Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the identity of our guest is revealed and the whole series of images is unveiled. Here is the selection of October of 2018.
What is the relationship between physical dwelling and virtual dwelling?
A room is basically and commonly the variation of a cube. Our physical dwelling includes a virtual dwelling through screens, which are a flat face of the polyhedra that virtuality contains, are we inhabiting a hypercube
Is the algorithm the scaffolding of the hypercube? Am I a reflection of the algorithm or vice versa? Am I an architect or a construction worker?
The mining machine penetrates the earth. It rapes it. Copper and nickel to find cobalt. Slavery. Exploitation. Dispossession. Deterioration of the miner’s health. The new iPhone. A variation of the algorithm that nobody understands. Consumption of images. Inhabiting the screen. The virtual possibility is an extension of the (neo)colonial wound.
We talked about architecture in the city. The cell phone told this to the algorithm who began to show me “futuristic architecture”. Are cities condemned to the myopia of Western futuristic vision?
Activated by cobalt, the screens are neocolonizing tools: they show me images of hyperfast, spectacular, futuristic, modern, fantastic cities. The 21st century imagined through these images is a failure. Another empty promise of the western white man.
How does physical dwelling and virtual dwelling in Latin America materialize? Two examples: the cholets in Bolivia by architect Freddy Mamani and the free architecture in Mexico, registered by the photographer Adam Wiseman.
What images influenced those architectures?
The screen is inspiration. Neocolonization’s ironic charm?
I see the images of irregular settlements in the periphery of Latin American cities, and yes, we definitely live in the hypercube.