Daniel Chust Peters (Sao Paulo, 1965, Brazil) lives and works in Barcelona. Visual artist, his artistic work is mainly dedicated to represent his workshop in a systematic way, as well as in the exploration of the complicity that can be established between the production space and the exhibition spaces. The medium and support that shape his projects oscillate between the object, photography, video and installation.
Throughout his professional career the following projects stand out: La Vie au grand air (2022), PM8 Gallery, Vigo. The Swamp of Forever. Chapter 3: Standard (2020), Nogueras Blanchard Gallery, Barcelona. Dans l' Atelier. The photographic artist from Ingres to Jeff Koons (2016), Petit Palais, Paris. Casa-Estudio-Calle-Barrio (2016), CentroCentroCibeles de Cultura y Ciudadanía, Madrid. Alt-architecture (2016), CaixaForum, Barcelona. The Gift (2015) Herzliya Museum of Contemporary, Israel. Portraits of Artists (2015), Lavallée, Brussels.
His works have been acquired by: "La Caixa" Contemporary Art Collection. Mumok-Museum of Modern Art Ludwig Foundation, Vienna. Fons municipal d'art contemporain de la Ville de Paris, (FMAC) Collection du Centre national des arts plastiques (CNAP), France. SMART Brussels. Fonds d'art de l'Ajuntament de Barcelona. Collection of Es Baluard Museum of Modern and Contemporary Art of Palma.
The phenomenon of the presence of the artistic workshop in works of art is a constant motif, mocked, transgressed, admired or mythologized. In 1990 I represented the Paris workshop with 500 gr of butter (1), in 2020 I represented the Barcelona workshop with a pill to treat attention deficit hyperactivity disorder (2). For more than thirty-three years the problematic of the space/time of the workshop (3) integrated in the social system has been a constant in my artistic practice. The method I apply is the following:
1 - I have an idea: I represent my workshop.
2 - I have no idea: I represent my workshop.
3 - I have another idea: I represent my workshop.
The images of the workshop begin to circulate throughout humanistic thought and are reinforced in realism (4), for example "The Art of Painting" (1666) and "The painter's workshop, real allegory, determinant of a seven-year phase of my artistic (and moral) life" (1855), represent the function of the workshop for mercantile reasons and social recognition (5).
During the twentieth century to the present day, the question of the studio has intensified towards the social. For example, the exhibition "The Studio Reader on the space of artists" (6) or the publication of "Être crâne. Lieu, contact, pensée, sculpture" (7) or The Fall The Studio, Artists at Work (8), where the studio is questioned as a resource, as a stage, as an experiential space, as a non-place.
The representations of the workshop raise one of a series of questions for me:
The workshop itself is a representation, so how to replicate it in the social system?
1. "Airtel, 26, rue des Lyonnais, 75005, Paris" (1990).
2. "Air Vital, c/Massens, 41, first floor, 08024 Barcelona" (2020).
3. The proposals of Daniel Buren, Robert Smithson only expand the idea of workshop, towards the traditional workshop.
4. Rodriguez, V., (2002) "Le atelier et l'exposition, deux espaces en tension entre l'origine et la diffusion de l'œuvre". Revue Sociologie et sociétés, vol. 34, no. 2, p. 121-138. (http://id.erudit.org/iderudit/008135ar).
5. Vicenç Furió (2008), "La imagen del artista, grabados antiguos sobre el mundo del arte". Fundació Caixa Girona.
6. "Production Site: The Artist's Studio Inside-Out" (2010) Museum of Contemporary Art of Chicago.
7. Georges Didi-Huberman (2000), "tre crâne. Lieu, contact, pensée, sculpture", Minuit, Paris.
8. Wouter Davidts & Kim Paice (2009), "The Fall The Studio, Artists at Work", Wouter Davidts & Kim Paice (eds.).
