Adrian Schindler

Adrian Schindler’s practice is rooted in performance, ethics and the archive. It often confronts uncomfortable historical narratives while attempting to learn from the experiences of others without objectifying them. Archiv Familie Leder (2016–2018) considered letters and photographs by his great-grandfather, who served in the Luftwaffe during the Second World War, through reading, video and public encounters. His current research concerns the legacy of European colonialism in Morocco and the pervasive Orientalist stereotypes of the Moor, especially in recent cinema. The installation Trajeron a mis playas un mundo entre las garras del león (2019), created with a group of secondary-school students in Barcelona, looked at how the Spanish protectorate in Morocco (1912–1956) was foreshadowed by the symbolism of three public sculptures. The performance Espectros de Marruecos (2020) drew on actor Ali el Aziz’s experiences of being typecast as it wove together voices, gazes and historical counter-positions, including excerpts from pamphlets campaigning against the Rif War (1921–1926).

Adrian Schindler studied at the Beaux-Arts de Paris (2012) and the Universität der Künste Berlin (2015). He has often worked as a duo with Eulàlia Rovira and has had exhibitions and events at Fabra i Coats: Centre d’Art Contemporani de Barcelona (2021); Centre d’art Le Lait, Albi (2020); Arxiu Nacional de Catalunya, Sant Cugat (2020); and El Born CCM, Barcelona (2019). He has been an artist-in-residence at Casa de Velázquez, Madrid (2020–2021); Château Nour, Brussels (2020); and Mahal Art Space, Tangier (2019). adrianschindler.com

Adrian Schindler, A quienes la inspiraron y no la leerán: Goytisolo, Marruecos y el Otro
Adrian Schindler, Espectros de Marruecos
Adrian Schindler, Espectros de Marruecos
Adrian Schindler, Trajeron a mis playas un mundo entre las garras del león
Adrian Schindler, Trajeron a mis playas un mundo entre las garras del león
Adrian Schindler, Trajeron a mis playas un mundo entre las garras del león
To reconstruct the disorder of a possible city. To use the model, not as an element in a project, but as the representation of something that already exists.
Jordi Colomer