Nicolás Lamas 1980

Woont in Brussels (BE). Werkt in Brussels (BE).
Vertegenwoordigd door:

Meessen De Clercq

Matter exist differently here By Alejandro Alonso Díaz [Excerpt of the original text] All the energy of the interactive situation object/subject in Nicolás Lamas’ work becomes something dialectical, a sort of action and counter-action unfolding through time. The entanglement between ideas and particles, the continual honing of speculation and making through emerging materials, the occlusion of evidences and the loosening of subversive energies trapped in objects are features shared both by Nicolás' work and archaeological disciplines. Every site opened up and engaged through the craft skills of making objects or through the sensibility to liberate them has the transformative potential to shape a type of archaeology that transcends the human category to position objects within new systemic structures. Adopting this attitude allows him to resist the constructed perception of matter as a passive entity, a stance that is both symbolic and liberating. After all, the fact that everyday objects are embedded in unexpected combinations is as much an act of rearticulating human grammars as it is an act of empowering objecthood. In earlier works by Nicolás, the active body of the viewer is usually considered in relation to the objects, sometimes disarticulated among several layers of material information. Thus, the human impression is deprived of the complete vision that would enable us to understand the physical dynamics that weave those objects together. In later works the objects displayed don’t reveal the exact properties that their functions ascribe to them: two animal bones inside a pair of bright yellow sneakers refer to the potential life of those materials and not so much to their material connotations. We see prostheses of animal bodies, almost like leftovers that will eventually disintegrate. Another important element in his recent works is the relationship between the concave and the interior –which is glimpsed through dark gaps and allows immateriality to slip in– as well as the intricate between digital technology and the surfaces of the human body. In general, all of Lamas’ works reference these tensions between the human body as object and matter as an active factor. The idea of the object as an archaeological evidence that appears in certain compositions doesn’t reference to its passivity, and rather functions as a kind of assemblage that has to do with the incorporation of words, images, shapes and found objects to signify the distinctive attributes of those objects as an intrinsic element of a disembodied humanity. However, it is the interstice zones that are primarily interesting for Nicolás. The in-betweens, the spaces of transition between objects, amid the objects and the body, between concepts themselves are crucial in his work. Through his eyes, matter often presents itself as a complex archaeological site characterised by a range of inanimate materials, life forms, technological artefacts, times in collapse and linguistic references. These structures combine fiction, life and inertness while triggering a space of transaction between the human linguistic way of apprehension and other forms of activating perception. Both human and non-human negotiate a dynamic entanglement with each other. Similarly Lamas’ oeuvre defies stability. Yet, there are recurrent approaches in his practice such as an interest for industrial products, the traces of humanity on nature or the body/technology entanglement; he also puts forward an aesthetic relationship between his work and rituals that invoke ephemeral images created by impulsive composition and interdependent making. ‘‘Concerned with cosmogonic preoccupations tending to influence the course of the universe in a propitiatory way’’, Nicolás’ work enables a form of perception beyond the visible, where it is impossible to understand one part without the other as he gives form to a tense balance, creating cosmologies from the mundane and spatial frictions between materials. Works like ‘‘Potential Remains’’ are examples of the artist’s preoccupation with the life of objects as part of a net of living and inert energies. His work follows the rhythms and flows of artefacts, materials and bodies, and as such is an indicative of a time when artistic perceptions are actively appropriating the objectual codes of pre-Western aesthetics as much as invocating the sensibilities of digital technology in order to imagine potential global scenarios. An archaeology able to challenge viewpoints through his looming, with the capacity to subvert established categories, to undermine long-held assumptions, to go round static forms of classification and to break out old and established channels. Things that emerge from this archaeology get then appropriated by certain groups or categories, whose authority is mutable, hybrid and sometimes out of control. The materials encountered present one face or another while turning other faces away - depending in part on the methods and ideas applied, the degree of openness/resistance to having those ideas materially embodied.

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Kunstwerken door Nicolás Lamas


Nicolás Lamas


Nicolás Lamas Born in Lima (Peru) in 1980. Lives and works in Brussels (BE). EDUCATION 2013-2014 HISK, Hoger Instituut voor Schone Kunsten, Gent (Belgium) 2002-2005 BA in Fine Arts, Facultad de Bellas Artes, Universidad de Barcelona (Spain) 1998-2002 BA in Fine Arts, Facultad de Artes Plásticas en la Pontificia Universidad Católica del Perú, Lima (Peru) SOLO EXHIBITIONS 2019 Solo show, Meessen De Clercq, Brussels (Belgium) upcoming 2018 Liminality, SABOT, Cluj-Napoca (Romania) Despise the solid burgher, but drink deep from his flagon, Martin van Zomeren gallery, Amsterdam, NL (duo show with Matt Bryans) Contra el límite de su propia definición [Against the Boundary of its Own Definition], Ladera Oeste, Guadalajara (Mexico) Becoming animal, Tenderpixel, London (UK) (duo show with Petra Feriancová) 2017 The form of decay, P/////AKT, Amsterdam (The Netherlands) Solo project at Artissima, Torino (Italy) Solo project at Art on Paper, Bozar, Brussels (Belgium) Before disappearing, 019 - Design Museum Gent, Gent (Belgium) OCASO, Galería Lucía de la Puente, Lima (Peru) Cuánto del espacio es espacio?, Salón, Madrid (Spain) Three chapters of a meaningless story, Spazio Tripla, Bologna (Italy) Ephemeral Conditions, Marion De Cannière, Antwerpen (Belgium) 2016 Every object is a temporal space, Espai 13, Fundació Joan Miró, Barcelona (Spain) Loss of symmetry, Loods 12, Wetteren (Belgium) The structure of the wild, Brand New Gallery, Milan (Italy) Dysfunctional links, Meessen De Clercq, Brussels (Belgium) Art Brussels (solo presentation), Brussels (Belgium) An apparent chasm among things, Sabot Gallery at Arco, Madrid (Spain) 2015 Potential Remains, DASH, Kortrijk (Belgium) To contain is not to possess, Lokaal 01, Antwerpen (Belgium) Without form or particular order, Lokaal 01, Antwerpen (Belgium) Dynamic ex change between fragments, Art Rotterdam, Intersections, Rotterdam (The Netherlands) 2014 The value of formlessness, Sabot, Cluj (Romania) Configuraciones, Galería Lucía de la Puente, Lima (Peru) Principio de incertidumbre, The Goma, Madrid (Spain) 2013 Reference Points, Meessen De Clercq, Brussels (Belgium) 2012 La inconsistencia de lo visible, Galería Lucía de la Puente, Lima (Peru) Espacio de contingencia NNM, Live broadcast residence-Act #5, Lima (Peru) 2011 Backlight: la naturaleza como espectáculo, Galería L’imaginaire - Alianza Francesa, Lima (Peru) Desencuadre y superficie, Galería Lucía de la Puente, Lima (Peru) 2009 Denaturaciones: Cultura y fractura, Galería Lucía de la Puente, Lima (Peru) 2006 Desborde y contención, Galería 80m2, Lima (Peru) GROUP EXHIBITIONS 2019 Drowning in a Sea of Data, Casa Encendida, Madrid (Spain) Des attentions, Centre d’art contemporain d’Ivry, le Credac, Ivry-sur-Seine (France) Curated by Hélène Meisel, Catherine Guiral, Brice Domingues - upcoming Presque rien, Geukens & De Vil, Antwerp (Belgium) upcoming 2018 The practice of everyday life, after de Certeau, Yuill/Crowley, Sydney (Australia) Archipelago - A problem (on exactitude in science), TLÖN Projects, The Hague (The Netherlands) 'LE SUD' (50° 38' 28'' N, 4° 40' 5'' E), twelve twelve, The Hague (The Netherlands) The Unending Gift, Meessen De Clercq, Brussels (Belgium) Every other thing, Krokus gallery, Bratislava (Slovakia) Ya no nos importa, Sala de Arte Joven, Madrid (Spain) The intention of things, Trafó gallery, Budapest (Hungary) The gathering, Panthera today, Brussels (Belgium) 2017 20 cm from the ground, L21 gallery, Mallorca (Spain) Private Choices, Centrale for contemporary art, Brussels (Belgium) Option to the death of freedom, Casemore Kirkeby, San Francisco (USA) W.W.O.O.F.I.N.G. Vie D'ange, Montreal (Canada) A throw of the dice will never abolish the chance, La Borie, Solignac (France) The Walk, Meessen De Clercq, Brussels (Belgium) Duck full of ants, Second Room, Antwerp (Belgium) (duo project with Juan Pablo Plazas) Notes on our equilibrium, CAB Art Center, Brussels (Belgium) Du verbe à la communication, Carré d'Art, Musée d'art contemporain de Nîmes, Nîmes (France) Próxima parada. Artistas peruanos en la colección Hochschild, Sala Alcalá 31, Madrid (Spain) Fragmented body, Brafa Art Fair, Brussels (Belgium) Little planet pavilion, Cooperativa Arte Contemporaneo, Roma (Italy) 2016 Little Planet Pavilion, Operativa Arte Contemporanea, Roma (Italy) Ejercicios topológicos, Galería José de la Fuente, Santander (Spain) Not really really, Frédéric de Goldschmidt Collection, Brussels (Belgium) Figura Complexus, Trafó Galéria, Budapest (Hungary) Ladera oeste, Ladera oeste, Guadalajara (Mexico) Performing spaces, EVN Collection, Maria Enzersdorf (Austria) 2015 A.N.T.H.R.O.P.O.C.E.N.E, Meessen De Clercq, Brussels (Belgium) Listen to the stones, think like a mountain, Galerie Tatjana Pieters, Gent (Belgium) Luz rasante, Galería Lucía de la Puente, Lima (Peru) Objects of desire, Sabot, Cluj (Romania) De arrogantie van de jeugd, Galerie Gabriel Rolt, Amsterdam (The Netherlands) Performing objects, Enough room for space, Brussels (Belgium) Polivalencias, Galería Lucía de la Puente, Lima (Peru) Presque la même chose, Kunsthalle, Mulhouse (France) 2014 Red dawn (final show), HISK, Gent (Belgium) When I told you to shoot the sky, I had something else in mind…, Platform Centre, Winnipeg (Canada) Homo Ludens, Meessen De Clercq, Brussels (Belgium) Midway trough the journey, neither here nor there, BORG, Antwerpen (Belgium) About Sculpture #4, Galerie Rolando Anselmi, Berlin (Germany) Fotografía después de la fotografía, Bienal de fotografía de Lima, MAC, Lima (Peru) Saint Jerome, Meessen De Clercq, Brussels (Belgium) The part in the story where a part become a part of something else, Witte de With, The Hague (The Netherlands) La historia la escriben los vencedores, OTR, Madrid (Spain) 2013 Proyector13, International Videoart Festival, Madrid (Spain) La extensión del soporte, Centro Cultural Telefónica, Lima (Peru) Sound in, Matadero (Spain) Lathe cuts, Centro Cultural Telefónica, Lima (Peru) Bahuaja Sonene, Centro de la Imagen, Lima (Peru) Parc, International Contemporary Art Fair, Lima (Peru) Belfast Photo Festival 2013, Belfast (UK) HISK - Open Studios, Gent (Belgium) 2012 XIII Convocatoria Internacional, Galería Luis Adelantado, Valencia (Spain) Animalier: The animal in contemporary art, Graceful art gallery and studios, Oklahoma (USA) Pedagogías, Escuela Corriente Alterna, Lima (Peru) Dejar actuar al tiempo, Centro Fundación Telefónica, Lima (Peru) Miscelánea (todo queda en casa), Casa Manuci, Bienal de la Fotografía, Lima (Peru) Otra carne. Corporeidad, mutación y deterioro, IPCNA San Miguel, Lima (Peru) Poetas en tiempo de escasez, IPCNA Centro, Lima (Peru) Terra incognita: Cartografías de lugares inextistentes, CC España, Lima (Peru) Yo no me río de la muerte - Javier Heraud 1942-1963, Sala Miró Quesada Garland, Lima (Peru) 2011 Lima Photo 2011, Centro de la imagen, Lima (Peru) NordArt 2011, Kunstwerk Carlshütte, Büdelsdorf (Germany) 2010 Quince años, Galería Lucia de la Puente, Lima (Peru) The Change, World Bank, itinerant exhibition, Washington (USA) - Paris (France) Pasaporte para un Artista 2010”, Centro Cultural PUCP, Lima (Peru) Mash up, Centro Cultural de España, Lima (Peru) ArtBo, International Art Fair, Bogotá (Colombia) 2008 Visiones del arte contemporáneo en el Perú, Galería Lucía de la Puente, Lima (Peru) Munny, Galería Lucía de la Puente, Lima (Peru) Tener Lugar, Fundación Telefónica, Lima (Peru) Fotografía peruana contemporánea, Galería Animal, Santiago de Chile (Chile) 2007 F(r)icciones, La Galería, Lima (Peru) Godard, Centro Cultural de España, Lima (Peru) 2006 La plaga del lenguaje, Dispatx, Barcelona (Spain) La ilusión del pirata, Premi Miquel Casablancas, Centre Civic Sant Andreu, Barcelona (Spain) Postura, Casa Elizalde, Barcelona (Spain) Interferencia. Project: “Espacio sustraído”, Barcelona (Spain) FIB ART 06, Valencia (Spain) 2005 Deriva, El Local, Barcelona (Spain) Sense Títol 05, Barcelona (Spain) 2004 9a Ruta de Art Jove, Premiá de Mar (Spain) A-VENT Mostra d’ Art Contemporani, Figueres (Spain) Premi Salou de Recerca Pictòrica, Salou (Spain) RESIDENCIES 2015 Lokaal01, Antwerp (Belgium) 2012 Residencia NNM Studio - Act # 5, Lima (Peru) GRANTS AND PRIZES 2017 SOFAM Price for the best solo show at Art on Paper (Brussels) 2010 Tercer premio Pasaporte para un Artista 2010, Lima (Peru)