Andrés Piña

Mendoza, Argentina, 1992

            In constant connection with the organic dimension of his materials, Andrés Piña's work projects, through his sculptures, installations, paintings, and performances, a horizon in which the qualities of a morbid sensitivity, a strange eroticism, a vitality of the impure and the putrid are explored. Trained in the Visual Arts program at the National University of Cuyo, in 2017 he attended the Artists Program at Torcuato Di Tella University, and his work has been exhibited in institutions and galleries such as the Malba, the Recoleta Cultural Center, and the Kirchner Cultural Center, among others.

            The versatility of his operations, both in terms of the ductility of his technical skill and the universes he summons, prevents his production from stopping at a safe version of itself, and instead, with each new project, opens up unusual spaces for exploration. Thus, if in his beginnings he used the juxtaposition of internet images to establish unexpected encounters between canonical works and visceral photos, the continuity of his work reveals that this submerged side of the visible is the depth the artist seeks to uncover at every step. It is not about the lives of subjects, but about the objects subjected to their own entropy; it is not about beautiful souls, but about bodies exposed to the forces of time; it is not about words and discourses but about waste and fluids such as blood, sweat, and saliva.

            His work returns over and over to the question of the boundaries between life and death, delving into the images and rituals that in our tradition have confronted this dilemma: taxidermy, medicine, funeral rites, Christian iconography, baroque emblematics. It is not coincidental, therefore, that the result of the superimposition of these imaginaries produces in Piña's works a strange eschatological vision in which hell and the everyday intertwine.