Barcelona

Oriol Vilanova, Diumenge (Sunday) (detail), 2017, postcards. Installation view. Photo: Roberto Ruiz.

Oriol Vilanova, Diumenge (Sunday) (detail), 2017, postcards. Installation view. Photo: Roberto Ruiz.

Oriol Vilanova

Fundació Antoni Tàpies

Oriol Vilanova, Diumenge (Sunday) (detail), 2017, postcards. Installation view. Photo: Roberto Ruiz.

It has long been said that contemporary art is made from the residues of the semiotic hyperproduction that has turned culture into a giant flea market: Everything is a recycling of something that has been previously produced and abandoned, and is waiting to return to the sphere of circulation. That’s even more the case for Oriol Vilanova than it is for most artists. Extending Asger Jorn’s practice of aesthetic vandalism, Vilanova operates literally as a ragpicker. Every Sunday the artist arrives with religious punctuality at the market of whichever city he finds himself in—Brussels, Barcelona, Paris—in order to acquire postcards. He has amassed a diverse hoard, currently amounting to approximately thirty-four thousand items. Diumenge (Sunday), 2017—the work that lent its title to this exhibition which was curated by Carles Guerra—assembled about twenty-seven

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