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GRUPO ANAN IMAGES

GRUPO ANAN FOR RESIDENCY TENOCHTITLAN MEXICO CITY JUNE/JULY 2015

Bread Sphinx, 2015

Olmec Bread head, 2015

Libya Montes 2000, 2015

Cydonia 1976, 2015

Replica of San Lorenzo head on shell, 2015

Pulque Tamales Tortillas Tobacco Turkeys Feathers & Incense, 2015

Pulque Tamales Tortillas Tobacco Turkeys Feathers & Incense, 2015

Lost Days -  with Snake, Shell, Lime and Rock, 2015

Lost Days -  with Snake, Shell, Lime and Rock, 2015

Grupo Still life, 2015

GRUPO ANAN FOR THE SECRET GARDEN GROUP EXHIBITION // SADE LOS ANGELES

We were hoping that an illusion might present itself; these objects have always been here, they were actually built in to the foundations of the building at its conception, and there is a story behind it. And it is intriguing.

But if you look properly enough, you can see the joints in the wood, the cuts. You can see where we sliced into the foundations and joined them with some two by four chunks which hold the icon sculptures. You can see where we stained the wood, to ensure that there was as little as possible difference in quality between the two by four and the wood of the foundation.

We wanted it to look mysterious. Uncanny. We discussed it, amongst ourselves, and all but one (we work on a majority leads philosophy) agreed that by leaving the edges of the cuts in the walls quite imprecise, we would gesture toward an air of discovery; these openings have been cut out by a rogue archaeologist, self trained, tipped off in a lucid dream.

We were trying to make it seem as if you are looking back in time. Not only back to the relatively recent construction of this building, but toward an old lineage. An old idea. That resonates in things. That resonates in stuff, as a kind of ancient thread of transference through the shifting and birthing of matter.

We want to ask you if it qualifies, in your opinion, actually, because we honestly don?t know anymore. We are inside that sensation that sometimes occurs when you are thinking about a thing for a long time and rather than gaining a stronger grasp or a clearer vision, that thing actually becomes more and more abstract, more and more distant. Unrooted. Unseeable. Ungraspable.

Paradoxical really.

Something like that gap that emerges when you look in the mirror for a very long time until at some point you can see yourself as a face, a head, a body, as an actual human being from an outside perspective rather than simply a reflection of your relationship to that image, the abstract yet incredibly familiar image. Stark. Blurry.

We were thinking that ideally we would present these gestures, to go along with the objects thinking that gestures would somehow more adequately represent the thing that we were attempting to get at. The thing that we are coming up with.

The first gesture might go something like: Move right, very slightly, then take your left arm and rise it above your head, then slowly place your left hand at the back of your neck, and then gently, tenderly, move it upward, along the neck and slowly toward your head, to rest at the back of your skull. Push down and forward. Quite hard. Your head should drop in a downwards motion and you should be looking toward the floor. Like a kind of regal bow, but with nuance of obligation, because your hand is making you do it.

Doing it?

Secondly, we came up with this move, which lends itself toward dance, we like this one: Move your right foot in gentle anti clockwise circular motion on the floor, in front of you, and circle your left arm, clockwise, hand gesturing toward the floor.Head very still, focused. Keep going.

A kind of planetary constellation gesture - spiralling in a perpetual circular motion to both symbolize and literally embody the passing of time (two birds, one stone).

And then, this sound. Ideally there would be this sound. A very low frequency, but not inaudible, and just at the right HZ level to create these wonderful patterns in all fluids. That is; in us, in bodies - in our body, in your body.

Ideally you are viewing this work from a very great distance but still seeing it very clearly. You have this sense of being completely alone and it is as if you, yourself, are the very person that is discovering this thing.

Someone is whispering in your ear. Things like: Do you know where it comes from?

And you would nod and smile and then inform the questioner about the truth of this matter, and you would be literally offering the entire meaning for this artwork.

We are talking about things on a cosmic scale, actually.

To demonstrate this we have arranged you into a very specific constellation.

It might not seem like it, but we have choreographed you just so.

You are currently playing a vital role in what we call the sacred Grupoconstellation, 2015.

(Actually, if we want to view this constellation properly, we will have to wait. 190,000 years for this particular Groupage)

But you are doing very well.

It?s all rather exquisite actually because its has spread beyond us

and the colours are unexpectedly coordinating

and the light is arriving sooner than we thought it would.

We didn?t plan for colours but who could say that it is not impressive when the right combination presents itself.

Grupo Anan

Buddha with Pearls, 2015

Installation view, 2015

Embedded Figure 1, 2015

Embedded Figure 2, 2015

Embedded Figure 3, 2015

Excavated Figure, 2015