Brainstorm I
Brainstorm I

1. Vita educazione cerimonia amore morte”, Superstudio, 1971-73. 2. Graffiti from Pompeii, I n.Chr. 3. Drawing made by children in Rome Photo: Belén Rodríguez 2011 4. Flooded Florence, Superstudio, 1970. 5. Glas Cabinet in Museo de Coa Portugal. Photo: Belén Rodríguez 6. Glass Cabinet in Pergamon Museum, Berlin.Photo: Belén Rodríguez 2010 7.Rem Koolhass, “The City of the Captive Globe New York” 1972 8. Glass Cabinet im Pergamon Museum, Berlin. Photo: Belén Rodríguez 2010

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Brainstorm II
Brainstorm II

1,2. Photos of Sediments made of plastic, from spanish coasts. 2011 3. Washed Sediments. Photo: Belén 4. Composition Nº 8 (1923), Kandinsky 5. Bauhaus Entrance with logo. 6,7. Toys made by Ladislav Sutnar, 1930 8. Absalon. KW, Berlin. 9. Liubov Popova, “The city of the Future”. 1921 10,11. “Constellation”, Alexander Calder, 1945 12. Bauhaus Party 13. Sonia Delaunay 14. Sophie Taeuber and Erika Taeuber with Kachina Costumes, Zurich 1922 15. “Zolo toys”, Ettore Sottsass, 1985

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Untitled
Untitled

“After Sputnik”, Josh Lilley gallery, London 2012 17 Photos. Inkjet, Cotton Hahnemuhle Paper, Plywood 18 x 24 x 4 cm

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Meteorito Fosforito
Meteorito Fosforito

“After Sputnik”, Josh Lilley gallery, London 2013 Videoinstallation. Sculpture. Papier mache, pigments, coloured fragments of plastic and discoball engine (it hangs and spins around), selfmade tripod, videocamera and monitor. Live-feed Video Sculpture: 85 X 70 X 45 cm The sculpture is filmed against the light and lived transmitted to a monitor, simulating an eclypse with lively comets around (lighted up dust dots).

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Meteorito Fosforito
Meteorito Fosforito

“After Sputnik”, Josh Lilley gallery, London 2013 Videoinstallation. Sculpture. Papier mache, pigments, coloured fragments of plastic and discoball engine (it hangs and spins around), selfmade tripod, videocamera and monitor. Live-feed Video Sculpture: 85 X 70 X 45 cm

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Meteorito Fosforito (video frames)
Meteorito Fosforito (video frames)

“After Sputnik”, Josh Lilley gallery, London 2013 Videoinstallation. Sculpture. Papier mache, pigments, coloured fragments of plastic and discoball engine (it hangs and spins around), selfmade tripod, videocamera and monitor. Live-feed Video Sculpture: 85 X 70 X 45 cm “After Sputnik”, Josh Lilley gallery, London

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Sketch
Sketch

2012/13 Collage, Inkjet Print on Cotton Hahnemuhle Paper, Acrylic Box with oak board. 21 x 29,7 x 4 cm

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Pelotonos
Pelotonos

2013 Video on Hantarex Monitor with plastic sediments. Video PAL Stereo Sound 4` Loop The random movement of the floating elements is used to create a music composition. Some of the plastic elements are selected and represented by a digital sound that suggests its form, material and colour. These sounds come and go when they jump in the water, and their tonality vary depending on their position in the screen.

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Trompe-l‘oeil
Trompe-l‘oeil

“After Sputnik”, Josh Lilley gallery, London 2013 Sculpture, Acrylic, wood structure, plastic pieces 2,40 x 1,70 x 0,5 m A structure of wood supporting a plexiglass with glued plastic sediments stays in the middle of the exhibition space. This trompe-l`oeil determines in all directions the views of the show, giving an ingravid atmosphere.

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Trompe-l‘oeil and Pelotonos
Trompe-l‘oeil and Pelotonos

“After Sputnik”, Josh Lilley gallery, London

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After Sputnik

2012

Project made during the Residency in the
Spanish Academy in Rome



“After Sputnik, there is no nature, only art”
(Marshall McLuhan)


Belén’s work interrogates the way in which we seek to impose order on the world. She focuses on our tendency to compartmentalise and categorise, dealing with subjects such as time and measurement. For one such work, she adorned a photocopying machine with blue and red threads in order to fake lineated paper and make it imprecise. Another work focused on the grid in a simple notebook, a seemingly innocuous
construction, and yet also an imposing suggestion as to how we should organise our thoughts.

The Plástica Project – realised for the exhibition After Sputnik, represents Belén’s recent interest in disorder, the unexpected, and the random. Inspired
by the idealism of the Bauhaus movement (its fusion of arts and crafts, toys,
costumes, parties, and functionality), Belén has reacted to tiny pieces of
plastic found washed up on a beach in northern Spain, by providing an artistic expression for the aesthetic consequences of natural phenomena. Upon noticing the constellation of plastic pieces, the colours and forms suggested to Belén images reflective of the early avantgarde’s – and Kandinsky’s paintings in particular. During that time, artists were looking for a new sense of expression. Bauhaus was a vital experiment of a small community of young people, who after the horrors of the first world war, embarked enthusiastically on the construction of a social utopia - with new forms of coexistence. The fusion between function and artistic production was crucial – and was expressed in handcrafts, costumes and performance. Likewise, toys and enjoyment were prioritised – with grand parties being a fixture of the Bauhaus School.

Belén’s project is presented as a set, or the scenography of a nonexixtent party; becoming a decadent festivity, yet one full of enthusiasm. The vivid colours and materials of the found pieces of plastic echo crushed toys, or futuristic pieces of confetti. They are irregular and almost unrecognisable waste materials, like exhibits in an anthropological museum. Through watercolours on paper, mould paintings, papier mach meteorites, sculptural metronomes, and various videos and projections – Belén creates a type of modern archeology within the gallery space, where both the harshness and beauty of her raw materials are examined and given a platform for consideration.


Josh Lilley 2013