Layouts, transits and citadels
This year at INTERSECCIÓN we want to face the urban, the city and architecture via strategies such as dematerialization, construction and utopia from multiple perspectives, executed in proposals for recovery or regeneration.
In the places projected by the artists of Ciudadelas (Citadels), time, memory and the constructor rhythms of the mundane are present in a series of works that propose some spatial metamorphoses, as well as relationships and utopian projects that not only analyze the contemporary from an architectonic point of view, but also think of the urban and the livable in a pertinent, critical and transformative way, confronting us with new ways of living, thinking and building. In this hybrid place that we find at the intersection of the works, there is literature, philosophy or ecology, turning the social into something intimate and full of paths in which we recognize ourselves and through which we travel in some way.
Randa Maroufi explores how the social influences our way of living the urban, how it transforms the spaces and our relationship with them. This is a corporeal, transient connection in which fairly static places become moving landscapes. The occupation of the city is studied from a gender point of view, but from an economic standpoint as well: we occupy it differently according to whichever social class we belong to.
In the works of Ciudadelas’ artists we see how uses modify traces, but it also becomes clear the way space imposes transits, rhythms and needs, in an inverted logic used for capitalistic dynamics, as well as for “well-being”. The city dies and is born in a cycle, in zones. The industrial architecture can become a leisure enclosure, and a military facility, a cultural space. Likewise, we crack the ground to lay down roads like rivers, and buildings get knocked down for a park to bloom. Emilio Pemjean works precisely with the memory of spaces. Memory connotes and preserves, by hanging the places upon themselves, although completely emptied of their original use. This has to do with people’s need of recognizing themselves in space, of giving it meaning so one can live in it.
The idea of a deep identification with a common and shared space appears in Sabrina Ratté’s work, shedding light on the vulnerable through the architectonic. The artist materializes a sensorial idea of the intimate, crafting rooms and buildings, sometimes in connection with the domestic, the habitable, and at times these constructions are so fragmentary that prove themselves impossible: they neither foster nor contain, but flow and transform. However, they incite contemplation. The viewer is set before an inner world erected as a surreal city. The house transcends, as well as the protection often attributed to it, and reflects above the imaginary as something that surrounds us physically , something that has walls and roofs, windows and halls. The image and the tale as constructs and builders.
Susanne Wiegner presents an unusual elevation, in which typography suddenly becomes a vertical, outstretched landscape, as a concatenation of buildings. The story appears from two perspectives: shape, alluding to the particularities of typography that encourages us to stop, to calmly contemplate, traveling through the storytelling in a serene way; but also content, walking through the landscapes of the life of the poet Robert Lax, who advocated in his writings for that elongated typography, able to retain the gaze in its transits through the space of the story.
In Clara Aparicio’s RAM City, stories appear and disappear in a perpetual overwriting of information. The disembodied city of the cumulative constitutes the spilled memory of the contemporary, fluctuating without clear references. In RAM City there are no inherited tales, but ephemeral, hazardous stories, created due to encountering new data, transformed in spontaneous contact over and over again.
Yolanda Ríos’ work brings us closer to the idea of a connected space, in which the artist is some kind of creative inhabitant. Its power remains in the established link with the spatial, facilitated by the manipulated matter. She constructs and modifies her relationship with the space through the form, but also by the flows and synergies generated during contact. In these scenarios planned by Yolanda, we encounter life and growth opposed to decay. There is a withholding of the metamorphosis, and a ruinous drift inward, onto the subtle and intimate connections that thrive in the places we inhabit.
The clover grows on the roadsides. It is a fragile plant, often cut, contaminated, and killed. Anne Linke finds in the four-leaf clover a structural origin of architecture, a crossroad. This tiny green serves to discuss mutation, not only in a literal way – four-leafed clovers are genetically mutant, pollution causes nature’s metamorphoses… – but also alludes to the processes of construction and development, mocking that destructive mutation, in a ironic proposal about the “luck” of a wild progress and the need for the infrastructures that support it.
In Layouts, Transits and Citadels the glances cross as in a street, cities overlap, plane on plane, thinking the urban beyond what it is, exceeding it, with the aim of creating drifts in our usual relationship with it. The past and the present of the rhythms of what we build serve as the ground for the fabulation of the future. To return to the city with the nostalgia of the possible, of a care and a conscience that addresses the changes of paradigm of contemporaneity.
Curatorial text (by Lara y Noa Castro Lema)