dijon-france

Armando Andrade Tudela

FRAC Bourgogne

The stereograph was first popularized in the mid-nineteenth century as a device for “parlor travel,” a way to see the world’s exotic sites in 3-D from the comfort of one’s home. Figuratively speaking, however, stereoscopy—the juxtaposition of two perspectives that, viewed together, create an impression of depth—has always been the domain of the émigré, a class to which the Peruvian-born, Berlin- and St. Etienne–based artist Armando Andrade Tudela belongs. His exhibition at the frac Bourgogne came equipped with room-size View-Masters—again, figuratively speaking: two ad hoc walls staggered in the space, which transformed the exhibition into a vivid series of skewed perspectives.

Andrade Tudela’s work surveys the transposition of South American culture into the occidental landscape and back again, with syncretisms ranging from rattan kitsch to Caetano Veloso to modernist motifs in industrial

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