“Felipe Ridao was born in 1978 in Montevideo, the capital of Uruguay. The smallest country in South America has been under high economic pressure for many years now and is considered an unknown quantity in the world
as far as architecture, art and design are concerned. Not be­cause it has nothing to offer in these fields, but because the world’s attention passes a great deal by. At 14 years of age, Felipe Ridao attended a career orientation course in high school and when asked what he wanted to be when he was older he responded: “I am a graphic designer!” His teachers and fellow students found that amusing. He was being entirely serious, though.
And long before he had even seen what the inside of a university looked like, Ridao was working professionally as a developer of visual brands and corporate identities for small companies. At 19 he started his first permanent job at a design and architecture studio. One year later he became a partner of the compa­ny, but just two years after that followed the call of i+D, one of the country’s most important design studios. It was there that he took part in developing the brand of his home country.

Yet this early professional linearity soon gave way to a pluralistic approach. Felipe Ridao is still a graphic design­er, but nowadays he is also far more than that – he is an interdisciplinary concept artist and experimental social critic.” (View full article)

By Michael Neser | Outlook #15 2012 – Magazin für Architektur, Design und Technik

“Felipe is an Uruguayan artist, settled in Oslo, with formal studies in graphic design and an artistic self-taught background.It is really hard to determine if “informal” learning is a positive or negative asset for an artist. In the particular case of Felipe, the lack of an orthodox artistic education allowed him to naturally break the imposed (and self-imposed) boundaries of the Uruguayan contemporary art scene. His artwork, which started with the brink of the second millennium, is developed in diverse expressions including live performances and public events.
Even though Felipe has categorised his work into three groups, namely: “Brands (Series)”, “Images” and “Situations”, his artwork follows an internal logic that is not identified and/
or distinguished by shapes or images, but by the creation of situations or by exposing relations where opposed narrative elements are purposefully set against: those linked to media’s ideology and visual communication aesthetics, to those of ideological borders of cultural spaces, and/or to elements of the consumer and performing arts industries. The opposition of these elements creates spaces of contradiction, or paradoxical instances as Goy indicates and also reveals the state of the social alienation, such as the social and economical fragility we live in, as well as the limits that art and cultural field has to talk about these topics.

In some cases, the gestures and actions chosen by Felipe, are minimal or almost imperceptible.

(…)

If the social imaginary is outlined by the signs of comfort and show business, culture and fine arts seem to be doomed to stay together, or determined for the horizon of the Capital as much for a permanent social endogamy.

With his artwork Felipe Ridao subtlety points the restrictions of the doing -as a critical approach of the space of fine arts in culture creating new, temporary and alternative scenarios, allowing unknown ways of social relations as well as new perceptions of the visual arts.” (View full article)

By Manuel Neves * | Brasilia 2013

*Manuel Neves is an Uruguayan art curator and critic (AICA) specialised in LatinAmerican modern and contemporary art and formed in “Theory and praxis of language and of arts” at the School for Advanced Studies in the Social Sciences, France (EHESS).

 

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