Suso Fandiño

Suso Fandiño's artistic practice is distinguished by a sustained critical gaze towards the mechanisms of art itself and its capacity to construct narrative. His work is not limited to the production of objects but constantly interrogates the systems of representation, legitimation, and circulation of images in the contemporary context.This critical stance is articulated, firstly, through a conscious relationship with the reproduced image, which the artist extracts from its original context to reinsert it into new formal configurations. Secondly, his ability to integrate object, image, and text into compositions that function as open reading devices, where materiality and discourse are simultaneously activated, is noteworthy. Finally, his work is supported by a solid theoretical and historical foundation that allows him to address complex issues with a contained, clear, and accessible formalization, without sacrificing conceptual depth.

Financial information

Signature value

20.06

Accum. revaluation

8.28 %

Breaking News

Breaking News is a series that establishes a critical dialogue with the image of the world constructed by the media. Using visual fragments primarily from magazines of the 1940s and 1950s, the works reflect on the repetition of history and the permanent relevance of the past in the construction of the present. The compositions are articulated through fragmented images without a single center of attention, where multiple events coexist simultaneously, referring to the logic of mass media and contemporary information saturation. The collage is presented in large format and incorporates pictorial interventions that act as visual accents, reinforcing the idea of "histories of the future" and highlighting how what we believe to be overcome returns again and again in new forms.

New world disorder

New World Disorder is a series that begins with geometric play and symbolic reorganization of territory using mute educational maps. Stripped of their pedagogical function, these political maps—America, South America, Europe, and Asia—are transformed into plastic and conceptual material, activating a reading linked to systems of representation and the political sphere. The works are constructed by superimposing entire maps with slight variations in orientation and position, generating circular structures that suggest rotation and movement. Borders are destabilized, and the map ceases to function as a tool of order to become a field of tensions that proposes a critical reading of the territory.

Souvenirs du Monde

Souvenirs du Monde is an artistic series constructed from collages made with old postcards, understanding collage as a minimal gesture of selection and association rather than material intervention. The images are not physically cut or manipulated: the postcard remains intact, and the artistic action lies in the precise combination of two images that, by juxtaposition, generate new scenographies and shifts in meaning. The works emerge in the intermediate space between the postcards, activating visual continuities and narrative frictions that give rise to ambiguous landscapes, suspended between collective memory and invention. The choice of the postcard, today almost obsolete, introduces a temporal and melancholic dimension that refers both to the tourist imaginary and to the romantic tradition of landscape, inviting reflection on the ways in which territory has been viewed, represented, and remembered.

Territory & Language

In this series, Suso Fandiño addresses territory and language as unstable systems of representation. Through maps, geographical puzzles, and neon texts, the artist investigates how the structures we use to order the world—borders, words, signs—wear out, become obsolete, and require reinterpretation. The intervened and reorganized maps show territory as a provisional construction, marked by change and loss of functional meaning. In parallel, the neons introduce language as an equally fragile space, where words, isolated from their context, cease to communicate directly. Collectively, these works propose a reflection on the limits of representation and offer a critical reading of territory and discourse as incomplete maps of reality.