MARCO

(Madrid, Spain, 1970; lives and works in Madrid)

Fernando Sánchez Castillo (Madrid, 1970) holds MfA in Philosophy and Aesthetics from the Universidad Autónoma de Madrid. Estudied at ENSBA, Paris and resided at Rijksakademie of Beeldende Kunsten inAmsterdam. He has given important solo exhibitions both in Spain and abroad, most notably Anamnesis, La Casa Encendida cultural centre (2003); ‘Ieder het Zijne / To Each His Own' at the Stedelijk Museum Schiedam, Rótterdam, Santa Monica art centre, Barcelona (2006); ‘Manu Militari', at the Santa Monica art centre, Barcelona (2006); ‘Intelligence Down', Musac, Spain (2007), Wanas Foundation Sweden (2007), and ‘Parti de la Peur', Centre Dárt Contemporain (2007) and ‘The Unresolved...', Vleeshal, Middleburg .Nl (2008). He has also participated in group exhibitions, such as ‘Abracadabra', Tate Gallery of Modern Art, London (1999); ‘Appartement, Deichtorhallen', Hamburg, Germany, (2001); ‘The Real Royal Trip' (travelling exhibition), P.S.1. MOMA, New York (2003); NMAC foundation, Spain, and ‘Registros contra el tiempo' (Registers Against Time), Marcelino Botín Foundation, Santander (2006); 26th São Paulo Biennial (2004); ‘Mercury Retrograde' at the De Appel Foundation, Amsterdam,10th Istanbul Biennale.TK (2007); ‘La Cuadratura del Cono - Borders Jam', Montevideo.UR (2007). During 2008 most significants shows were ‘Borders', Boijmans Van Beuningen, Rótterdam; ‘Geographic cross-overs in art', MART, Museo d'Arte Moderna e Contemporánea di Trento e Rovereto; ‘Lost Paradise - Der Blick des Engels', Zentrum Paul Klee, Berna; ‘Sonsbeek 2008: grandeur Sonsbeek International Sculpture Exhibition, Arnhem; ‘Pasiones privadas, visiones públicas', MARCO, Museo de Arte Contemporánea de Vigo; ‘Tiefenrausch O.K', Centrum Für Gegenwartskunst, Linz.

Fernando Sanchez Castillo works with the image of the public and, just like this one, his works are submitted to the same rhythm than the city or the medium where they are transmitted. Image consumption makes that many of these images cannot be perfectly digested. The art process acts as a ruminant's stomach. It takes the most sterile and unnoticed, regurgitates it and gets it ready for a new digestion process; not the last one though. The anecdotal, the lateral thing becomes an icon. A number of images have not been emphasized by the prevailing historical discourse, but now they are powerful magnets and questions for contemporary art's sensibility. Another line of work are the ideas of progress and the concept of a linear history, the way that, while they have disappeared of the perspective of contemporary thought, they still work as tools of control and "masses" restriction. The use of these flash-backs in his work aims to dislocate - in the later generation to that of the referred historical moment or situation - the truths passed on and consolidated. He uses contemporary art as a neuroconductor among the different social fields and thoughts, by walking along the cracks of the systems and driving them to conclusions that never before could they have imagined or recreated.