MUDAM, Luxembourg, 2008
I was invited to design the architecture for an exhibition to take place in the basement of Museum of Modern Art (MUDAM) in Luxemburg.
Most of the artworks were not made for this particular exhibition so my task consisted in creating the architecture of display for a series of already existing artworks.
But how could architecture separate and/or establish connections between an individual artwork and another, between an artwork and its public, or between an artwork and the architecture itself?
As an (arbitrary) starting point I divided the space equally between the artists while introducing architecturally dysfunctional features (or "disturbing elements") in the design of each division. The goal of these dysfunctional features was to provoke a process of negotiation and reflection concerning the distribution and the design of the available spaces.
The following is an excerpt of the correspondence that ensued:-
Hello (again),
Here goes then a second version of the design for the rooms. I've done some modifications according to what you suggested. A new element was introduced: benches also to be made with bricks of Y-tong.
I would just like to clarify that my work for this exhibition consists, firstly, to provide a vocabulary for the articulation of the rooms (brick walls, windows, benches...). Secondly, to propose a point of departure (an initial articulation). Thirdly, in managing and sustaining processes of discussion and negotiation concerning aspects of the design to be altered according to your requests and technical and budgetary demands from the museum. This means that you may, if you wish, suggest modifications to the design (shape, circulation, disposition, placement of the benches, etc.)
Finally an explanation of what I called “disturbing elements.” I understand these as aspects of the design that minimally disturb the classical or habitual viewing conditions of your works.
I do not intend, surely, to prevent moments in which the visitors completely immerse themselves in your works (understood as autonomous pieces) and momentarily and completely abstract themselves from their context of reception.
But I thought it could be interesting to work on the margins of such moments, whether these be moments of distraction (as when one “falls on one's self,” looks around and disconnects from the works) or moments of transition (as when one passes from viewing one work to viewing another work.) It was in these marginal zones that I attempted to introduce disturbing elements. To the extent that these elements interfere in a more or less subtle way with the reception of your works, I see them as questions that confront you and that may trigger processes of reflection and negotiation.
All the best,
sancho
This project was produced for the exhibition "Portugal Agora" curated by Clément Minighetti, Marie-Claude Beaud and Björk Dahlström. In the rooms where shown works by Gil Heitor Cortesão, Alexandre Estrela, João Maria Gusmão & Pedro Paiva, Ricardo Jacinto, Bruno Pacheco, Miguel Palma, João Queiroz, Jorge Queiroz, Rigo 23, Pedro Sousa Vieira, João Tabarra, Rui Toscano and Francisco Tropa.
I was invited to design the architecture for an exhibition to take place in the basement of Museum of Modern Art (MUDAM) in Luxemburg.
Most of the artworks were not made for this particular exhibition so my task consisted in creating the architecture of display for a series of already existing artworks.
But how could architecture separate and/or establish connections between an individual artwork and another, between an artwork and its public, or between an artwork and the architecture itself?
As an (arbitrary) starting point I divided the space equally between the artists while introducing architecturally dysfunctional features (or "disturbing elements") in the design of each division. The goal of these dysfunctional features was to provoke a process of negotiation and reflection concerning the distribution and the design of the available spaces.
The following is an excerpt of the correspondence that ensued:-
Hello (again),
Here goes then a second version of the design for the rooms. I've done some modifications according to what you suggested. A new element was introduced: benches also to be made with bricks of Y-tong.
I would just like to clarify that my work for this exhibition consists, firstly, to provide a vocabulary for the articulation of the rooms (brick walls, windows, benches...). Secondly, to propose a point of departure (an initial articulation). Thirdly, in managing and sustaining processes of discussion and negotiation concerning aspects of the design to be altered according to your requests and technical and budgetary demands from the museum. This means that you may, if you wish, suggest modifications to the design (shape, circulation, disposition, placement of the benches, etc.)
Finally an explanation of what I called “disturbing elements.” I understand these as aspects of the design that minimally disturb the classical or habitual viewing conditions of your works.
I do not intend, surely, to prevent moments in which the visitors completely immerse themselves in your works (understood as autonomous pieces) and momentarily and completely abstract themselves from their context of reception.
But I thought it could be interesting to work on the margins of such moments, whether these be moments of distraction (as when one “falls on one's self,” looks around and disconnects from the works) or moments of transition (as when one passes from viewing one work to viewing another work.) It was in these marginal zones that I attempted to introduce disturbing elements. To the extent that these elements interfere in a more or less subtle way with the reception of your works, I see them as questions that confront you and that may trigger processes of reflection and negotiation.
All the best,
sancho
This project was produced for the exhibition "Portugal Agora" curated by Clément Minighetti, Marie-Claude Beaud and Björk Dahlström. In the rooms where shown works by Gil Heitor Cortesão, Alexandre Estrela, João Maria Gusmão & Pedro Paiva, Ricardo Jacinto, Bruno Pacheco, Miguel Palma, João Queiroz, Jorge Queiroz, Rigo 23, Pedro Sousa Vieira, João Tabarra, Rui Toscano and Francisco Tropa.
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