Armando Andrade Tudela (born 1975 in Lima, Peru; lives and works in St. Etienne, France and Berlin, Germany).
“The artwork Sedimento [Sediment] makes reference to the chairs designed for children by Lina Bo Bardi for the lounge area at SESC Pompéia, São Paulo. Tudela has [rescaled] the original design, transforming it into a 1 x 1 meter half cube. These oblique halves evidence both the malleability of Lina’s original concept and it’s minimalist features. The artist has also played with the heights of the seats by placing them in different levels, a gesture that alludes to the geological process of sedimentation.”
–Press release, Fortes Vilaça Gallery website.
“Eclipsed from the entranceway by one of Andrade Tudela’s partitions are nine boxlike structures. SESC references the São Paulo cultural center designed between 1977 and 1982 by Brazilian architect Lina Bo Bardi. The spartan armchairs she created for the SESC–triangular seats inserted in the right angle of two boards–were reproduced here on a larger scale and variously oriented in a row as if enacting some esoteric semaphore. The warm ambiguity of Donald Judd’s furniture or Scott Burton’s sculpture comes to mind, but so do Sherrie Levine’s renditions of Gerrit Rietveld’s Krate tables, which in recontextualizing the modernist design evacuate its utility through the implacable expropriations of the art world–expropriations currently directed vigorously at the history of South American art and Tropicaália. In reading Andrade Tutela’s work at the intersection of these two references we may find a good indicator of the nuance he commands, a kind of stereoscopic vision in itself: one eye trained on the codification of an aesthetic and social history, ad the other on its emancipation.”
–Joanna Fiduccia, Review “Armando Andrade Tudela: Frac Bourgogne, Dijon, France,” Artforum, April 2010.