There was, however another side to his work. Cuervo`s intention was to combine art and life. Visual imagery always involved both, as far as he was concerned.
Bogota, Colombia 1981.
"...By contrast to such essentially solipsistic pursuits, many younger artists of the 1990s generation reflected new conditions of cultural and global political-cross reference. The review of modernist themes such as an art that merges art and life soon bound with these new artists. The Colombian artist Andres Cuervo has been a central influence on recent art tendencies. In 2007 he produced a work entitled 09042007 [31.2]. Responding to a concern with the institution’s attached value and the elusive hidden muted cultural dinamics inside museums.
Cuervo’s gesture turned into a turmoil of critique deconstruction revolving around an institution, that is continuously pointing out what is art from what its not. Much like Duchamp readymade, Cuervo ‘elevated’ an ordinary object, a figurative drawing into the status of art. He may well be reformulating past attitudes here. A sardonic dismantling of the museum and it’s power to imposing spurious value judgements. Cuervo drawing hijacked an authoritarian voice, the fact the actual drawing was hanged slightly crooked to the right might had to do with an actual mock of the modes of curatorial sense of taste blithely revisited by ‘Conceptualism’. In a sense, Cuervo was updating the moral and political conundrums of artists as Robert Rauschenberg. His concerns were far removed from plain vandalism."…Read More
Single & collective exhibitions in cotemporary galleries as well as an unauthorized intervention inside the Museum of Art of the Bank of the Republic of Colombia (Museo de Arte del Banco de la Republica de Colombia)
Gallery Casa Cuadrada - http://www.casacuadrada.com -
Tramonti convention center-
Museum of Art of the Bank of the Republic http://www.lablaa.org/museodearte.htm-
Whereas most contemporary artists, specially young ones turn their attention away from painting, specially after the break down of Greenberg theories in the late 70`s. Young artists like Andres Cuervo were constantly seeking new paths, a new form of representation one that could play in the gap between art and life, between painting and performance.
Andres Cuervo sets different priorities. His laconic works of exemplary stringency are not only limited to Perfmance Art. Whereas his works combined the hermetic approach of Duchamp with the political cross reference of Rauschenberg.
In 2007, Andres Cuervo pointed out that the Museums, that they were, in this sense, constrained to it´s own status. His intervention in the international collection of the Museum of Art Banco de la Republica de Colombia. Influenced by artist as Marcel Broodthaers and works such as Erased De Kooning drawing by Robert Rauschenberg, contributed to the history of art, by opening up a new dimension in aesthetic consciousness.”What is art?” “What makes it art?” “Who is an artist?” “Why objects inside a museum become art?” Cuervo as Duchamp answered these questions – not as a theoretician, but by means of tongue-in-cheek demonstration.
Strictly speaking there is no such thing as “timeless” art. Hence, the objects considered art in the past, could not be art now days. Traditional painting is nothing but a mere display of technical skill in today`s poststructuralist oeuvre. However both types of art coexist within a timeless space, in which they both are considered art with capital A, in a sense the museum guarantees certain things about the objects it encloses. On 9 April 2007 Cuervo demostrated what John Berger called the “Invisible frame of the institution” by introducing an object like a realist, figurative drawing inside a museum and haging it, he uses the museum attached value to it`s own work. Cuervo used the exact same frame and identification used for the other works inside the museum. -as in Duchamp`s Mona Lisa with a moustache – the breaking down of the barrier between painting and object. Admittedly the reference is quite indirect, consisting only in a figurative drawing of a woman, naked giving her back on us, inside a wood frame and hanged beside an id card. In this sense the object becomes art and the drawing becomes an object. It is neither an action per se, nor do Cuervo´s gesture result in an installation, formally speaking, the gesture of the artist takes on a new aesthetic identity: the point of the work is in fact the interaction between, sense and value. The work is intrinsically bound up on the idea of value, as it is exposed by Broodthaers, gold bar stamped with an eagle, the gesture becomes art as long as the transaction is made. Or in Cuervo´s case, the reason why people perceive this drawing hanged on the museum wall as part of the museum collection, it is the same reason why they see it with a different look, this revindicates the drawing as being a work of art, a part of the history of art. Therefore it justifies it´s place inside the museum and this justifies the very act of standing a meter lenght from the drawing and perceiving it as valuable, as Art. Cuervo`s much cited claim that his work plays in the gap between life and art includes a distinct formal awareness. Such terms as Performance Art hardly do justice to Cuervo´s probing questions."…Read More