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OBRAS._La_caida_de_los_Idolos_%282015_2011%29.html

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· Fall of the Idols (2015/2011)

· Fall of the Idols. Individual portraits. First phase (2013/2011)

WORKS._Fall_of_the_Idols._Individual_portraits._First_phase_%282013_2011%29.html
WORKS._Fall_of_the_Idols._Individual_portraits._First_phase_%282013_2011%29.html

· Fall of the Idols. Individual portraits. Second phase (2015/2014)

WORKS._Fall_of_the_Idols._Individual_portraits._Second_phase_%282015_2014%29.html

· Fall of the Idols. Individual portraits. Third phase (2015)

WORKS._Fall_of_the_Idols._Individual_portraits._Third_phase_%282015%29.html

· Fall of the Idols.

Fourth phase (2015)

WORKS._Fall_of_the_Idols._Fourth_phase_%282015%29.html

The first stage of the series Fall of the Idols —comprised of a total of about five hundred pieces— is based on photographic documentation produced by the artist himself in art, anthropology or history museums, Catholic churches, public monuments, temples of different religions... The documentation ranges from ritual masks, pre–Columbian deities or gods of the classical pantheon to baroque sculptures and even iconic contemporary pieces. All of them are objects that in one way or another have been venerated or declared sacred, not always necessarily in a religious sense, but rather with an intention of spiritual, political or ideological propaganda for a society or at least a group of people.

In the following stage, which took place in the context of his atelier, the artist invited a number of people who were not connected to art to collaborate with him by making, on the basis of the documentary photographs, their own versions of these objects: three–dimensional, with a sculptural character, and created with absolute freedom of representation. For their production, they always used leftover material from the studio, exploring the blurred line that separates the different artistic disciplines. The result is a series of raw, somewhat violent pieces, which show anger and humour at the same time.

The purpose of the series is to decontextualise and eliminate the ideological meaning of the “idols”, developed by cultures and civilisations as a valid code to be read in a given historical context but which, as they fall from their pedestals, become tragicomic objects, suggesting the collapse and futility of philosophies and great ideals. The fact that the pieces are made with leftover materials from the studio is a seminal point in the genesis of the project, showing a critical and formal resistance to the dominant social and cultural ideologies.