Armando Andrade Tudela (b. 1975 Lima, Perù, lives and works in Lyon)
Mandla Reuter (b. 1975 Nqutu, South Africa, lives and works in Berlin)
In recent time Reuter approach to the idea of (theoretically) occupying and developing projects on land broadened up to other parts in the world. For Miami the whole project is about the city of Iquitos, Perù, which for some months has been a remote office at the other end of Reuter’s actual main place of residence (Berlin). On one hand Reuter departs from the question on how the world today is explored and viewed at, linking his works to a city which has anything to do with his original roots, on the other hand Tudela departs from his South American cultural and historical context transcending the specifics of place and developing a visual universe permeated by notions of interpretation, displacement, and overlapping timescales.
Mandla Reuter’s practice often departs from a piece of land that exists only through the translation the artist provides to it through his works. The scupltures consist of 1.000 liters table water, which the artist exported from the city Iquitos in the Amazon region and a manhole cover made of cast iron. Reuter creates a portrait of a city departing from the idea of the water grid and the sewage system as one of the most vital parts of any larger settlement. The company Aquazonica manufactures table water using water taken directly from the cities water system, which directly is supplied by the Amazon River. The sculptures find their textual and aesthetical counterpart in the works mounted on the wall. These works are depicting courses of rivers and their sources reduced to their most abstract form as straight blue lines on the surface. These works can be seen as a portrait of a city or as the attempt of the representation of civilization Iquitos seen as an exemplary settlement. Armando Andrade Tudela will present a new body of sculptures starting from the Modernist architecture as a base for sedimentation. This tendency towards the accumulation of references, suggesting the impossibility of fixing the object in a single aesthetic framework, also allows for the construction of a non-linear memory, that oscillates between historical continuity and rupture.