Nothing Further Ado

Year: 2016-2018
NOTHING - FURTHER - ADO - JUAN - BASTARDO
This is a very typical expression that, among uses, might imply: neither good nor bad, that one has nothing more to contribute, that it is not relevant. In the latest case it could be used to say adieu or to tell banal, trivial things, of scarce importance; sometimes to perpetuate emotion, and others, monotony. This phrase then largely depends on the tone in which it is used, especially in spoken language, because this requires knowledge about the expression or gesture that accompanies it.
NOTHING - FURTHER - ADO - JUAN - BASTARDO

Without further ado, is a series that employing the painterly tradition −its resources and its objects− brings us closer to color as an artifact containing both its own logic and its own meanings. This project calls into question the idea of masterpieces as a distant and virtuous land; both making evident that a “square” is coated and interrogating out of what “this cultural artifact” is −and can be− made of.

NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
From this set of ideas, painting and color are clearly both the mechanical action of cleaning brushes, staining, diluting, mixing, and applying as well as the entanglement of concepts, figures, and forms that they propose and represent. In this way, these pieces turn into a negotiation, they propose from a historical perspective, the archaeological artifact −color− as an extension whose main objective may be assumed to be the study of shifts in social organization, as well as the diversity of human behavior in their different dimensions −economic, political, and ideological− not exclusively in the past.
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO

Consequently, these substrata reveal historicity, significance, and economy of color, they manifest the way how color has depended on the context in which it has been inscribed to constantly be −and continue to be− ignored or practically nullified; considered vulgar, emotional, or irrelevant, and later on reaching a substantial importance in the fields of high culture.

NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
Thus, this research, whose purpose is not to dignify color −even when it has remained strange, foreign, despised, and classified as primitive, irrelevant, being always Other− becomes an important place because it shows painting in a radical ambiguity.
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO
NOTHING - FURTHER - ADO - JUAN - BASTARDO

It exhibits a series of coloured objects, displaying the evolution and particular methodologies that have functioned as fundamentals which seek to complicate their exercise until becoming a deconstructive game reframing a series of problems and questions arising in relation to their production and interpretation, as well as reconsidering their current practice. And beneath these demands of co-presence, the sensorial, communicative, and political potential is hidden and revealed in order to devour the civilized, the enlightened, the modern, contemporariness. Therefore, painting becomes erratic, indeterminate, a site of transformation.

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