Fernando Bayona: Appearance Apparatus

Fernando Bayona

Fernando Bayona

Circus Christi: La última cena

Impresión Ink Jet
Ed 2

135 x 106 cm

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A subversive new version of the life of Jesus, located on the periphery of any large city and temporarily set from the 70s until today. A cast of actors undertakes the interpretations of fictional characters that bear great parallels with those that actually appear in the New Testament gospels. The project analyzes the limits of the alteration of History, the freedom of expression and the meaning that dogmatic scorn has in today's society. It thus enters into conflict with the ideological, cultural and economic interests of religious or political groups that try to censor any type of manifestation that threatens the bases on which their sources of power are based. The 14 images that make up Circus Christi represent a contemporary way of life that narrates the intense life of Jesus, the vocalist and leader of the fictional music group Circus Christi. The initial 3 shots are set in the early 70's when his father José, a small-time camel is sentenced in jail, and his mother María is forced to work as a prostitute to support her family.

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Fernando Bayona

Circus Christi: Crucifixión

Impresión Ink Jet
Ed 2

135 x 106 cm

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A subversive new version of the life of Jesus, located on the periphery of any large city and temporarily set from the 70s until today. A cast of actors undertakes the interpretations of fictional characters that bear great parallels with those that actually appear in the New Testament gospels. The project analyzes the limits of the alteration of History, the freedom of expression and the meaning that dogmatic scorn has in today's society. It thus enters into conflict with the ideological, cultural and economic interests of religious or political groups that try to censor any type of manifestation that threatens the bases on which their sources of power are based. The 14 images that make up Circus Christi represent a contemporary way of life that narrates the intense life of Jesus, the vocalist and leader of the fictional music group Circus Christi. The initial 3 shots are set in the early 70's when his father José, a small-time camel is sentenced in jail, and his mother María is forced to work as a prostitute to support her family.

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5.00 m 3.00 m

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Fernando Bayona

Renacer

Impresión Ink Jet
Ed 2

135 x 106 cm

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Su estética, a medio camino entre la tradición pictórica clásica europea y el Neorrealismo, determina sus creaciones en una especie de realidad ficcionada muy cercana a la imagen cinematográfica. La obra de Bayona tiende a reflexionar sobre las relaciones afectivas y la identidad del sujeto. Aborda el amor como concepto clave del comportamiento humano y las consecuencias que éste provoca, indagando en los aspectos más íntimos de nuestra relación con los otros. En sus obras profundiza en las bases más esenciales que constituyen la psicología del ser humano, y por extensión, del sistema social jerárquico que éste ha creado para sí, y lo somete a un régimen de control de la libertad del individuo. La violencia, el sexo, la pasión, la represión, el miedo a la enfermedad o a la soledad, suelen ser otras de las líneas argumentales que inspiran su producción. El tiempo, bien sea su recuerdo o el paso de éste, su alteración, modificación o uso por la historia, los órganos de poder o el propio espectador, es otro de los temas recurrentes en sus trabajos. Sus imágenes se caracterizan por una cuidada puesta en escena, donde los decorados y localizaciones, así como los elementos que en ellas se insertan, son tan importantes como los personajes que desarrollan la acción, sirviendo a su vez para definir su psicología, sentimientos y actitudes.

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5.00 m 3.00 m

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Fernando Bayona

Circus Christi: La duda de Tomás

Impresión Ink Jet
Ed 2

135 x 106 cm

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A subversive new version of the life of Jesus, located on the periphery of any large city and temporarily set from the 70s until today. A cast of actors undertakes the interpretations of fictional characters that bear great parallels with those that actually appear in the New Testament gospels. The project analyzes the limits of the alteration of History, the freedom of expression and the meaning that dogmatic scorn has in today's society. It thus enters into conflict with the ideological, cultural and economic interests of religious or political groups that try to censor any type of manifestation that threatens the bases on which their sources of power are based. The 14 images that make up Circus Christi represent a contemporary way of life that narrates the intense life of Jesus, the vocalist and leader of the fictional music group Circus Christi. The initial 3 shots are set in the early 70's when his father José, a small-time camel is sentenced in jail, and his mother María is forced to work as a prostitute to support her family.

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5.00 m 3.00 m

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Fernando Bayona

Circus Christi: Jesús y Maria Magdalena

Impresión Ink Jet
Ed 2

135 x 106 cm

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A subversive new version of the life of Jesus, located on the periphery of any large city and temporarily set from the 70s until today. A cast of actors undertakes the interpretations of fictional characters that bear great parallels with those that actually appear in the New Testament gospels. The project analyzes the limits of the alteration of History, the freedom of expression and the meaning that dogmatic scorn has in today's society. It thus enters into conflict with the ideological, cultural and economic interests of religious or political groups that try to censor any type of manifestation that threatens the bases on which their sources of power are based. The 14 images that make up Circus Christi represent a contemporary way of life that narrates the intense life of Jesus, the vocalist and leader of the fictional music group Circus Christi. The initial 3 shots are set in the early 70's when his father José, a small-time camel is sentenced in jail, and his mother María is forced to work as a prostitute to support her family.

Please provide name and email for information


5.00 m 3.00 m

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Fernando Bayona

Out of the Blue: Green Light

Impresión Ink Jet
Ed 2

60 x 50 cm

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Something that happens unexpectedly and places us in a kind of vertex. From that point, it is difficult not to see one's existence as something dividing us forever in before and after. The diagnosis of a disease that will change us without remission, the arrival of someone who gives a turnaround to our universe or a circumstance which shakes the fundaments of what we known. Certainly, the Anglo-Saxon expression Out of the blue can refer to that something good or bad appearing out of nowhere -without previous warning. However, Fernando Bayona has focused its search on that uncertainty that is based within us. Leaving us in a deep state of melancholy. In out of the blue, the Bayona’s story becomes opaque, placing a singular emphasis on life’s mystery, in the eyes of all inexplicable, and that we will pose before the scene photographed in a disturbing diatribe: Something ends to happen, yet that something is in the mood of the characters. In some of these images, our contaminated look could reach erroneous conclusions, perhaps dark and remote. In an interesting shooting that drinks from the cinematographic schemes, Bayona stages a collection of real locations that have been photographed in exceptional light conditions - thanks to a generator moved through out the different scenarios- then post-produced with an intense complex processed addressing the image from a pictorial point of view. The artist, finally, lets us decide how do they correspond to inside or outside, so that the expectation’s experiences and imagination become essential to the story’s interpretation.

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5.00 m 3.00 m

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Fernando Bayona

The Life of the Other: Motel Capri

Impresión Ink Jet
Ed 2

135 x 106 cm

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Fernando Bayona

The Life of the Other: The Last Time

Impresión Ink Jet
Ed 2

135 x 106 cm

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A research project halfway between documentary and staged photography composed of 16 images, the project reflects on the use of the body as work support by three professional collectives, that is, as an object of intangible desire, in the case of strippers or porn actors, or those that are subordinated through an economic consideration, in the case of the hustlers The title of the series refers to the game of identities and fictions carried out by these workers to protect their privacy. A sort of "alter egos" or virtual masks that dissociate them from their person, a construct of themselves created to develop their profession through the representation of a feigned character, which mutates to adapt to the work demands or demands of different clients, thus becoming - consciously or unconsciously - permanent actors of the same and endowing it with a very specific life and characteristics. The initial phase of the project is based on interviews with the different participants of the study, thus realizing an approach to the real person, depriving it of the protective device of the mask to be able to understand its reality, its experiences and experiences. Starting from the stories obtained, the project reconstructs photographically some of the passages of its intense life, a mise en scène that gives visibility to stories that tend to be hidden by shame or fear of social rejection due to the stigmatization of the profession, a way to make public something that in nature is very intimate and personal. The characters appearing in each image are played by professional actors, who feel and suffer the lives of the real protagonists, and mix with them who reinterpret their own experiences. This is established as a strategy agreed with each and every one of them to preserve their anonymity despite showing their face before the camera. A double fiction, that of the character that this typology of professionals creates for themselves and protects them from society, and that they have to interpret in the photographic capture within the project, generating permanent doubt in the viewer who does not know who is the real and who the interpreter or interpreted. The project explores the special life characteristics of these workers, deepening in issues such as repressed desire, relationships, affective problems, the cultural environment, immigration, the profile of clients, different sexual practices, illness , loneliness, social stigma or double standards of citizenship among many other tangential issues. A kind of parallel reality in which economic, cultural, religious, health, or simple personal decisions are interrelated that tend to occur in the limits between the public and the private. Fernando, Bayona, Spain.

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Fernando Bayona

The Life of the Other: The client

Impresión Ink Jet
Ed 2

135 x 106 cm

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A research project halfway between documentary and staged photography composed of 16 images, the project reflects on the use of the body as work support by three professional collectives, that is, as an object of intangible desire, in the case of strippers or porn actors, or those that are subordinated through an economic consideration, in the case of the hustlers The title of the series refers to the game of identities and fictions carried out by these workers to protect their privacy. A sort of "alter egos" or virtual masks that dissociate them from their person, a construct of themselves created to develop their profession through the representation of a feigned character, which mutates to adapt to the work demands or demands of different clients, thus becoming - consciously or unconsciously - permanent actors of the same and endowing it with a very specific life and characteristics. The initial phase of the project is based on interviews with the different participants of the study, thus realizing an approach to the real person, depriving it of the protective device of the mask to be able to understand its reality, its experiences and experiences. Starting from the stories obtained, the project reconstructs photographically some of the passages of its intense life, a mise en scène that gives visibility to stories that tend to be hidden by shame or fear of social rejection due to the stigmatization of the profession, a way to make public something that in nature is very intimate and personal. The characters appearing in each image are played by professional actors, who feel and suffer the lives of the real protagonists, and mix with them who reinterpret their own experiences. This is established as a strategy agreed with each and every one of them to preserve their anonymity despite showing their face before the camera. A double fiction, that of the character that this typology of professionals creates for themselves and protects them from society, and that they have to interpret in the photographic capture within the project, generating permanent doubt in the viewer who does not know who is the real and who the interpreter or interpreted. The project explores the special life characteristics of these workers, deepening in issues such as repressed desire, relationships, affective problems, the cultural environment, immigration, the profile of clients, different sexual practices, illness , loneliness, social stigma or double standards of citizenship among many other tangential issues. A kind of parallel reality in which economic, cultural, religious, health, or simple personal decisions are interrelated that tend to occur in the limits between the public and the private. Fernando, Bayona, Spain.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

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Fernando Bayona

The Life of the Other: The News

Impresión Ink Jet
Ed 2

135 x 106 cm

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A research project halfway between documentary and staged photography composed of 16 images, the project reflects on the use of the body as work support by three professional collectives, that is, as an object of intangible desire, in the case of strippers or porn actors, or those that are subordinated through an economic consideration, in the case of the hustlers The title of the series refers to the game of identities and fictions carried out by these workers to protect their privacy. A sort of "alter egos" or virtual masks that dissociate them from their person, a construct of themselves created to develop their profession through the representation of a feigned character, which mutates to adapt to the work demands or demands of different clients, thus becoming - consciously or unconsciously - permanent actors of the same and endowing it with a very specific life and characteristics. The initial phase of the project is based on interviews with the different participants of the study, thus realizing an approach to the real person, depriving it of the protective device of the mask to be able to understand its reality, its experiences and experiences. Starting from the stories obtained, the project reconstructs photographically some of the passages of its intense life, a mise en scène that gives visibility to stories that tend to be hidden by shame or fear of social rejection due to the stigmatization of the profession, a way to make public something that in nature is very intimate and personal. The characters appearing in each image are played by professional actors, who feel and suffer the lives of the real protagonists, and mix with them who reinterpret their own experiences. This is established as a strategy agreed with each and every one of them to preserve their anonymity despite showing their face before the camera. A double fiction, that of the character that this typology of professionals creates for themselves and protects them from society, and that they have to interpret in the photographic capture within the project, generating permanent doubt in the viewer who does not know who is the real and who the interpreter or interpreted. The project explores the special life characteristics of these workers, deepening in issues such as repressed desire, relationships, affective problems, the cultural environment, immigration, the profile of clients, different sexual practices, illness , loneliness, social stigma or double standards of citizenship among many other tangential issues. A kind of parallel reality in which economic, cultural, religious, health, or simple personal decisions are interrelated that tend to occur in the limits between the public and the private.

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5.00 m 3.00 m

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Fernando Bayona

What never was: La lección de Esgrima

135 x 106 cm

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EXHIBITIONS

Appearance Apparatus

Fernando Bayona

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Fernando Bayona

Out of the Blue: Still Life

Impresión Ink Jet
Ed 2

135 x 106 cm

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Something that happens unexpectedly and places us in a kind of vertex. From that point, it is difficult not to see one's existence as something dividing us forever in before and after. The diagnosis of a disease that will change us without remission, the arrival of someone who gives a turnaround to our universe or a circumstance which shakes the fundaments of what we known. Certainly, the Anglo-Saxon expression Out of the blue can refer to that something good or bad appearing out of nowhere -without previous warning. However, Fernando Bayona has focused its search on that uncertainty that is based within us. Leaving us in a deep state of melancholy. In out of the blue, the Bayona’s story becomes opaque, placing a singular emphasis on life’s mystery, in the eyes of all inexplicable, and that we will pose before the scene photographed in a disturbing diatribe: Something ends to happen, yet that something is in the mood of the characters. In some of these images, our contaminated look could reach erroneous conclusions, perhaps dark and remote. In an interesting shooting that drinks from the cinematographic schemes, Bayona stages a collection of real locations that have been photographed in exceptional light conditions - thanks to a generator moved through out the different scenarios- then post-produced with an intense complex processed addressing the image from a pictorial point of view. The artist, finally, lets us decide how do they correspond to inside or outside, so that the expectation’s experiences and imagination become essential to the story’s interpretation. Pedro Alarcón, Curator, Spain.

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hoy prevenido quiero que, 

alegre, liberal y lisonjero,

 fabriques apariencias 

que, de dudas 

se pasen a evidencias.

Pedro Calderón de la Barca - “El gran teatro del mundo” 

Fernando Bayona

Appearances Apparatus

Loaded with eroticism, romanticism and embitterment alike, Fernando Bayona's stage photographs (Jaén, Spain, 1980) display a set of individual stories and intimate acts that explore the depths of contemporary universal psychology. With a retrospective nature, Appearances Apparatus presents a group of images from four series of work that the artist has developed in the last decade plus an unpublished series, attesting to the stylistic, formal and conceptual evolution rooted in the need to generate a collective portrait of a society disillusioned with its reality.

The Spanish photographer’s first individual exhibition in Mexico takes its name from the famous sacramental piece from Pedro Calderón de la Barca El gran teatro del mundo (The Great World’s Theatre) (1655). One of the most representative works from the literature era el siglo de oro, it constitutes an allegory of real life as a performance in which each of its individuals plays a specific role where the representations and appearances are transformed into real existence evidence. Likewise, Bayona constructs a theatrum mundi in each of his compositions full of historical, religious and philosophical references that converge in the search to represent love and sex as acts of artistic transgression in current contexts.

The artist's first series comes from the need to question religious discourses under a contemporary scrutiny. Circus Christi is based on the question: what would happen if Jesus was born on the periphery of any major metropolis in the last three decades and was a rock band lead singer? The result is a group of images that visually reconfigures the usual viacrucis in an imaginary full of social problems around sexual ambiguity, drugs, sex, violence and music. Under the influence of both the film narrative and advertising techniques, the series rethinks characteristic gospels scenes from the New Testament such as Mary Magdalene, The Last Supper, The Crucifixion or Thomas's doubt. Beyond the apparent provocation, Bayona's atmospheres are inspired by traditional scenes inscribed in the history of art, whose synchronic representation and symbolism disputes the social constructions around "sin" and "temptation" while rejecting all kinds of censorship and advocating for freedom of worship and expression.

The Life of the Other presents a sequence of scenes around homosexual male prostitution. The artist mixes staged and documentary photography techniques to create a collective portrait of 16 images in which the sleaze of violence, pain, madness, jealousy and sexual desire are intertwined with the vulnerability of love, tenderness, passion or beauty. The Client and The Last Time present a group of actors representing sex workers in situations where both their identity and their body must be subjected to an external requirement as a labour reality. The appearances that arise from this series focus on the ability to generate intrinsic, albeit partial, narratives that come from real stories and interviews with sex workers the artist carried out before building the scenarios where further issues like loneliness, repression and interpersonal relationships are addressed. 

Although the presence of the human body is crucial in the development of Bayona’s style, the present selection of the images from the Out of the Blue series attest to its predominant development in the production of other styles such as still life or landscape. Taken at the Capri Motel in California, Still Life, Green Light and the homonymous Motel Capri show the construction of scenarios based on real architectures that lead to the development of feelings, attitudes and stories that are not completely revealed. This series is based on a greater influence from the construction of cinematographic narratives; the mise in scénes altogether function as the prelude to a certain fiction that sometimes questions the perception of what we understand as truth.

The Fencing Class work comes from an experimental series entitled What Never Was, a free reinterpretation of Dante's Divine Comedy. Bayona presents it as a depiction of hell in an artistic search of the disarticulation of human psychology in an effort to release the social and philosophical controls that block and limit the individual freedoms of the human being.

The narrative power of the artist's images is sustained and complemented by impeccable manufacturing and technique. From the preproduction moment up until the last edition, it is sought that each of the details of framing, lighting, layout and conceptualization be carefully planned, executed and justified. Bayona defends the construction of his theatricality through these technical and conceptualization procedures, thus continuing with his constant analysis of the central notions of human behaviour in which the autobiographical and the reflexive interweave with the religious, the documentary and the political.

Alberto Ríos de la Rosa, Historiador.