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The Timekeeper Of The Adrastus Collection

Arévalo  |  Spain  | 

The Timekeeper Of The Adrastus Collection

The Adrastus Collection, built since the 1990’s by Spanish investor Javier Lumbreras, became officially founded in 2000 together with his wife Lorena Pérez-Jácome. This was when a more precise, coherent and clear phase of redefinition began, where today it is devoted to being “a radical experimental collection focused on 21st century art”.

The Adrastus Collection’s genesis was conceived quite rationally – as a consequence of the pair’s deeply rooted general interest in art, whilst being detached to possession or self-affirmation. “We mainly decided to do so because we believe in the incalculable social and intellectual value derived of this activity. Collecting is not merely to accumulate products of a same class, but to complexly articulate these materials. Thus, to collect is to connect, to arrange. It is to structure a set of things in order to give them meaning and share the universal message along.”

The Adrastus Collection strives to center on the most representative expressions of the current century, that circulate in the peripheries of capitalism and of western hegemonies; resulting in the creation of a platform that gives visibility to those voices that can be far from the art market’s microphones. Dedicated to continuous search for expansion, the collection includes around 700 works by 150 artists from over 40 countries. Artists include the likes of Jonathas de Andrade, Pawel Althamer, the collective Allora-Calzadilla, Leonor Antunes, Nairy Baghramian, Yto Barrada, Carol Bove, Kevin Beasley, Tacita Dean, Ryan Gander, Pierre Huyghe, Iman Issa, Jim Lambie, Louise Lawler, Justin Lieberman, Steve McQueen, Wade Guyton, Roman Ondák, the collective Opavivará!, Pratchaya Phinthong, Wilfredo Prieto, Walid Raad, Pamela Rosenkranz, Anri Sala, Tino Sehgal, Kelley Walker, Christodoulos Panayiotou, Adrian Villar Rojas, Rirkrit Tiravanija, Dahn Vo, and Akram Zaatari. The cohesive thread lies in the capacity to dislocate economic, political and cultural structures through the introduction of complex artistic devices.

Lorena and Javier’s activities have to date culminated in initiating an art center in the Spanish town of Arévalo, Castilla y León, of which they have been occupied with since 2010. The development of this new project implies a series of personal commitments that the couple have assumed with enthusiasm and firmness. As a local of Arévalo, Javier’s claim “at some point, I have said that the best artwork from Adrastus Collection is Arévalo”, passionately sums up their sensitivity for connection and interaction to place.

Currently with the project, they are knee-deep in the ambitious production phase, building a support platform to materialise their vision. Collegium is to be the result, as a space for research, production and exhibitions, which seeks not only to change the economic and social dynamics of the region, but to transcend and blur horizons with each relational experience between object and subject. This is in pursuit “to forever transform the way we build museums to-date”. Their method is to restore and honour the architectural importance of the medieval archeological site and the 16th century buildings, and integrate their academic histories as centrepieces for a contemporary museum, archive, investigation, conservation and production center for art. This dual focus allows for the project to redirect the path of deterioration into something of growth and knowledge, nourished by the radical nature of contemporary art.

For the debut presentation of the Adrastus Collection on IC, following in this Collection Feature are artwork reproductions and collection pieces in situ at various art spaces.

PIERRE HUYGHE, Timekeeper, 2002 (installation view Pierre Huyghe: Secession, Vienna). Courtesy Marian Goodman Gallery, New York
PIERRE HUYGHE, Timekeeper, 2002 (installation view Pierre Huyghe: Secession, Vienna). Courtesy Marian Goodman Gallery, New York
RIRKRIT TIRAVANIJA, Untitled 2018 (The Divine Comedy), 2018 (installation view, The Divine Comedy, Fondation Beyeler, Riehen). Courtesy the artist and Fondation Beyeler
RIRKRIT TIRAVANIJA, Untitled 2018 (The Divine Comedy), 2018 (installation view, The Divine Comedy, Fondation Beyeler, Riehen). Courtesy the artist and Fondation Beyeler
JENNIFER ALLORA & GUILLERMO CALZADILLA, Compass, 2010. Courtesy of the artist and kurimanzutto, Mexico City
JENNIFER ALLORA & GUILLERMO CALZADILLA, Compass, 2010. Courtesy of the artist and kurimanzutto, Mexico City
LAURE PROUVOST, Cooling System 6 (For Global Warming), 2019 (installation view, Deep See Blue Surrounding You, French Pavilion, 58th Venice Biennale). Courtesy Carlier Gebauer, Berlin
LAURE PROUVOST, Cooling System 6 (For Global Warming), 2019 (installation view, Deep See Blue Surrounding You, French Pavilion, 58th Venice Biennale). Courtesy Carlier Gebauer, Berlin
LEONOR ANTUNES, A Secluded And Pleasant Land. In This Land I Wish To Dwell, 2014 (installation view Courtesy Leonor Antunes; Isabella Bortolozzi Gallery, Berlin; Luisa Strina Gallery, Sao Paulo). Photo: Anders Sune Berg. ©KW Institute for Contemporary Art, Berlin
LEONOR ANTUNES, A Secluded And Pleasant Land. In This Land I Wish To Dwell, 2014 (installation view Courtesy Leonor Antunes; Isabella Bortolozzi Gallery, Berlin; Luisa Strina Gallery, Sao Paulo). Photo: Anders Sune Berg. ©KW Institute for Contemporary Art, Berlin
EDI RAMA, Untitled (New York), 2016 (installation view Marian Goodman Gallery, New York). Courtesy the artist and Marian Goodman Gallery
EDI RAMA, Untitled (New York), 2016 (installation view Marian Goodman Gallery, New York). Courtesy the artist and Marian Goodman Gallery
JONATHAS DE ANDRADE, Suar a Camisa, 2014 (installation view, One to One, MCA Chicago). Photo: Nathan Keay, © MCA Chicago
JONATHAS DE ANDRADE, Suar a Camisa, 2014 (installation view, One to One, MCA Chicago). Photo: Nathan Keay, © MCA Chicago
ANRI SALA, Names In The Doldrums, 2014. Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo: Sebastiano Pellion
ANRI SALA, Names In The Doldrums, 2014. Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo: Sebastiano Pellion
JEAN-LUC MOULÈNE, Tête Couronnée, Paris, 2013. Courtesy the artist and Galerie Chantal Crousel, Paris. Photo: Florian Kleinefenn
JEAN-LUC MOULÈNE, Tête Couronnée, Paris, 2013. Courtesy the artist and Galerie Chantal Crousel, Paris. Photo: Florian Kleinefenn
ROMAN ONDÁK, Do Not Walk Outside This Area, 2012 (installation view Don’t Walk Outside This Area, Deutsche Guggenheim, Berlin). Photo by Jens Ziehe © Deutsche Guggenheim, Berlin.
ROMAN ONDÁK, Do Not Walk Outside This Area, 2012 (installation view Don’t Walk Outside This Area, Deutsche Guggenheim, Berlin). Photo by Jens Ziehe © Deutsche Guggenheim, Berlin.
RYAN GANDER, Only Really Applicable To Those That Can Visualize It Upside Down, Back To Front And Inside Out, 2009. Courtesy the artist and gb agency, Paris
RYAN GANDER, Only Really Applicable To Those That Can Visualize It Upside Down, Back To Front And Inside Out, 2009. Courtesy the artist and gb agency, Paris
ED ATKINS, Safe Conduct, 2016 (installation view, Courtesy Ed Atkins, Kunsthaus Bregenz, Austria). © Kunsthaus Bregenz, Bregenz.
ED ATKINS, Safe Conduct, 2016 (installation view, Courtesy Ed Atkins, Kunsthaus Bregenz, Austria). © Kunsthaus Bregenz, Bregenz.
EDUARDO BASUALDO, Inocente, 2013. Courtesy the artist and Ruth Benzacar Gallery, Buenos Aires
EDUARDO BASUALDO, Inocente, 2013. Courtesy the artist and Ruth Benzacar Gallery, Buenos Aires
ADRIÁN VILLAR ROJAS, Untitled (from the series “Los Teatros de Saturno”), 2014. Courtesy the artist and Kurimanzutto, Mexico City
ADRIÁN VILLAR ROJAS, Untitled (from the series “Los Teatros de Saturno”), 2014. Courtesy the artist and Kurimanzutto, Mexico City
DANH VO, Take My Breath Away, 2015 (installation view Danh Vo, CAPC Musée d’art contemporaine de Bordeaux, Bordeaux). Courtesy of the artist and Galerie Chantal Crousel, Paris
DANH VO, Take My Breath Away, 2015 (installation view Danh Vo, CAPC Musée d’art contemporaine de Bordeaux, Bordeaux). Courtesy of the artist and Galerie Chantal Crousel, Paris
CHRISTODOULOS PANAYIOTOU, Untitled, 2013 (installation view Christodoulos Panayiotou, Casino Luxembourg, Luxembourg). Photo: Andres Lejona. Courtesy the artist and Rodeo, London
CHRISTODOULOS PANAYIOTOU, Untitled, 2013 (installation view Christodoulos Panayiotou, Casino Luxembourg, Luxembourg). Photo: Andres Lejona. Courtesy the artist and Rodeo, London
OPAVIVARÁ!, Formosa Decelerator, 2014 (installation view 9th Tapei Biennial, Taipei). Courtesy Gentil Carioca, Sao Paulo
OPAVIVARÁ!, Formosa Decelerator, 2014 (installation view 9th Tapei Biennial, Taipei). Courtesy Gentil Carioca, Sao Paulo
PETRIT HALILAJ, Abetare (Car), 2015, reproduction of a drawing found on the school tables of the Primary School ‘Shote Galica’, Runik, Kosovo (installation view Abetare, Kölnischer Kunstverein). Photo: Simon Vogel © Kölnischer Kunstverein, Cologne
PETRIT HALILAJ, Abetare (Car), 2015, reproduction of a drawing found on the school tables of the Primary School ‘Shote Galica’, Runik, Kosovo (installation view Abetare, Kölnischer Kunstverein). Photo: Simon Vogel © Kölnischer Kunstverein, Cologne
YTO BARRADA, Plumber Assemblage, 2015 (installation view, Faux Guide, Pace Gallery, London). Photo: Damian Griffiths, ©Yto Barrada, Courtesy Pace Gallery
YTO BARRADA, Plumber Assemblage, 2015 (installation view, Faux Guide, Pace Gallery, London). Photo: Damian Griffiths, ©Yto Barrada, Courtesy Pace Gallery
LARA FAVARETTO, LF 16.001, 2016. Courtesy the artist and Galleria Franco Noero, Torino. Photo: Sebastiano Pellion di Persano
LARA FAVARETTO, LF 16.001, 2016. Courtesy the artist and Galleria Franco Noero, Torino. Photo: Sebastiano Pellion di Persano
MARIELA SCAFATI, Familia (Daniel, Kinga y Maite), 2019. Courtesy the artist and Isla Flotante, Buenos Aires
MARIELA SCAFATI, Familia (Daniel, Kinga y Maite), 2019. Courtesy the artist and Isla Flotante, Buenos Aires
GEOFFREY FARMER, This is where the plate goes. If you stare at it long enough it starts rotating to the right. I imagine the garden on the carpet doing the same. This makes it a planet. I am flying above the city, spinning. Then... the Baboon is, upset. He is picking at the post and his leathery bottom sits on the branch, which he has worn down. His tail hanging limply, not like a branch, more like a rope. Then the other monkeys, especially the young ones are saying, “share with me”! share with me! In the carpet you can see a plant with a huge eye, and if you stare long enough into it, the pot and the bird emerge.
with As I imagined time-figure, foreseen in the opera just before the dancing spider leg (for Hannah) (Fountain), 2014. Courtesy the artist and Catriona Jeffries, Vancouver
GEOFFREY FARMER, This is where the plate goes. If you stare at it long enough it starts rotating to the right. I imagine the garden on the carpet doing the same. This makes it a planet. I am flying above the city, spinning. Then... the Baboon is, upset. He is picking at the post and his leathery bottom sits on the branch, which he has worn down. His tail hanging limply, not like a branch, more like a rope. Then the other monkeys, especially the young ones are saying, “share with me”! share with me! In the carpet you can see a plant with a huge eye, and if you stare long enough into it, the pot and the bird emerge. with As I imagined time-figure, foreseen in the opera just before the dancing spider leg (for Hannah) (Fountain), 2014. Courtesy the artist and Catriona Jeffries, Vancouver
TERESA MARGOLLES, El Enjoyado, 2009. Courtesy the artist and Mor Charpentier, Paris
TERESA MARGOLLES, El Enjoyado, 2009. Courtesy the artist and Mor Charpentier, Paris
TACITA DEAN, The Friar’s Doodle, 2010 (installation view, The Friar's Doodle, Monasterio de Santo Domingo de Silos, Burgos). © Museo Nacional Centro de Arte Reina Sofía, Madrid
TACITA DEAN, The Friar’s Doodle, 2010 (installation view, The Friar's Doodle, Monasterio de Santo Domingo de Silos, Burgos). © Museo Nacional Centro de Arte Reina Sofía, Madrid
WALID RAAD, Views From Inner To Outer Compartments: Louvre, 2012. © Walid Raad. Courtesy of Paula Cooper Gallery, New York
WALID RAAD, Views From Inner To Outer Compartments: Louvre, 2012. © Walid Raad. Courtesy of Paula Cooper Gallery, New York

Adrastus Collection is included in the Art Guide.