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Here not today (Not with us), 2021
Die Zeit newspaper cut from August 12th, 2021. Salt crisps, sour cream crisps, cashew nuts, peanuts and sunflower seeds pressed with plexiglass sheet. Framed with transparent tape.
25 x 50 cm






Here not today (Not with us), 2021
Close-up


 

Here not today (Background bouquet), 2021
Berliner Zeitung newspaper cut from August 13th, 2021. Sour cream crisps, cashew nuts, peanuts and raisinspressed with plexiglass sheet. Framed with transparent tape.
25 x 50 cm





Here not today (Background bouquet), 2021
Close-up




“¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?), solo exhibition at L21 Gallery, Mallorca. 2021.




Grandpa’s Car – Opel Olympia, 2021. Laser prints on a pile for visitors to take. 29, x 42 cm each




Background Vehicle #03 (Les Quatre Cents Coups), 2021. Risograph on Shiro Eco White 160 gr paper glued to the wall. 13,9 x 5,8 cm. Ed. 1 + I AP




Background vehicle #13 (The Cardinal), 2021. Risograph on Shiro Eco White 160 gr paper glued to the wall. 13 x 10 cm. Ed. 1 + I AP




“¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?), solo exhibition at L21 Gallery, Mallorca. 2021.




Background vehicle #09 (Les Petits Matins), 2021. Risograph on Shiro Eco White 160 gr paper glued to the wall. 12,5 x 7,5 cm. Ed. 1 + I AP

     

“¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?), solo exhibition at L21 Gallery, Mallorca. 2021.


                              

The Car Of Our Time (Grandpa’s Olympia), 2021.
Made in collaboration with the artist’s father, Juan Waelder. Esparto and plaster on raw DM plinth the height of his father’s shoulder (135cm). 26 x 60 x 163 cm (including plinth) 

 

The Car Of Our Time (Grandpa’s Olympia), 2021. Close-up.


 
                                    

(left) Bell’s choice, 2021.
Oil stick on raw linen superimposed with inkjet print on canvas. Framed in wood.
263 x 196 cm
 
(right) Observers (Charm), 2021.
Oil stick and paint thinner on inkjet print on canvas stapled to the front side of the stretcher.
195 x 162 cm








A precursor of today’s crumple zones, 2020. Oil stick on raw linen superimposed with inkjet print on canvas. Framed in wood. 196 x 163 cm




“¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?), solo exhibition at L21 Gallery, Mallorca. 2021.

                              


A New Motor (Losers), 2020. Oil stick on raw linen superimposed with inkjet print on canvas. Framed in wood. 196 x 163 cm





The Car Of Our Time (Background vehicle), 2021.
Made in collaboration with the artist’s father Juan Waelder. Esparto and plaster on raw DM plinth the height of his father’s shoulder (135cm) 
38 x 76 x 166 cm (including plinth)


                                 

(left) Losing by Winning (SKC), 2021. Oil stick on inkjet print on canvas stapled to the front side of the stretcher. 250 x 200 cm

(right) The Car Of Our Time (Used in only a short scene), 2021
Made in collaboration with the artist’s father Juan Waelder.
Acrylic resin, fiber glass, plaster and enamel paint on raw DM plinth the height of his father’s shoulder (135cm) 
26 x 60 x 163 cm (including plinth)






“¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?), solo exhibition at L21 Gallery, Mallorca. 2021.




The car of our time, 2021. Oil stick on raw linen superimposed with inkjet print on canvas. Framed in wood. 263 x 196 cm




“¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?), solo exhibition at L21 Gallery, Mallorca. 2021.




Warm Clothes, Cold Toes, 2019. Cardboard remainder, tape, marks of use and paint, silk clay. 49,5 x 44 x 19 cm





“RUIDO”, duo exhibition with Èlia Llach at Ana Mas Projects, Barcelona, 2016




“We feel untied, but why?”, solo exhibition at Centro Párraga curated by Sonia Fernández Pan. Murcia, Spain. 2018.



A Piece of Floor Where We Used To Dance, 2018
Removed wooden floor. After the exhibition, the wall piece returns to its original location.
Two parts: piece of new floor, and original floor on wall
431 x 232 cm each



“We feel untied, but why?”, solo exhibition at Centro Párraga curated by Sonia Fernández Pan. Murcia, Spain. 2018.


                 


One Knee Misses The Other, 2018. Found remainder of a wooden chair and clay. 67 x 64 x 27 cm




“We feel untied, but why?”, solo exhibition at Centro Párraga curated by Sonia Fernández Pan. Murcia, Spain. 2018.




A slippery wall in which nothing slips, 2018. Black matt vinyl letters on wall, font: Neuzeit Book Heavy. 7,5 x 233 cm



If they had feelings, it’s possible they missed each other, 2018. Black matt vinyl letters on wall, font: Neuzeit Book Heavy. 7,5 x 405 cm



I remember better days, 2018. Found iron bar, used old shoes. 29 x 237 x 15 cm



I remember better days, 2018. Close-up.



And then I slipped, 2018. Candle wax on the three walls. Variable dimensions



And then I slipped, 2018. Close-up.




All my shoes (Spooky drums no.1
), 2018. (Video excerpt). 7:11 mins in loop. Stereo track.
It plays the recording of throwing all artist’s accumulated used shoes between 2010 and 2018 down the stairs of the Centro Párraga building.



Doesn’t mean it’s there, 2020. Oil stick on raw linen superimposed with inkjet print on canvas. Artist’s frame. 196 x 163 cm



Slow hang-up talks, 2020. Remainder of wooden chair, staples, papier mache. 




Dear Leg, 2016. Inkjent print in Hahnemühle paper framed in aluminium. 40 x 30cm. Ed. 3 + I A.P



Tired (Series Looking, Finding, Living, Sharing), 2019. Inkjet print on Hahnemühle Photo Rag White paper, framed in aluminium. 30 x 40 cm. Ed. 5 + I A.P



Is it at eight? (Series Looking, Finding, Living, Sharing), 2019. Inkjet print on Hahnemühle Photo Rag White paper, framed in aluminium. 30 x 40 cm. Ed. 5 + I A.P

Installation view at “The Hawt Show II”, Galerie Rolando Anselmi, Atina, Italy. 2020.




Zishi Sleeping (Series Looking, Finding, Living, Sharing), 2019. Inkjet print on Hahnemühle Photo Rag White paper, framed in aluminium. 30 x 40 cm. Ed. 5 + I A.P




“SUEDE”, solo exhibition at L21 Gallery, Mallorca. 2021.



A Nice Reason To See Each Other Again, 2016
Quadraphonic site-specific sound installation. 7 mins in loop. Ed. 3 / II A.P.
The four loudspeakers play a composition with sounds of the results of recording a skateboard session at the same space with friends from Waelder’s childhood he didn’t have the chance to see in years.





I Used These Shoes for a Few Months (March/April 2015), 2016
Used sneakers casted in bronze, hand painted, black shoelaces
Site-specific dimensions. Ed. 3 / II A.P.





I Used These Shoes for a Few Months (March/April 2015), 2016. Close-up.




Dear Leg (Weight, Marks, Bone), 2018. Found wooden remainder, papier mache and wooden foot figure with papier mache on glass vitrine. 134 x 111 x 23 cm


                                          


Dear Leg (Weight, Marks, Bone), 2018. Close-ups.





Four Attempts, 2016. Polyptych. Laser prints on 90gr paper glued to the wall. 210 x 140 cm each.





Posture (Bruise), 2018. Found cardboard tube casted in bronze, patina. 182 cm x 10 ø cm


                   


(left) Min 0:44 (Wrong), 2018. Scratches and spray on raw linen superimposed with inkjet print on Blueback paper glued on raw linen. Artist’s frame. 196 x 163 x cm.

(right) Aaaaaahhhhh uffff, 2018. Remainder of cardboard tube casted in bronze (patinated), plaster strips. 34 x 41 x 16 cm.




         


(left) 9 (Star), 2018. Oilstick and dirt sewn on raw cotton Artist’s frame. 25 x 31 x 3 cm.


(right) Wet (third one in the box), 2019. Papier mache . 28 x 11 x 10 cm.




Made With The Highest Attention To The Wrong Detail, 2018. Papier mache on vitrine. 131 x 31 x 31 cm.



Carboard Knee, 2018. Old cardboard rest casted in bronze (patinated), plaster strips. Unique piece. 82 x 8 x 7 cm.



Carboard Knee, 2018. Close-up.




All the times I've fallen since 2008, 2018. Stereo, 1:10 min. in loop. It plays once every 5 minutes.
Part of the solo exhibition "WHO WOULD BE INTERESTED IN AN EMPTY PARKING LOT?" at The Finnish Museum of Photography, Helsinki. 2018.

This work plays all the extracted sound parts of the video recordings of all my falls between 2008 and 2012.


          

(left) Dear leg (Shoelace #05), 2018. Scratches, pencil, pen, oil stick, marker, dirt and found photograph glued on raw linen. Artist’s frame.130 x 160 cm

(right) Falling Up, 2019. Oil stick on raw linen superimposed with inkjet print on canvas. Artist’s frame. 196 x 163 cm



 Dear leg (Shoelace #05), 2018. Close-up.





An Enjoyment That Consists Of Testing And Playing With The Resistance Of Materials, 2015
Spray paint dust and marks of many different materials and objects found in the studio of the artist and that have been dragged through the floor of the exhibition space. Site-specific dimensions.




“Dear Leg”, duo exhibition with Bel Fullana at Bacelos Gallery, Madrid, Spain. 2016. Install view of laser prints and sound piece All the times I’ve fallen (Fuck Off, Martin Creed), 2016.

          

On a day with no waves, 2018. Scratches, pencil, dirt and found photographs glued on raw linen. Artist’s frame. 132 x 160 cm.



High Expectations, 2019. Used cardboard tubes casted in bronze. Patinated. 55 x 9 Ø cm, 143 x 11 Ø cm





“The Noise, The Traces and The Marks”, solo exhibition at LOCAL Arte Contemporáneo, Santiago, Chile. 2015.





Wallride Drawings, 2015. Skateboard wheels accumulated dirtiness over the wall after skating the gallery space and riding the walls. Audio track in loop with the sound of the action




The Noise, The Traces And Marks Are The Results Of..., 2015. Written text with marker on a found aluminium piece. 200 x 5 x 2,5 cm.




Support System, 2014. Laser print on 90gr paper, duct tape and found aluminum remainder. 80 x 52 x 43 cm.


                            


(right) Wrong #02, 2014Laser print on 90gr paper with marks and dirtiness after being dragged by the floor of places where people practice skateboarding. 59,4 × 84 cm






After A Hippie Jump, 2014. Bricks, acrylic paint and cardboard tube runned over by a car with paint marks and dirtiness after being left somewhere in the studio for a period of time. 120 x 20 x 16 cm.





“After a hippie jump”, solo exhibition at L21 Gallery, Madrid, Spain. 2014.

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