In 1996, Bernard Tschumi writes ‘Violence of Architecture’ –a chapter of the book Architecture and disjunction– in the one that he presents to the architecture as an element in constant tension: between the body that occupies the space and the geometry that it contains to the body. Tschumi’s dilemma does that the architect should decide if he inclines of one or another side or tries to safeguard, as far as possible, the balance between both parts.
An ellipsis is an omission. Something that is eliminated without for it it concerns the meaning of the set. In case of the architecture: if this one is positioned in favour of one of the sides before mentioned, limiting itself to the construction of spaces – more or less or less beautiful – and eluding to speak on the use – that not function – is presented this ellipsis in his story. Well it is true that on having projected objects (architectures), we imagine how it is possible to live through the space. But the architecture – and the territory – offers many possibilities of the imagined ones. This one is the point in the one that places ‘The architectural ellipsis’.
Inaugurated on February 27 (2013) in the Cultural University Center Tlatelolco and treated by Ruth Estevez and Javier Toscano, he gathers different artistic pieces that face the architecture, but constructing a few other narratives from the same tools: planes, photographies, models and maps … These elements, in other hands, show the architecture beyond his possibilities conceived in origin, revealing not mentioned, discovering secret, demonstrating new possibilities beyond any supposition funcionalism.
The approximation to the exhibition might be realized concerning two times – in occasions mixed – placed before or after the architecture is realized. The first one, before, works with the mechanisms of production – as the architectural plant – to develop possible worlds capable of counting the personal universe of the artist or the political situation of a country, as it happens in Self portrait as a building by Mark Manders or the Heliografías by Luca Frei.
Another end, later, experiences the architecture once elevated, illustrating those situations secret or forgotten by the memory. Enrique Ježik ajemplifica to the perfection this search of a recollection silenced after the walls on having recovered the fatidical history of the same Tlatelolco in 1968; for your part, ‘White Marble Everyday’ by Clarissa Tossin, discovers the royal cost that the maintenance of the icónicos supposes buildings of Brasilia, and Jordi Colomer constructs new ways of crossing the architecture and to experience it: his Istanbul map discovers in the roofs a new form of urban drift with prominent figures who do not limit themselves to those movements that we give seated in the city. Similar idea they gather Larissa Fassler‘s cartographies, marking the tours that there realize in the Concord Square marginal as thieving, selling prominent figures or racketeers.
Works that illustrate the tension established by Tschumi: the architecture not only as an aesthetic and finished fact, but as a space that can be affected and modified by the one that lives it. There it is necessary to emphasize Tania Candiani‘s look on the royal use that it offers the domestic space of the modern room (or what is the same thing, the kitchen), inheritor of a supposition funcionalismo that was measuring up to the movements that a person (woman) should do. These studies are repeated now illustrating the tension of the project and the lived reality. An idea that also summarizes to the perfection José Jiménez Ortiz’s work: A map is not the territory.
The exhibition in addition assembles works of the colectivo madrileño Democracia, Jimmie Durham, Luca Freii, Mark Manders, Erik Olofsen; Matt Mullican, Esteban Azuela and Anri Sala; being completed by a book that accompanies the sample and compiles studies and investigations that expand the exhibition in the time and allow to extend the presented ideas: an invitation to think about the life that the space offers … or omits.
Pedro Hernández · architect
Ciudad de México. november 2015
Soy arquitecto por la Universidad de Alicante, pero mi interés sobre esta disciplina se encuentra alejado de su papel tradicional de diseño de espacios. Más bien, me interesa entender cómo las representaciones de la arquitectura, el paisaje, el diseño o el territorio construyen y materializan determinados discursos ideológicos, imponiendo posturas, subjetividades y formas de acción sobre los cuerpos que la habitan.
En mi trabajo edito estos discursos –sus imágenes, sus historias o sus restos materiales– y reelaboro comentarios críticos que ponen en evidencia sus controversias y contradicciones, formalizándolos en diversos formatos como textos, fotografías, vídeos, objetos o instalaciones, muchas veces entrecruzados entre sí.
He publicado artículos y ensayos en diversos medios de Estados Unidos, Italia, Croacia, España, Chile y México. Desde enero de 2013-2018 residí en la Ciudad de México donde trabajaba como coordinador de contenidos en Arquine. Actualmente resido en Madrid.