Destroy All Monsters, 2019. Room 1. General viewJavier Palacios. Night Gate, 2019. Oil and acrylic on canvas. 195 x 195 cmFolkert de Jong. Hero of the Storm, 2019. Styrofoam, pigmented polyurethane foam, spray paint and synthetic rope. 455 x 115 x 93 cmDestroy All Monsters, 2019. Room 1. General viewDestroy All Monsters, 2019. Room 2. General viewDestroy All Monsters, 2019. Room 2. General viewJavier Palacios. Rati Totem, 2019. Oil and acrylic on canvas. 170 x 112 cmDestroy All Monsters, 2019. Room 2. General viewFolkert de Jong. All the Kings Men, 2019. Styrofoam, pigmented polyurethane foam and welded iron, spray paint, epoxy. 132 x 56 x 64 cmDestroy All Monsters, 2019. Room 2. General viewFolkert de Jong. The Third Eye / Dealers Dream / Fuck You, J.P., 2019. Ceramic, pigmented ceramic, coins, artificial hair, spray paint. 31 x 21 x 20 cm / 34.5 x 24 x 14 cm / 41 x 22 x 11.5 cmFuck You, J.P., 2019. Ceramic, pigmented ceramic, coins, spray paint. 41 x 22 x 11.5 cmFolkert de Jong. Money Maker / BARBA ROSSA / Dream Watcher, 2019. Ceramic, pigmented ceramic, coins, horse hair, spray paint. 37 x 22,5 x 14 cm / 33,5 x 23,5 x 14 cm / 30.5 x 23 x 18 cmBARBA ROSSA, 2019. Ceramic, pigmented ceramic, coins. 33,5 x 23,5 x 14 cmJavier Palacios. The Destroyer, 2019. Oil and acrylic on canvas. 40 x 40 cmDestroy All Monsters, 2019. Room 3. General viewJavier Palacios. Enkidu, 2019. Oil and acrylic on canvas. 100 x 69 cmFolkert de Jong. Totem 2, 2019. Styrofoam, pigmented polyurethane foam, wooden sculptures from Borneo, spray paint. 61.5 x 26 x 25.5 cmDestroy All Monsters, 2019. Room 3. General viewFolkert de Jong. Totem 1, 2019. Styrofoam, pigmented polyurethane foam, wooden sculptures from Borneo, spray paint. 61.5 x 26 x 25.5 cmDestroy All Monsters, 2019. Room 3. General viewJavier Palacios. The Infinite, 2018. Oil and acrylic on table. 35 x 35 cmFolkert de Jong. Totem 4, 2019. Styrofoam, pigmented polyurethane foam, goat skull, wooden sculptures from Borneo, spray paint. 67.5 x 50 x 39 cmDestroy All Monsters, 2019. Room 3. General viewJavier Palacios. Fontana Gelu, 2019. Oil and acrylic on canvas. 100 x 69 cmDestroy All Monsters, 2019. Room 3. General viewJavier Palacios. Gottlieb Incal, 2019. Oil and acrylic on canvas. 152 x 112 cmJavier Palacios. The Acba Watcher, 2018. Oil and acrylic on table. 25 x 25 cmDestroy All Monsters, 2019. Room 4. General viewJavier Palacios. The Draper Bane (after Lynda Draper), 2019. Oil and acrylic on canvas. 160 x 112 cmDestroy All Monsters, 2019. Room 4. General viewFolkert de Jong. Treasurehunt #1 & Treasurehunt #2, 2019. Glazed ceramics. 28.5 x 21 x 36 cm 25.5 x 23.5 x 37 cmJavier Palacios. The Yves, 2018. Oil and acrylic on table. 73 x 69 cmDestroy All Monsters, 2019. Room 4. General viewFolkert de Jong. Dream Catchers (Detail), 2019. Metal, epoxy resin, pigments, plastic dices, rubber hose, Arduino wire, plastic, medical infusion bag. 290 x 80 x 80 cmJavier Palacios. Tool Tricks, 2019. Watercolor on paper. 76 x 56 cmDestroy All Monsters, 2019. Room 4. General viewJavier Palacios. Tool Tricks, 2019. Watercolor on paper. 76 x 56 cmFolkert de Jong. Dream Catchers (Detail), 2019. Metal, epoxy resin, pigments, plastic dices, rubber hose, Arduino wire, plastic, medical infusion bag. 290 x 80 x 80 cm
Luis Adelantado is pleased to present Destroy All Monsters, an exhibition emerging from the common dialogue and work between the artists Folkert
de Jong and Javier Palacios, following their experiences when sharing a studio in Amsterdam.
The exhibition title is taken from Mike Kelly’s mythical proto-punk band, and denotes the attitude brought to us through this new work, conceived as an urgent exorcism against the forces threatening us today.
This is how Destroy All Monsters brings out a complete set of mechanisms showing how the system of objects is worshipped, while at the same time examining certain icons of the history of art, employing memory as a place of exchange, but also as a possibility of fiction.
As if it were an ontology, the artists take on the role of middlemen where they place objects at the centre of a ritual with the aim of conjuring the conditions envisaged by the States / Market, namely those demons that in one way or another suffocate our affection as a society.
Just as Freud suggested in Totem and Taboo, all the modern forms of socialisation have their origins in totemism. Hence, De Jong and Palacios’s attitude and approach is to recover a specific modality of sacred objects daring to bring forth a new beast from our unconsciousness in order to face up to these turbulent times.
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