Miguel Angel Berlanga's unclassifiable practice consists of anachronistic assemblages of found, collected, or unconsciously manufactured objects. In comparison, art history is based on a set of categorizations which, despite theoretical flexibility and disciplinary malleability, define the norms of knowledge and lead to a hierarchy of art objects.
 
For his exhibition à L'ABRI de la pensée, Berlanga draws from his collection of objects to create composite montages. The artist's (two-)three-dimensional pieces include nods to classical — canonical — statues, ready-made sculptures, popular culture, design and architecture. By borrowing and twisting the traditional — empirical — technical knowledge of the last centuries, he highlights the fragmenting of this heritage through his caustic approach to academic sculpture. The convoluted forms harbour resolutely plural references and invite the possibilities of the improbable and the indescribable. It, therefore, seems pointless to attempt to categorize Berlanga's works given the many re-appropriations of inspirations they project. — From the exhibition text