The Andorran Pavilion presents a provocative proposal of speculative fiction in which Philippe Shangti rouses the collective consciousness with his vision of the world. It is a fragmented installation of bits and snatches which should be examined separately in order to understand this multidisciplinary project: a criticism of exacerbated consumerism and its effects.In the purest Camp style, it sets before us universal topics using bright surfaces, saturated colours and clean perfect finishes, seeking all the while to protest and to provoke.Shangti’s passion for photography arose at a very early age, when he was given his first camera, which he came to use extensively.

Later, his bold character and life itself led him to Saint-Tropez, where he came upon a world that took drugs and concealed itself in superficiality. He dared to portray it, showing women marked by a confusion of vulnerability and strength, as may be seen in the monumental photograph Goodness of Oxygen: depicting a woman entwined between what is divine and that which is most purely materialistic, doing business with the very air we breathe.

Both Gate of Lost Paradise Park and Soul Tree Museum portray plainly evil actions and the consequences of our misguided way of doing things.

Throughout this project, Shangti builds a story that has been meticulously conceived, drawing its inspiration from James Bidgood and David LaChapelle, whose works also criticise the society in which we live.

The use of writing in Philippe Shangti’s work and specifically his tags generate a message that is conveyed with great celerity and in a multidisciplinary manner. In this way, in addition to using photography and sculpture, he also moves in the audiovisual world..

Prison of an Addicted Spender is a kitsch video sculpture that could be associated with the work of Dan Graham or Bill Viola.

Shangti’s project, with its joyful colours and hilarious compositions, is set within the framework of the metalanguage of art and draws us closer to the contemporary aesthetic of pop art, just as may be seen in No Vandalism Here, The Babies’ Hope and Fuck Who Doesn’t Like my Vision.

Tant a Gate of Lost Paradise Park com a Soul Tree Museum es representen altres actes malvats i també les conseqüències de la nostra mala manera de fer.

En tot el projecte, Shangti construeix una història pensada al mil·límetre i s’inspira en James Bidgood o David LaChapelle, els quals, en els seus treballs, també critiquen la societat en què vivim.

L’ús de l’escriptura en la seva obra, les seves etiquetes, genera un missatge que es transmet amb gran rapidesa i de manera  interdisciplinària.  Així, a més d’utilitzar la fotografia i l’escultura, també es mou en el món audiovisual.

Prison of an Addicted Spender és un vídeo escultura kitsch que es podria relacionar amb els treballs de Dan Graham o de Bill Viola.

El projecte de Shangti, de colors alegres i composicions hilarants, es troba dins dels marcs del metallenguatge de l’art i ens apropa a l’estètica contemporània en clau art pop, com es mostra en No Vandalism Here, The Babies’ Hope i Fuck Who Doesn’t Like my Vision.

Una invitació a reconsiderar el present consumista que ens apropa a un futur aventurat massa proper…