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Alejandro Londoño Urdaneta, “DIC. 21 / 2012”, 2011, Mixed media on plastic, 60 x 200 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “View of the Ducal Palace in Venice, Canaletto, 1755”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Cuadrado Negro sobre fondo Blanco, Malevich, 1914”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Une Baignade a Asnieres, Seurat, 1884”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Honduras Lottery Co, Frank Stella, 1936”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “No Title (But the Sand), Raymond Pettibon, 2011”, 2015, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “GOOGLE OCEAN”, 2014, Series: TCT SESSIONS, Digital print, 86 x 114 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “GOOGLE OCEAN” (Detail), 2014, Series: TCT SESSIONS, Digital Printing, Screen Printing and Engraving Laser, Variable dimensions. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “NOORDWIJK (52°14’01.81″ N 4°27’41.83″ E)”, 2015, Series: EL PAISAJE DOMÉSTICO, Acrylic paint and polycarbonate alveolar sheet, 105 x 165 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “El tribunal de los Uffizi, Johann Zoffany, 1778 / Les Jardiniers, Caillebotte, 1877”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “La muerte de Marat, Jacques Louis David, 1793 / The Feast in the House of Simon, El Greco, 1608-14”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “The Unicorn, Lascaux Cave, 15.000 bC / Inocencio X, Diego Velazques,1650”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “JAN. 10, 1920”, 2015, Series: ON / OFF KAWARA, Acrylic and lacquer on canvas, 70 x 90 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Transplante de Corazón”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Tren Maglev”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Big Data” (Detail), 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, Variable dimensions. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “B.A Concorde”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “360° Burj Khalifa”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “La Romería de San Isidro, Goya, 1822 / Napoleón en el trono Imperial, JAD Ingres, 1806 / Las Grandes Bañistas, Cezanne, 1898-1905”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 147 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
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Alejandro Londoño Urdaneta, “Color Study for Homage to the Square, Joseph Albers, ? / Clara the Rhinoceros, Jean-Baptiste Oudry, 1749 / El jardín de las delicias, El Bosco, 1504”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 147 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “DIC. 21 / 2012”, 2011, Mixed media on plastic, 60 x 200 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “View of the Ducal Palace in Venice, Canaletto, 1755”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Cuadrado Negro sobre fondo Blanco, Malevich, 1914”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Une Baignade a Asnieres, Seurat, 1884”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Honduras Lottery Co, Frank Stella, 1936”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “No Title (But the Sand), Raymond Pettibon, 2011”, 2015, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “GOOGLE OCEAN”, 2014, Series: TCT SESSIONS, Digital print, 86 x 114 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “GOOGLE OCEAN” (Detail), 2014, Series: TCT SESSIONS, Digital Printing, Screen Printing and Engraving Laser, Variable dimensions. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “NOORDWIJK (52°14’01.81″ N 4°27’41.83″ E)”, 2015, Series: EL PAISAJE DOMÉSTICO, Acrylic paint and polycarbonate alveolar sheet, 105 x 165 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “El tribunal de los Uffizi, Johann Zoffany, 1778 / Les Jardiniers, Caillebotte, 1877”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “La muerte de Marat, Jacques Louis David, 1793 / The Feast in the House of Simon, El Greco, 1608-14”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “The Unicorn, Lascaux Cave, 15.000 bC / Inocencio X, Diego Velazques,1650”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “JAN. 10, 1920”, 2015, Series: ON / OFF KAWARA, Acrylic and lacquer on canvas, 70 x 90 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Transplante de Corazón”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Tren Maglev”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Big Data” (Detail), 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, Variable dimensions. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “B.A Concorde”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “360° Burj Khalifa”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “La Romería de San Isidro, Goya, 1822 / Napoleón en el trono Imperial, JAD Ingres, 1806 / Las Grandes Bañistas, Cezanne, 1898-1905”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 147 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
- Alejandro Londoño Urdaneta, “Color Study for Homage to the Square, Joseph Albers, ? / Clara the Rhinoceros, Jean-Baptiste Oudry, 1749 / El jardín de las delicias, El Bosco, 1504”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 147 cm. Sayago & Pardon Collection. Photo courtesy of the artist.
Translated from Spanish
My work aims to explore, more than a medium or a technique, a historic moment, a moment in which information technologies appear to appropriate the world in order to make the limits between reality and fiction vanish. With the appearance of “new media”, and especially with the appearance of the computer, the complex circuit of the sign has collapsed. We have become immersed in a murky vat in which signified and signifier have lost all connection: signifiers, ubiquitously embodied through zeros and ones, complex and inaccessible, colliding with significances that are impossible to read through the tactile universe.
The source material for my work always seems to be related to codes and numbers, with algorithms, with complex computerized translations. Maybe this concern springs from a continually less tangible world, a world with a growing scarcity of materiality, a world that offers fiction and simulation as a synonym of progress. From an artistic perspective, particularly through material plasticity, I aim to revindicate the object from a world that has occupied itself with reducing human achievements and possessions into microscopic silicon devices incapable of discoursing by themselves. The gestures and processes present in my work, like the materials that I use, are mere signs that seek to empty the content from any attempts to reproduce realities through mechanisms that are external to the body itself.
Departing from the guidelines of the “conceptual art” of Sol Lewitt, in which the idea is the driving force for the artwork, I have developed different series and projects that attempt to exhaust the formal possibilities within a specific grouping of conceptual elements. All are desperate and aimless attempts to materialize information already codified in Bits, “inexistent” information depending on hypercomplex hyperstructures, fragile and volatile information stored in practically inaccessible electromagnetic cracks. While the universe tries to digitalize, every moment with more intensity and technology, the analog world, I try to recover, every time with more resignation, those memories that we forget in the digital era.
Mi trabajo pretende explorar, más que un medio o una técnica, un momento histórico, un momento en el que las máquinas informáticas parecen apropiarse del mundo para así desvanecer los límites entre la realidad y la ficción. Con la aparición de los “nuevos medios”, y especialmente con la aparición del ordenador, el complejo circuito del signo se ha desgarrado y nos hemos visto inmersos en un lodazal en el que significado y significante han perdido cualquier conexión: significantes, por doquier encarnados por ceros y por unos, complejos e inaccesibles, chocando con significados imposibles de leer desde el universo táctil.
La materia prima de mi trabajo parece estar siempre relacionada con códigos y con números, con algoritmos, con complejas traducciones computarizadas. Tal vez esa preocupación surja de un mundo cada vez menos tangible, un mundo de creciente escasez de materialidad, un mundo que ofrece ficción y simulación como sinónimo de progreso. Desde una perspectiva artística, particularmente desde la plástica, pretendo reivindicar el objeto de un mundo que se ha encargado de reducir los logros y las posesiones humanas en microscópicos dispositivos de silicio incapaces de discursar por sí mismos. Los gestos y los procesos presentes en mi trabajo, así como los materiales que utilizo, son meros signos que buscan vaciar de contenido cualquier intento por reproducir realidades a través de dispositivos externos al cuerpo mismo.
Partiendo del concepto de “arte conceptual” de Sol Lewitt, concepto en el que la idea es el motor de la pieza artística, he desarrollado diferentes series y proyectos que pretenden agotar las posibilidades formales dentro de un conjunto específico de elementos conceptuales. Todos son intentos desesperados y sin propósito por materializar información ya codificada en Bits, información “inexistente” dependiente de hiperestructuras hipercomplejas, información frágil y volátil almacenada ranuras electromagnéticas prácticamente inasequibles. Mientras el universo intenta digitalizar, cada vez con mayor esfuerzo y tecnología la información del mundo análogo, yo intento recuperar, cada vez con más resignación, aquellos recuerdos que olvidamos en la era digital.
Selected Biographical Information
Education / Training
- 2008-2012: Universidad de Los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2012: Tesis de Grado Meritoria, Universdiad de Los Andes, Bogotá, Colombia.
Solo Exhibitions
- 2015: “Small Data”, SGR Galería, Bogotá, Colombia.
- 2014: “Historia Universal de la Pintura”, Pinta Miami 2014 (SGR Solo Show), Miami, USA.
- 2014: “Historia Universal de la Pintura”, Odeón, Feria de Arte Contemporáneo 2014 (SGR), Bogotá, Colombia.
Group Exhibitions
- 2015: “Hiatos”, Salón Comunal, Bogotá, Colombia.
- 2015: “Paralelo“, SGR Galería / Lokkus Arte Contemporáneo, Medellín, Colombia.
- 2015: “Historia Universal de la Pintura (Ik Projects)“, Art Lima 2015, Lima, Peru.
- 2014: “Arte a las 7 en la 127”, Centro Cultural Reyes Católicos, Bogotá, Colombia.
- 2013: “La Feria Del Millón 2013“, Centro Creativo Textura, Bogotá, Colombia.
- 2013: “Hasta El Gato”, Galería El Garaje, Bogotá, Colombia.
- 2013: “Proyecto Tesis 2013”, Museo de Arte Contemporáneo Minuto de Dios, Bogotá, Colombia.
- 2012: “Al Final del Espejo (Proyectos de Grado)”, Universidad de Los Andes / Centro Creativo Textura, Bogotá, Colombia.
- 2012: “La Última Ceba”, Universidad de los Andes, Bogotá, Colombia.
- 2011: “Pajita en Boca”, M.I.A.M.I, Bogotá, Colombia.
- 2010: “Primer Encuentro de Arte Portátil”, Billares Londres , Bogotá, Colombia.
Collections
- Sayago & Pardon Collection, California, USA.
- Colección Art Nexus, Bogotá, Colombia.
- Colección Mali, Lima, Peru.