Obedience
Installation/Editorial, 2020
Mural installation composed of 25 riso-printed A2 blocks of paper, 2.5 x 3.2 meters.
Jan Van Eyck Academie,The Wall at The End of The Rainbow, 2020. Curated by Natasha Marie Llorens.
Jan Van Eyck Academie,The Wall at The End of The Rainbow, 2020. Curated by Natasha Marie Llorens.
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To-scale reproduction of Hans and Paul Vredeman de Vries’s sixteenth-century painting Orpheus Playing for the Animals, which went missing in 1944.
“In English, the painting is known by an alternate title: Orpheus playing the lyre: trees and rocks move, beasts and birds are enchanted, which also accurately describes what is taking place in the image. This enchantment is framed by an architectural folly, under an ornate domed roof upheld by marble pillars that visually overwhelms the birds and the trees of the garden. Bermúdez Obregón’s Obedience reproduces the painting in red monochrome on 25 blocks of riso-printed paper. Visitors were invited to tear sheets of paper off the wall and keep them, to participate in the image’s deconstruction and dissemination.”
Natasha Marie Llorens, Curator.
“In Obedience there are two grids. One is represented (reproduced from the original painting), and the other is part of the format of my installation. The first symbolizes Orpheus’s music: it is the architecture of the painting, the infrastructure into which all the natural elements are placed. The second, real one is the grid made of blocks of paper that breaks the painting apart.”
“The first sections of paper to be removed corresponded to objects that can be isolated without losing their identity or becoming abstract: the deer, the bird, the elephant, Orpheus; When something can be named and marked off, it becomes available, and can be taken. That’s how we colonize, control, represent, and
create nature.”
“In Obedience there are two grids. One is represented (reproduced from the original painting), and the other is part of the format of my installation. The first symbolizes Orpheus’s music: it is the architecture of the painting, the infrastructure into which all the natural elements are placed. The second, real one is the grid made of blocks of paper that breaks the painting apart.”
“The first sections of paper to be removed corresponded to objects that can be isolated without losing their identity or becoming abstract: the deer, the bird, the elephant, Orpheus; When something can be named and marked off, it becomes available, and can be taken. That’s how we colonize, control, represent, and
create nature.”
