This provocative proposal in the form of a fragmented installation seeks to criticise the effects of exacerbated consumerism and to rouse the collective consciousness. Despite the bright saturated colours and clean perfect finishes of Shangti’s works, they are envisaged as a protest and an incitement to thought.

Philippe Shangti boldly portrays superficiality, building stories that have been meticulously conceived. Comprising photography, sculpture and kitsch, audiovisual, Shangti’s project is set within the framework of the metalanguage of art and brings us closer to the contemporary aesthetic of pop art style..

In short, this is an invitation to reconsider the consumerist present that is leading us ever nearer to a future, a precarious future, that is already too close…

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.