On flesh and ether: Picasso, Miró and Tàpies

Made on fragile media, the trompe-l'oeil paintings by Julio Anaya Cabanding (Málaga, 1987) establish dialogues with works from a historical moment that is not our own. Irreverent in practice but respectful in technique, Anaya Cabanding's copies examine certain ideas that have to do with authorship, authenticity and ownership, as well as with the competencies of the institutions that govern the art world, such as the conservation and transmission of a legacy.

Along these lines, De Carne y Éter includes versions of iconic works such as Picasso's La femme qui pleure (1937) and La Siesta (1932), and Tàpies' Tela Blanca amb cartró cosit (1963). By recreating these works halfway between copying and meta-painting, Anaya pays tribute to these artists and also invites the public to reflect on the condition of their artistic methodology - acrylic painting on abandoned cardboard - and to reflect on the nature of their work.

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