring Tones, Invaliden1 Gallery, Berlin (Germany) | |
| ARCO, Galeria Luis Adelantado, Madrid (Spain) | |
| Art Miami, Galeria Luis Adelantado, Miami (USA) | |
2004 |
Art Basel Miami Beach, Galeria Luis Adelantado, Miami (USA) |
| Artissima, LipanjePuntin-Luis Adelantado-Palma12, Torino (Italy) | |
| FIAC, Galeria Luis Adelantado, Chicago (USA) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| ArtMiami, Galeria Luis Adelantado, Miami (USA) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
2003 |
Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) |
| Arco, LipanjePuntin & Luis Adelantado, Madrid (Spain) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Artissima, Galería Luis Adelantado, Torino (Italy) | |
| Art Basel Miami Beach, Galería Luis Adelantado, Miami (USA) | |
| Galería Palma XII, Vilafranca del Penedés, Barcelona (Spain) | |
| FIAC, Galería Luis Adelantado, Paris (France) | |
| Niños, CASA Centro de Arte de Salamanca, Salamanca (Spain) | |
2002 |
Generación 2002, Premios de Arte Caja Madrid, Travelling Show, (Spain) |
| Art Basel Miami Beach, Galería Luis Adelantado, Miami (USA) | |
| Art Chicago, Galería Luis Adelantado, Chicago (Usa) | |
| Colección L'Oréal Arte Contemporáneo, Fundación Laxeiro, Vigo (Spain) | |
| FIAC, Galería Luis Adelantado, Paris (France) | |
| Artissima, LipanjePuntin & Luis Adelantado, Torino (Italy) | |
| Muestra 001, Galería Luis Adelantado, Monterrey (Mexico) | |
| Arco, Galería Adelantado & LipanjePuntin, Madrid (Spain) | |
| Art Miami, Galería Luis Adelantado, Miami (Usa) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Usa) | |
2001 |
Artissima, Galería Luis Adelantado, Torino (Italy) |
| Itinerarios 1993/2000, Un camino compartido, Instituto Cervantes y Academia de España, Roma (Italy) | |
| Generación 2001. Premios de Arte Caja Madrid, Travelling Show, (Spain) | |
| FORO SUR, Galería Luis Adelantado, Cáceres (Spain) | |
| Art Chicago, Galería Luis Adelantado, Chicago (Usa) | |
| Figuraçoes, Galería Mario Sequeira, Braga (Portugal) | |
| Itinerarios 1993/2000, Un camino compartido, Fundación Marcelino Botín, Santander (Spain) | |
| Arco, Galería Luis Adelantado, Madrid (Spain) | |
| FIAC '01, Galería Luis Adelantado, Paris (France) | |
| XXI Alexandria International Biennial, Foreign Affairs Office, Alexandria (Egypt) | |
| Colección Premio de Pintura L'Oréal, Centro Cultural Gran Capitán, Granada (Spain) | |
| Art Miami, Galería Luis Adelantado, Miami (Usa) | |
2000 |
Colección Premio de Pintura L'Oréal, Sociedad Económica Amigos del País, Malaga (Spain) |
| Attraverso l'immagine, Forte dei Marmi (Italy) | |
| Art Chicago, Galería Luis Adelantado, Chicago (Usa) | |
| FIA '00, Galería Luis Adelantado, Caracas (Venezuela) | |
| IX Bienal Nacional de Arte, Oviedo (Spain) | |
| Artissima, Galería Luis Adelantado, Torino (Italy) | |
| Arco, Galería Luis Adelantado, Madrid (Spain) | |
1999 |
FIA '99, Galería Luis Adelantado, Caracas (Venezuela) |
| Itinerarios 1998/99., Fundación Marcelino Botín, santander (Spain) | |
| Arco, Galería Luis Adelantado, Madrid (Spain) | |
| Art Chicago, Galería Luis Adelantado, Chicago (Usa) | |
| XV Premio de Pintura L'Oréal, Centro Cultural Conde Duque, Madrid (Spain) | |
| Selección Muestra de Arte Joven, Travelling Show, Spain, Argentina, Chile (Ecuador and Perù) | |
1998 |
O guardador de rebanhos, Galería Por Amor á Arte, Porto (Portugal) |
| Arco, Galería Luis Adelantado, Madrid (Spain) | |
| FIA '98, Galería Luis Adelantado, Caracas (Venezuela) | |
| XIV Muestra de Arte Joven, Ministerio de Educación y Cultura, Madrid (Spain) | |
| Art Chicago, Galería Luis Adelantado, Chicago (Usa) | |
| Itinerarios 1998/99, Fundación Marcelino Botín, Santander (Spain) | |
| Lorca y la música, Museo de Arte Contemporáneo de Sevilla, Sevilla (Spain) | |
1997 |
Intolerancia, Palacio de la Madraza, (Spain) |
| Lorca y la música, Centro Artístico La General, Granada (Spain) | |
1996 |
Galería Sandunga, Granada (Spain) |
1995 |
Palacio Villardompardo, Jaén (Spain) |
| Nuevas Miradas, Fundación Rodríguez-Acosta, Granada (Spain) | |
| Homenaje a Rivera, Facultad de Filosofía, Granada (Spain) | |
1993 |
Jóvenes Artistas Andaluces, Malaga (Spain) |
| Santiago Ydáñez - Selected Solo Exhibitions | |
2011 |
Galeria S.E, Bergen (Norway) |
| Galeria Fernando Santos, Porto (Portugal) | |
| Galeria Martin Mertens, Munich (Germany) | |
| Hospital Real, Granada (Spain) | |
| Centre d'Art Contemporain de Perpignan, Perpignan (France) | |
| GELIFRACCIONES, Galeria Marco Rossi, Milano (Italy) | |
2010 |
Just Mad, Feira de Madrid, Madrid (Spain) |
| Galeria Martin Mertens, Munich (Germany) | |
| Castillo de Santa Barbara, Alicante (Spain) | |
| Centro Arte Contemporânea Graça Morais, Bragança (Portugal) | |
| Fundação Chirivella Soriano, Valencia (Spain) | |
| Galeria Sicart, Vila Franca del Penedes (Spain) | |
| Galeria Invaliden1, Berlin (Germany) | |
| Galeria Sandunga, Granada (Spain) | |
2009 |
Basf Center, Ludwigshafen (Germany) |
| Seven Contemporary Art, Den Haag (The Netherlands) | |
| Rodriguez Acosta Foundation, Granada (Spain) | |
| Snowscapes, Artcore Gallery , Toronto (Canada) | |
| Sandunga Gallery, Granada (Spain) | |
| Ga Gallery, Monterrey (Mexico) | |
| Invaliden1 Gallery, Berlin (Germany) | |
2008 |
Paraìso Perdido, Isabel Hurley Gallery, Malaga (Spain) |
| Asincronias, Museo de Bellas Artes de Murcia (MUNBAM), Murcia (Spain) | |
| Martin Mertens Gallery, Berlin (Germany) | |
2007 |
Galeria Gabriel Elizondo, Monterrey (Mexico) |
| Te Absolvo, Museum of Fine Arts, Huelva (Spain) | |
| Galerìa Milagros Delicado, Cadiz (Spagna) | |
| Huelva Museum, Huelva (Spain) | |
2006 |
Ojos, LipanjePuntin artecontemporanea, Roma (Italy) |
| Galeria Fernando Santos, Oporto (Portugal) | |
| Galeria Luis Adelantado, Valencia (Spain) | |
| Ojos, LipanjePuntin artecontemporanea, Trieste (Italy) | |
2005 |
Caja Inmaculada, Sala Luzan, Zaragoza (Spain) |
| Kur Galeria, San Sebastiàn (Spain) | |
| Artcore Gallery, Toronto (Canada) | |
2004 |
Galeria Casaborne, Antequera (Spain) |
| Galeria Llucià Homs, Barcelona (Spain) | |
| Galería T20, Murcia (Spain) | |
| Galería La Fábrica, Lisbon (Portugal) | |
| Galería Luis Adelantado, Valencia (Spain) | |
2003 |
Chiado 8 Arte Contemporánea, Lisbon (Portugal) |
| Galería La Fábrica, Madrid (Spain) | |
| Sala Rivadavia, Cadiz (Spain) | |
| Galeria Luis Adelantado, Valencia (Spain) | |
| Muestra 2. One Person Show, Galería Luis Adelantado, (Mexico) | |
| Galeria Punto y linea, Oaxaca (Mexico) | |
| Galeria Fernando Santos, Oporto (Portugal) | |
2002 |
Palacio de Maldonado, Universidad de Salamanca, Salamanca (Spain) |
| Galería Horrach Moyà, Palma de Mallorca (Spain) | |
| Garage Regium Arte, Madrid (Spain) | |
| Nuevas Pinturas, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Galería Ramis Barquet, Mexico City (Mexico) | |
2001 |
Palacio Condes de Gabia, Granada (Spain) |
| Galería Luis Adelantado, Valencia (Spain) | |
| Galería Palma Dotze, Vilafranca del Penedés - Barcelona (Spain) | |
| Galería T20, Murcia (Spain) | |
2000 |
Galería Baró Senna, São Paulo (Brasil) |
| Studio d'Arte Cannaviello, Milano (Italy) | |
| FIAC '00, Galería Luis Adelantado, Paris (France) | |
| Galería Luis Adelantado, Valencia (Spain) | |
1999 |
Galería Antonio de Barnola, Barcelona (Spain) |
| Palacio de Villadompardo, Jaén (Spain) | |
| Galería Luis Adelantado, Valencia (Spain) | |
1998 |
Centro de Lenguas Modernas, Granada (Spain) |
1995 |
Palacio Condes de Gabia, Granada (Spain) |
1994 |
Centro Cultural, Albacete (Spain) |
| Santiago Ydáñez - Private and Corporate Collections | |
| Museo de Mojácar, Almería, | |
| Museo de Zabaleta, | |
| Fundación Botín, | |
| Instituto de Estudios Jennenses, | |
| Facultad de Bellas Artes de Granada, | |
| Museo Sofía Ímber (Caracas, Venezuela), | |
| Junta Castilla-León, | |
| Colección L'Oréal (Madrid, Spain), | |
| Diputación de Jaén, | |
| Museo Municipal de Madrid, | |
| Colección Caja Madrid, | |
| Diputación de Segovia, | |
| Fundación Martínez-Guerricabeitia, | |
| Museo Nacional Centro de Arte Reina Sofia, | |
| Colección ABC (Madrid, Spain), | |
| Diputación de Albacete, | |
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