An in-depth exploration of the artistic issues at stake in the work of Ad Minoliti, with the aim of deconstructing the binary categories that history and the history of art have tried to retain as "universal".
Through photographic documentation covering more than fifteen years of practice in a variety of media (painting, print, video, sculpture, installation), and texts by Irene Aristizábal, Nicolas Cuello, Gaby Cepeda, Élodie Stroecken and Santiago Villanueva, Theory Peluche Fábulas explores various social, cultural and political questions that Ad Minoliti's practice raises.
Published following Ad Minoliti's exhibitions "Biosfera Peluche/Biosphere Plush" at Baltic Centre for Contemporary Art, Gateshead, and Tate St Ives (2021-2022), and "Play Theater" at Centre de Création Contemporaine Olivier Debré, Tours (2021-2022).
In their work, Ad Minoliti (born 1980 in Buenos Aires) lay the cards on the table, cards that have been in our society's deck for centuries. Man, woman, animal, machine, adult, white, child. These are proven categories that have influenced the normative relationships between all living beings, and which have been echoed in the history of the arts, but also in architecture and the decorative arts. The environments that the artist create—always starting from painting—are possible reinventions, proposals for the reenchantment of all inter-living relationships. For Ad Minoliti, geometry is a formidable tool for venturing into new forms of narration without being encumbered by lyricism.
