Ana Riaño
Rrss Le Monochrome
06 Sep - 30 Oct 2016
ANA RIAÑO
Rrss Le Monochrome
6 September - 30 October 2016
In the Abstract Cabinet, Sala Rekalde presents the exhibition by Ana Riaño included in the barriek 2016 programme, whose purpose is to display work by artists who have been awarded Grants for Artistic Creation by the Regional Council of Bizkaia.
THE EXHIBITION
In the RRSS project, I sought to investigate the convergence of two different phenomena. The first of them is that of constructing identity as an artist. With the emergence of post-modernity and after the transavantgardes, the identity of the artist, the work, the art world, etc., have been put in parentheses where they still remain. In this regard, from the earliest years at University, certain doubts have been instilled in those of us who have decided to belong to the world of art in some way regarding what it means to belong to that world. Somehow or other, we turn into artists without knowing what the process of becoming one involves, without knowing the road ahead. However, it simultaneously teaches us that we have to project a more or less specified image of ourselves to the other stakeholders of the world of art, whether they are gallery owners, museums, press, other artists, etc. If it true that in the training years, based on issues referring to your work, you acquire expertise that in principle, has to help you when “selling your work”, advertising your work, etc. This is something that is also identified once you have left the university behind and when you embark on your artistic career. There is always one conversation present in those with other artists, with gallery owners, as artists-in-residence in art centres: how to market yourself, how to emerge, how to make sure they know about you and your work. What is interesting about this phenomenon (and I introduce the second element here) is its convergence with the new fashion of the so-called Social Media. In this new and technological aspect of our identity, some movements occur in general that are extremely interesting (opening up your privacy to third parties and unknown people, management of the image itself, naturalness or artificiality in the assertions made) which become even more interesting when it overlaps with what is discussed above. The question is: what image do artists, gallery owners, museum directors, art critics, etc. project in the virtuality of the social networks? And what image could be projected by deceased artists who did not live alongside the new technologies?
I therefore conceived the RRSS project to illustrate this. The project encompasses different pictorial items where I portray social media statuses of artists, gallery owners, museum directors, art critics, and other stakeholders in my milieu, that is, phases, ideas, photos they have posted in Facebook, Twitter, videos uploaded to YouTube, etc.
I have focused on Yves Klein, an artist that fascinates me, for the exposition at Sala Rekalde. He is one of those artists where his life merged with his work, as was the case of others such as Duchamp and Picasso. Admiration for an artist often also comes from their biography and I am therefore showcasing a semi-real biographical section of Yves Klein, by generating non-existent screenshots of this life as if he had lived alongside the new technologies and social media. I thus aim for reality and fiction to merge in a single plane of meaning.
Ana Riaño
THE ARTIST
Ana Riaño (Bilbao, 1985) lives and works in Bilbao. In 2008, she graduated from the Fine Arts Faculty of the University of the Basque Country (UPV/EHU) and has attended different workshops with Manu Arregui, Dora Salazar, Begoña Zubero, Imanol Marrodán among others.
In Bilbao, she was also a fellow-in-residence at the BilbaoArte Foundation 2011. During the last year, she lived and exhibited at La Cité Internationale des Arts in Paris. Her works have several times been recognised with citations in the Bancaja International Awards for Painting, Sculpture and Digital Art and Ertibil Bizkaia. In 2014, she was awarded the Bizkaia Provincial Council production scholarship and she was a finalist in Estudio 120 m at the Wurth Museum in La Rioja and in the Arte Laguna International Award (Venice) and selected in Aquí y Ahora at the Blanca Soto gallery in Madrid. In 2015, she was a finalist in the 2015 Caja de Extremadura Open Work International Art Award (Plasencia, Cáceres), in the Muliers Muliers of the MUA-Alicante University Museum, and was selected to take part in The New Fair at the New Gallery, Madrid. This year, she was also selected in the 30th BMW Painting Prize.
Rrss Le Monochrome
6 September - 30 October 2016
In the Abstract Cabinet, Sala Rekalde presents the exhibition by Ana Riaño included in the barriek 2016 programme, whose purpose is to display work by artists who have been awarded Grants for Artistic Creation by the Regional Council of Bizkaia.
THE EXHIBITION
In the RRSS project, I sought to investigate the convergence of two different phenomena. The first of them is that of constructing identity as an artist. With the emergence of post-modernity and after the transavantgardes, the identity of the artist, the work, the art world, etc., have been put in parentheses where they still remain. In this regard, from the earliest years at University, certain doubts have been instilled in those of us who have decided to belong to the world of art in some way regarding what it means to belong to that world. Somehow or other, we turn into artists without knowing what the process of becoming one involves, without knowing the road ahead. However, it simultaneously teaches us that we have to project a more or less specified image of ourselves to the other stakeholders of the world of art, whether they are gallery owners, museums, press, other artists, etc. If it true that in the training years, based on issues referring to your work, you acquire expertise that in principle, has to help you when “selling your work”, advertising your work, etc. This is something that is also identified once you have left the university behind and when you embark on your artistic career. There is always one conversation present in those with other artists, with gallery owners, as artists-in-residence in art centres: how to market yourself, how to emerge, how to make sure they know about you and your work. What is interesting about this phenomenon (and I introduce the second element here) is its convergence with the new fashion of the so-called Social Media. In this new and technological aspect of our identity, some movements occur in general that are extremely interesting (opening up your privacy to third parties and unknown people, management of the image itself, naturalness or artificiality in the assertions made) which become even more interesting when it overlaps with what is discussed above. The question is: what image do artists, gallery owners, museum directors, art critics, etc. project in the virtuality of the social networks? And what image could be projected by deceased artists who did not live alongside the new technologies?
I therefore conceived the RRSS project to illustrate this. The project encompasses different pictorial items where I portray social media statuses of artists, gallery owners, museum directors, art critics, and other stakeholders in my milieu, that is, phases, ideas, photos they have posted in Facebook, Twitter, videos uploaded to YouTube, etc.
I have focused on Yves Klein, an artist that fascinates me, for the exposition at Sala Rekalde. He is one of those artists where his life merged with his work, as was the case of others such as Duchamp and Picasso. Admiration for an artist often also comes from their biography and I am therefore showcasing a semi-real biographical section of Yves Klein, by generating non-existent screenshots of this life as if he had lived alongside the new technologies and social media. I thus aim for reality and fiction to merge in a single plane of meaning.
Ana Riaño
THE ARTIST
Ana Riaño (Bilbao, 1985) lives and works in Bilbao. In 2008, she graduated from the Fine Arts Faculty of the University of the Basque Country (UPV/EHU) and has attended different workshops with Manu Arregui, Dora Salazar, Begoña Zubero, Imanol Marrodán among others.
In Bilbao, she was also a fellow-in-residence at the BilbaoArte Foundation 2011. During the last year, she lived and exhibited at La Cité Internationale des Arts in Paris. Her works have several times been recognised with citations in the Bancaja International Awards for Painting, Sculpture and Digital Art and Ertibil Bizkaia. In 2014, she was awarded the Bizkaia Provincial Council production scholarship and she was a finalist in Estudio 120 m at the Wurth Museum in La Rioja and in the Arte Laguna International Award (Venice) and selected in Aquí y Ahora at the Blanca Soto gallery in Madrid. In 2015, she was a finalist in the 2015 Caja de Extremadura Open Work International Art Award (Plasencia, Cáceres), in the Muliers Muliers of the MUA-Alicante University Museum, and was selected to take part in The New Fair at the New Gallery, Madrid. This year, she was also selected in the 30th BMW Painting Prize.