Author Archive
KIV-Acacia / CEART SLP
La aritmomancia y la numerología reconocen en el tres al poder universal. Este número representa la naturaleza tripartita de la condición humana: cuerpo, alma y espíritu; el ciclo del nacimiento, vida y muerte. De la misma manera, Acacia simboliza el principio, el medio y el fin. Esta instalación es una metáfora de los misterios de la vida y la muerte que generan un ciclo completo en sí mismo; presente, pasado y futuro, unidos por el poder metafísico del arte.
Las tres fases de la instalación Acacia representan, entre otras cosas, el tránsito simbólico por un espacio que es el todo y el fin de todo: la regeneración.
En un primer espacio abierto, el visitante se encuentra con el lugar donde ha de instalarse la muerte: un cementerio exportado en vías de construcción, donde el perímetro de cal que define el área que ocupará cada una de las tumbas, sugiere el frágil encuentro entre la inmovilidad y el movimiento. Al atravesar la imagen de la capilla funeraria de la logia “El Potosí”, impresa sobre tres lienzos, el visitante se encuentra repentinamente dentro de un oscuro túnel sin salida. Al fondo, al igual que el rayo de sol que impacta la imagen de la puerta de la capilla funeraria, un haz de luz ilumina un ataúd, cuya cubierta porta una estrella de bronce de cinco puntas; a su lado, una pala de oro y un maso de plata reposan inertes, mientras un retoño de acacia crece para alcanzar las palabras de la iniciación que se reflejan dentro del ataúd: mi nombre es acacia.
αϗαϗια, que en griego significa, tanto la planta misma como la calidad moral de la inocencia o pureza de la vida, es la condición iniciática para emprender el ascenso hacia el grado más elevado de la evolución espiritual. La catarsis inducida por el Arte, al igual que la naturaleza inmutable y siempre verde del retoño de acacia, evocan la mejor parte de nosotros mismos, aquella que nunca muere. De la misma manera, esta instalación nos recuerda que en el inicio de la vida, la inocencia permanece inmóvil en su tumba, en espera de la inevitable llamada hacia su “inmortalidad.”
“Mi nombre es Acacia”: el poder de los símbolos
La palabra cementerio proviene del griego κοιμητηριον que significa dormitorio.
Cada vez que se presenta, el Proyecto Koimeterion -Proyecto K- cobra una dimensión distinta, porque el espacio es parte esencial del mismo, al igual que mi experiencia en su creación.
A la presentación del Proyecto K en el Centro de las Artes de San Luis Potosí, le corresponde cronológicamente el número cuatro
Son precisamente la letra K y el número cuatro romano los que, simbólicamente unidos, representan el compás y la escuadra entrecruzados. Entrecruzados como los hilos de las parcas; entrecruzados como los hilos que delimitan sobre la tierra, las tumbas del del cementerio exportado y en vías de construcción. Un cementerio inacabado, como la vida que sabemos con certeza cuando inicia pero jamás cuando termina. Entrecruzados como las vidas de los que hoy estamos aquí reunidos.
KIV es un espacio que contiene otro espacio que representa el espacio donde ha de instalarse la muerte.
Un espacio que ha sido liberado, tanto de su función original como de su concepto. Un cementerio que no es cementerio, dentro de una cárcel que no es cárcel: Arquitectura de lo absurdo. Arquitectura de la libertad.
Esta noche celebramos diez años de libertad de una cárcel que hoy alberga artistas en lugar de presos y me siento muy honrado de haber sido uno de los sepultureros de su pasado.
Del mismo modo en que en el año de 1890 este penitenciaría fue inaugurada sin estar acabada, hoy se inaugura esta instalación sin terminarse, como una metáfora del cementerio mismo: ese espacio donde inicia aquello que nadie sabe donde termina.
La imagen que dio origen a la instalación que lleva el nombre de Acacia se me presentó mientras tomaba la fotografia de la entrada de la capilla funeraria de la logia “El Potosí”, dentro del cementerio “El Saucito” de esta ciudad.
El sauce y la acacia, ambos árboles que nacieron en un cementerio y que cobran una dimensión diferente cuando se convierten en símbolos.
El retoño de acacia que crece detrás del ataúd, nos recuerda que la inocencia que reposa dentro de este no está muerta, simplemente duerme esperando ser despertada por la voz del Gran Arquitecto, para dejarse conducir a un estado de conciencia más elevado. Acacia es entonces una metáfora de la muerte en vida y su resurrección.
Con el nacimiento se abren las puertas del templo de los misterios, al cual entramos con los ojos vendados para no ser cegado por la luz de la sabiduría que en él habita. Al salir de esta iniciación tenemos un nombre: nuestro nombre es Acacia.
Alejandro Gómez de Tuddo
Centro de las Artes de San Luís Potosí, 24 de agosto de 2018
KIII – Pantonecropolis – Columbarium / CENART
KIII Exhibition Entrance
Columbarium Installation – Centro Nacional de las Artes, Mexico City, October 2017-February 2018
Self-Portrait, Columbarium – Centro Nacional de las Artes, Mexico City, October 2017-February 2018
Columbarium_Performance_CENART_2018
KIII Foyer
Pantonecropolis Hall
Metaphysical Leeways Trilogy
The Alchemical Garden I – Cinecittà, Rome, Italy, 2016
VOLUME I – THE SET
The Cosmic Veil I – Chapultepec Aquatic Park, Mexico City, Mexico, 2015
The Cosmic Veil II – Artist´s Studio, Zacualpan de Amilpas, Mexico City, Mexico, 2021
The Sun I, Landart, Val d’Elsa, Tuscany, Italy, 2009
The Moon I, Highway 47, Pomarance, Tuscany, Italy, 2014
The Sphere I, Waterford Cemetery, Cork, Ireland, 2014
The Sphere II – Cinecittà, Rome, Italy, 2016
The Sphere III – Chez JK, Yvri sur Seine, France, 2016
The Cube I, Sculptor´s Workshop, Athens, Greece, 2013
VOLUME II – THE SYMBOLS
The Mouth I, Hauptstrasse – Shöneberg, Berlin, Germany, 2016
The Mouth II, Fish Market – La Viga, Mexico City, Mexico, 2013
VOLUME III – THE STORY
The Rage I, Private Garden, Belfast, Ireland, 2014
The Falldown I – Cinecittà, Rome, Italy, 2016
The Falldown II, Cemetery, Tequila, Mexico, 2015
The Hanging I, Asylum – Ferry, Volterra, Italy, 2014
The Hanging II, Slaughterhouse, Laprida, Province of Buenos Aires, Argentina, 2012
The Mutilation I, Via Panisperna – Monti, Rome, Italy, 2016
The Mutilation II, Natural History Museum, Paris, France, 2014
The Mutilation III, Cathedral, Bisceglie, Puglia, Italy, 2016
The Ascension Paris Window, France, 2028
The Ascension II, Palermo Cemetery, Sicily, Italy, 2016
THE END
The Shadow of Happiness, West 10th St – West Village, NY, USA, 2014
Artwork List & Technical Specifications
1. Cinecittà I, Rome, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper,, 1/5
90 x 60 cm
2. Aquatic Park, Chapultepec, Mexico City, Mexico, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
3. The Alchemist´s Garden, Zacualpan de Amilpas, Mexico, 2021
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
3. Cemetery, Waterford, Cork, Ireland, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper,, 1/5
90 x 60 cm3.
4. Cinecittà III, Rome, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper,, 1/5
90 x 60 cm19.
5. Funerary Sculptures Workshop, Athens, Greece, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
6. Asylum – Ferry, Volterra, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper,
1/590 x 60 cm
7. Slaughter House, Laprida, Province of Buenos Aires, Argentina, 2013
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
8. Cinecittà II, Rome, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
9. Via Panisperna – Monti, Rome, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm9.
10. Natural History Museum, Paris, France, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
150 x 100 cm
11. Haupstrasse – Shöeneberg, Berlin, Germany, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
12. Fish Market – La Viga, Mexico City, Mexico 2013
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
13. Cathedral, Bisceglie, Puglia, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm9.
15. Cemetery, Tequila, Jalisco, Mexico, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm27.
16. Highway 111, Santas Marías, Guanajuato, Mexico, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
17. Private Garden, Belfast, Ireland, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
18. Cemetery, Palermo, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
19. Sculpture, Val d’Elsa, Tuscany, Italy, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
20. West 10th Street, West Village, NY, USA, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
21. Highway 47, Pomarance, Tuscany, Italy, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
90 x 60 cm
Enciclopedia de México
View: Enciclopedia de Mexico web clip
Festivals, Museums & Gallery Screenings
MACO Mexico City International Contemporary Art Fair
Mexico City, 2011
KII – Pantonecropolis / AuditoriumArte
New York I (Calvary – Queens), USA 2014
Cemeteries are deliberately created and highly organized cultural landscapes, which tell much about mankind’s view of life and death. The photographs which focus on the inner dealings of societies betray our chaotic fears, terrors and tremors which ironically create some sort of order, when all is seemingly gone. The panoramic photographs reflect the architectural liberty and the aesthetic freedom granted by death, which frees man from cultural constructions. These photographs show how funeral architecture becomes the ultimate expression where all fantasies, all emotions can be: if there is a mimesis between the architecture of life and that of death, the latter goes further, architectural imagination is let loose, and the departed are granted with a palimpsest of potentialities and emotional avatars of all that which could have been, may never have been and yet, is now, for ever.
Rio de Janeiro I, Brazil, 2013
Old Cairo, Egypt, 2017
Marseille (Saint Pierre), France, 2015
New York II (Calvary – Queens), USA, 2014
Tepic (Hidalgo), Mexico, 2016
Berlin (Weisensee), Germany, 2016
Dublin (Fingal), Ireland, 2015
Brescia (Vantiniano), Italy, 2014
Pachuca, Mexico, 2015
Dublin (Mount Jérôme), Ireland, 2016
Lipari, Italy, 2015
Taxco, Mexico, 2015
New Orleans (Saint Louis II), USA, 2014
Rio de Janeiro II, Brazil, 2013
Constantine, Algeria, 2016
Milan (Monumentale), Italy, 2015
Barcelona (Montjuic), Spain, 2013
Cairo-Suez Hyway (Km.26), Egypt, 2017
Sublime encounters are of the most visceral and memorable ones in human experience. Pantonecropolis explores how architectural and landscape manipulations can evoke sublime experiences and can lift individuals from the everyday into the transcendental. Alejandro Gómez de Tuddo takes us into a necrogeography of the everyday, of the mundane and of the detail, with the intimate photographs of the first two rooms, as well as into a necrogeography of the beyond, with the panoramic photographs of the larger room. Both movements of the exhibition, when brought together, investigate the transcendental nature of the cemetery…
Download: Towards a Necrogeography of the Sublime
Museums & Galleries
AuditoriumArte
Curator: Anna Cestelli
Rome, 2016
La fotografia panoramica del Cristo morto è l’opera attorno a cui ruota, figurativamente e concettualmente, il progetto espositivo Pantonecropolis di Alejandro Gomez de Tuddo in AuditoriumArte.
Fotografato su una parete del cimitero di Messina, il corpo del Cristo – steso sulla lastra d’unzione secondo un’iconografia rinascimentale del Cristo Morto che ci ricorda quello straordinario del vertiginoso scorcio del Mantegna -, è un’immagine di alta intensità simbolica che condensa e racchiude in sé la dimensione intima delle fotografie in bianco e nero della prima sala, e quella invece più apertamente pubblica delle grandi fotografie panoramiche della seconda sala: ampi orizzonti dove le architetture dei cimiteri si fondono con lo skyline delle città sullo sfondo.
La dimensione privata della Morte è fissata dallo sguardo sobrio ed elegante dell’artista in fotografie scattate nelle sue flanerie solitarie nelle “città dei morti” in giro per il mondo: preziose composizioni di Vanitas rubate al tempo che scorre, alcune più astratte e suggerenti e altre più realistiche e crude, memori anche nel sapiente gioco di luce e ombra della Natura Morta seicentesca. Natura Morta anch’essa, la fotografia del Cristo introduce tuttavia, nella sua orizzontalità, alla dimensione collettiva e antropologica della Morte delle vedute panoramiche dei cimiteri allestite a scorrere una dietro l’altra… Download: Gallery Exhibition Text
Artwork List & Technical Specifications
1. New York I (Calvary – Queens), USA, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
2. Marseille (Saint Pierre), France, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
3. Sidi Bel Abbes (Mulai Abdelkader I), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
4. Rio de Janeiro I, Brazil, 2013
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
5. New York II (Calvary – Queens), USA, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
6. Algiers (Miramar), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
7. Tepic (Hidalgo), Mexico, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
8. Bordj (Sidi Zitouni), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
9. Dublin (Fingal), Ireland, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
10. Brescia (Vantiniano), Italy, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
11. Pachuca, Mexico, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
12. Biskra (M’Chouneche), Algeria, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
13. Dublin (Mount Jerome), Ireland, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
14. Lipari, Italy, 2016
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
15. Taxco, Mexico, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
16. New Orleans (Saint Louis II), USA, 2014
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
17. Rio de Janeiro II, Brazil, 2013
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
18. Milan (Monumentale), Italy, 2015
Black & white digital fine art print on Hahnemühle photo rag ultra smooth paper, 1/5
190 x 70 cm
KI – Hasht Bihisht / Irish Georgian Society
https://www.gomezdetuddo.com/wp-content/uploads/2010/09/Porta-féretros-Recoleta-Buenos-Aires-2012.gif
Wounded Spaces
Wounded Spaces photographs are part of a series of images of abandoned or empty spaces that subsist as witnesses of suffering, which include mental health institutions, hospitals, slaughter houses, prisons, concentration camps, among others.
In each case the artist had very few time to photograph and restricted light conditions: he entered the places, opened doors and windows and shot. When opened for the first time after their permanent closing, the apparent restlessness peace of the sites is altered. The irruption of life into death is brutal an often generates physical and mechanical reactions.
These spaces are like tattooed pieces of skin cut from the corpse; they are relics of pain, where adrenaline still exudes from the walls. They stage the imprint of suffering because of bodily nature. The left-overs of the indelible cruelty of human kind: the aberratio-naturae.
This work is another version of the artist’s fascinating obsession with traces and relics, where objects and spaces that preserve the humors of living beings become post-organic bodies.
Download: Wounded Spaces, Cult Magazine Autumn-Winter 2014
Artwork list & Technical Specifications
1. Operating Room, Tiruchirappalli, India, 2010
Digital print, 1/3
60 x 90 cm
2. Asylum, Volterra, Italy 2014
Digital print, 1/3
60 x 90 cm
Metepec Site Specific
Cactus column in construction
A massive freestanding cactus column, measuring the sum of the eight pillars of the atrium, rises to the air from the centre of the 16th Century convent of St. John at Metepec. Within the column, water is contained in clay jars representing the Baptist and the nymphaea that people have seen in this rural area. A sound installation surrounds this organic architectural structure.
Anatomic Dream
Resting anonymously over the dusty shelves of a Department of Pathological Anatomy of an ancient Italian Faculty of Medicine; hidden in the forensic cabinets, or scattered in an empty room of a General Hospital, the forgotten remains of unidentified human beings that lived hundreds of years ago lie in silence, defying death, trapped in an eternal dream: suspended in formaldehyde, stuffed or petrified. These “unknown” beings, whose images have never been embedded on a tombstone, preserve their morphological characteristics intact. Following an Old Italian funerary tradition, they recover a certain identity when their photographic image is printed on small porcelain tiles. Then, these are inserted into wooden and glass cabinets which are placed over “anatomic tables”.
Museums & Galleries
Señales Rojas
Fondazione Volume-IILA
Curator: Patricia Rivadeneira
Rome, 2010
Other Participants: Jota Castro, Regina Galindo, Jorge Pineda, María Rosa Jijón, Emilio Leofreddi,
Manuela Viera-Gallo y Camilo Yáñez
Alejandro Gómez de Tuddo nos presenta la reciente obra “Sueño anatómico“. Son imágenes fotográficas sobre porcelana, instaladas en una mesa de madera y vidrio estilo museo de las ciencias, con figuras de fetos deformados o muertos al nacer.
Nuestra cultura nos obliga a esconder los muertos, pero es extraño cómo estos “seres” puedan ser museificados en virtud del hecho que no habiendo “nacido” no son efectivamente muertos. No son “seres” sino sueños anatómicos…Sin embargo están ahí, perfectos para convertirse en una metáfora ontológica.
Cuando la cultura retrocede tanto como para no consentir al Otro la dignidad de ser, cuando el lenguaje pierde el contacto con la vida verdadera, con lo orgánico, cuando el sueño del patriarcado se opone a la fertilidad de la mujer, entonces aparecen los monstruos.
¿Pero, es la vida que nos está atacando o es el sueño de nuestra razón?
Patricia Rivadeneira, Roma, 2010
Publicación “Señales Rojas”, Edizioni Volume!
Sull’identità è incentrato il Sonno Anatomico. Tavolo dei neonati, opera del messicano Alejandro Gomez de Tuddo, che rappresenta bambini mai nati (e quindi, in un certo senso, mai morti), parte di un progetto più ampio che include il Tavolo delle donne e il Tavolo degli uomini. Un lavoro che nasce da quella che Gomez de Tuddo definisce quasi un’ossessione feticista per tutto ciò che rientra nella tipologia del reperto: una ricerca, quindi, di tipo archeologica. “Nei magazzini, depositi, armadi delle vecchie università italiane ho trovato reperti del ‘700 e ‘800 che, solitamente, non vengono mostrati al pubblico – ci spiega – individui dimenticati di cui, però, ancora oggi possiamo vederne i resti. Il fatto di rifotografare questi esseri in perfetto stato di conservazione, stampando l’immagine sulle piastrelle di porcellana bianca, di quelle usate dai marmisti dei cimiteri, è un modo per recuperarne l’identità, e con questa anche la dignità. Questi corpi sono come sospesi, avvolti nella dimensione del sonno e rimangono protetti nelle rispettive teche, come in una Wunderkammern.”
Artwork Description & Technical Specifications
Three wood and glass tables. Four halogen lamps, four wood and glass boxes and four photographic prints on porcelain tiles, over each table.
Anatomic Table I (Children’s Table)
(Edition of 3)
1. Anatomic Dream I, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
2. Anatomic Dream II, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
3. Anatomic Dream III, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
4. Anatomic Dream IV, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
Anatomic Table II (Adults’ Table)
(Edition of 3)
1. Anatomic Dream V, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
2. Anatomic Dream VI, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
3. Anatomic Dream VII, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
4. Anatomic Dream VIII, Florence, 2008
Photographic print on porcelain, in wood & cristal box, 1/3
Tile 15 x 23 cm, box 20 x 26 cm
INDIA 50/50
INDIA 50 / 50 is fine art photography series, consisting of 50 black and white images, taken by visual artist Alejandro Gómez de Tuddo during his 50 days journey around India. Only one image is chosen per working day.
In this original collection, the ancestral poetic essence of India is captured through the timelessness resulting out of the merging of space and place, and of people and minds. On one side it shows a diachronic narrative on India, while its counterpart generates a contemporary and synchronic work on today’s India. Both parts, brought together, dovetail into each other and foster a further visual text, out of which rises yet again another discourse on irony, on aesthetics and on the photographic world Alejandro Gómez de Tuddo lives in.
This project enables the viewer to follow the artist’s visual diary, where India – as a country – soon becomes another place: that of a world closer to ours, the world which we all live in, where place becomes irrelevant and where space becomes mankind’s nest, which like the author’s world, is never finished.
Museums & Galleries
INDIA 50/50 is a travel art project comprised of 50 photographs taken over 50 days. Every time I would feel I had the photograph of the day, I would use the first means of transportation available to whichever destination it would take me. Once arrived, I would start all over again up until the following morning. In so doing, I drew a metaphoric time map of a space in a state of transition.
In the title INDIA 50/50, the first number 50 corresponds to the India of the collective imaginary. The / stands for the liminal space where my photographs are situated, whilst the last number 50 refers to an India morphing into a new identity.
INDIA 50-
Copper House Gallery
Curator: Jean-Philippe Imbert
Dublin, Ireland, 2014
INDIA 50-50
Tasveer Gallery
Curator: Abishek Poddar
Bangalore, India, 2015
INDIA 50-50
Curator: Jean-Philippe Imbert
Instituto Cervantes, New Delhi / Delhi International Photo Festival 2015
India 50/50 is an attempt to fathom the morphing meaning of space and place in our era of “incredulity”. The world we are in is a world that is fully available to us, in the sense that us humans have fully explored its surface and brought all but the most remote corners of the Earth into an all-encompassing informational and economic system. Nonetheless, the meanings of the places through which we move have been subject to unprecedented levels of instability. Alejandro Gómez de Tuddo focuses on this instability. Although there may be no virgin territories or terra incognitae waiting to be discovered (short of outer spaces and the deepest depths of the ocean), the artist does a lot of work at the interstices between established domains, whose borders are constantly being called into question. The public recognise these spaces and these places, but sees them differently. This is because the visual eye of the camera and the visual I of Alejandro Gómez de Tuddo generate a discourse of transgression (= etymologically, a crossing of borders). This discourse provides a relevant model for spatial thinking in the post postmodern era India is entering in.
The lead photograph epitomises 50/50ness where a head, being built or rebuilt, is supported by a careful scaffold. Mankind has scaffolded the world, India is scaffolding itself into the future and Alejandro Gómez de Tuddo steps onto the scaffold and focuses on its interstices to see India.
Download: INDIA 50- Dublin Exhibition Video 2014
Artwork List & Technical Specifications
Black & White Photographs (edition of 5)
| 1. Snow Splash, Island Grounds, Chennai, Tamil Nadu Digital print on cotton paper, 1/5 78 x 65 cm 2. Shirt, Asi Ghat, Varanasi, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 3. Charity Birds' Hospital Roof Top Metalic Structure, New Delhi, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 4. Shadow, Tulsi Ghat, Varanasi, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 5. Chinese Fishing Net, Thopumpady Port, Kochi, Kerala Digital print on cotton paper, 1/5 78 x 65 cm 6. SX4 Billboard, New Delhi, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 7. Open Beheaded Statue, Bangalore-Mangalore, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 8. Wedding Stage, Karwar, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 9. Monsoon, Indore-Bhopal Road, Madhya Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 10. Hanging Bird, Dharamshala, Himal Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 11. Hanging Clothes, Narad Ghat, Varanasi, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 12. Jesus Christ Column, Commonwealth War Graves Outskirts, Chennai, Tamil Nadu Digital print on cotton paper, 1/5 78 x 65 cm 13. Jumbo Circus, Agra, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 14. Metallic Structure, Calangute, Goa Digital print on cotton paper, 1/5 78 x 65 cm 15. Shree Jagajyoth Basaveshwa Monumental Head Statue Head Statue, Bhishma Lake, Gadag, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 16. Furniture Cemetery, Ghaziabad, New Delhi, Uttar Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 17. Sky Park Billboard, Belgaum, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 18. Taraporewala Aquarium, Mumbai, Maharashtra Digital print on cotton paper, 1/5 78 x 65 cm 19. Residential Area, Ahmedabad, Gujarat Digital print on cotton paper, 1/5 78 x 65 cm 20. Science City, Ahmedabad, Gujarat Digital print on cotton paper, 1/5 78 x 65 cm 21. Their Holiness Gyalwang Drukpa & Stangtsang Raspa, Indus Valley Road, Ladakh-Jammu Digital print on cotton paper, 1/5 78 x 65 cm 22. Town Fair, Ahmedabad, Gujarat Digital print on cotton paper, 1/5 78 x 65 cm 23. Urban Ducks, Pondicherry, Tamil NaduLadakh- Jammu Digital print on cotton paper 1/5 78 x 65 cm 24.. Rush Hour, Bangalore, Karnataka Digital print on cotton paper, 1/5 78 x 6 25. Superman, Bangalore, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm | 26. Tea Plantation, Idukki, Kerala Digital print on cotton paper, 1/5 78 x 65 cm 27. Moonrise, Mumbai-Pune Road, Maharashtra Digital print on cotton paper, 1/5 78 x 65 cm 28. Vitthala Temple Road, Hampi, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 29. Room 12, Bramheswar Temple Hotel, Omkareshwar, Madhya Pradesh Digital print on cotton paper, 1/5 78 x 65 cm 30. Neelam Movie Theatre -by Le Corbusier-, Chandigarh, Haryana-Punjab Digital print on cotton paper, 1/5 78 x 65 cm 31. Palace of Assembly -by Le Corbusier-, Chandigarh, Haryana-Punjab Digital print on cotton paper, 1/5 78 x 65 cm 32. Brahmin’s House, Chidambaram, Tamil Nadu Digital print on cotton paper, 1/5 78 x 65 cm 33. Navaratri Idols' Workshop Potter, Kumartuli, Kolkota, West Bengal Digital print on cotton paper, 1/5 78 x 65 cm 34. Man with Clay Masque, Bow Bazar, Kolkota, West Bengal Digital print on cotton paper, 1/5 78 x 65 cm 36. Kartik's Head, Durga Puja Pandal, Kolkota, West Bengal Digital print on cotton paper, 1/5 78 x 65 cm 37. Gurdial Singh, -Head Operator of Neelam Movie Theatre- Chandigarh, Haryana-Punjab Digital print on cotton paper, 1/5 78 x 65 cm 38. The Groom, Wedding by the Bangalore-Mysore Road, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 39. Chowpatty Beach, Mumbai, Maharashtra Digital print on cotton paper, 1/5 78 x 65 cm 40. Sadhu, Shirdi, Maharashtra Digital print on cotton paper, 1/5 78 x 65 cm 39. Stupas, Leh, Ladakh-Jammu Digital print on cotton paper, 1/5 78 x 65 cm 41. Man at Roof Top, Brahmapur, Odisha Digital print on cotton paper, 1/5 78 x 65 cm 42. Bus Station, Udaipur, Rajasthan Digital print on cotton paper, 1/5 78 x 65 cm 43. Mrs. Chandrakanta, Mehrangarh Fort, Jodhpur, Rajasthan Digital print on cotton paper, 1/5 78 x 65 cm 44. Aravan's Brides, Koovagam, Tamil Nadu Digital print on cotton paper, 1/5 78 x 65 cm 45. Asylum, Adpur-Palitana Road, Gujarat Digital print on cotton paper, 1/5 78 x 65 cm 46. Mademoiselle O'Murphy's Room, Kochi, Kerala Digital print on cotton paper, 1/5 78 x 65 cm 47. Transgender, Playground, Mysore, Karnataka Digital print on cotton paper, 1/5 78 x 65 cm 48. The Bramin's Son, Chidambaram, Tamil Nadu Digital print on cotton paper, 1/5 78 x 65 cm 49. Friends, Calangute Beach, Goa Digital print on cotton paper, 1/5 78 x 65 cm 50. Ganesh Chaturthi, Narmada River Ghat, Maheshwar, Madhya Pradesh Digital print on cotton paper, 1/5 78 x 65 cm |
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