Saturday night at the Studio Gallery project space was a time to remember.
Artist Miguel Moreno Mateos presented the culmination of two months of his investigative work and gave the public insight into his fascinating process.
艺术家Miguel Moreno Mateos展示了他两个月的艺术研究工作并向公众展示了他独特的工作过程。
Miguel showing his process, and the collected images he has pinned up at the project space
June 1st. 2019.
His work, drawing from a variety of materials, found, collected, and created, was on full display, and the audience had the ability to see upfront the ephemera of inspiration behind his final piece, an art book, “The Tree of Money: an Urban tale”.
Many of his materials in the studio were hung up on lines, traversing perpendicular from wall to wall, and visitors were free to walk between and examine more closely the vast material Miguel collected during his two months, many pieces sourced from a local construction site.
他的作品，取材于各种各样的材料，或是现成品，抑或是他自己的创作。这些材料在当天被给予了充分的展示，来让观众们看到他最终作品背后灵感诞生的短暂瞬间。这是一本艺术书籍，名为the Tree of Money: an Urban tale。许多Miguel在工作中使用的照片和图案都被悬挂在绳子上，连接着两边的墙壁，参观者可以在这些材料之间自由走动，更近距离地观察Miguel两个月来收集的大量原始照片，其中许多就取材于当地的一个拆迁工地。
Miguel examining his collected materials at the project space, June 1st, 2019.
The artist in conversation with visitors at the project space, June 1st, 2019.
After this preliminary introduction, Miguel took the audience to the temple, to view the tree on display there, who acts as a witness to the destruction of society throughout the years. Connecting this back to the construction site mirrored the erasure of culture and storytelling in the ever-changing culture and infrastructure of Shanghai.
Viewers following the artist to the hundred year old Shanghainese house, where he will do a live reading. June 1st, 2019.
To finish up the night, Miguel did a live reading of his book in a local Shanghainese house, space which has withstood change for more than 200 years.
Viewers transfixed by Miguel's book. June 1st, 2019.
In a Shanghai that is going through rapid growth, Mateos acts as a buffer against the strong currents of change, wading through history and collecting, magpie-like, glimmering phantom objects of the past, embodiments of history. And yet, the ethereal nature of this idea is grounded in Miguel's almost scientific approach to the work, and his interest in ecological issues, connecting it back to the local Shanghainese contemporary housing issue, and the fast infrastructure growth that can be observed throughout almost every neighbourhood, the artist noting that "neighbourhoods I visited at the beginning of my stay in Shanghai didn't exist anymore after six months". Through almost observing the micro-societies that exist within this vast city, Moreno makes a powerful statement about what we as a society choose to value, and the pricelessness of community. And yet, the almost political lens is not screamed out, nor do the pieces command one to reconcile their viewpoints or question morality, the pieces exist almost like a poem, the meaning fading in and out of one's periphery like the ambiguous and alluring subjects in his cyanotypes. Mateos findings culminated and embodied the form of a book, a fitting format for how community-based his investigation has been. The reading felt intimate; for half an hour the audience was transfixed by the storytelling, the present inhabiting for a short, powerful time, the structure of time past.
Miguel Moreno Mateos reading "The Tree of Money". June 1st, 2019.
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Text / Adriana Furlong
Miguel Moreno Mateos was born in Madrid in 1978. His first studies were Forest Engineering. Here is where he configured his mind between structuralism and his irrational approach to nature. All his work since then was focused on landscape, covering two Masters in Landscape Architecture and 15 years of experience. A merely technical approach to landscape and environment became insufficient to accompany his deep perception of nature and its changes, and he started to focus his efforts on raw creation. Creation conceived as the closest way to transmit and investigate his perception of time, ecology, art and humanity.
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Ed.9 多种尺寸，前3版尺寸为23.2 x 22.9cm 2016
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