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 January 2019.
My interest for art started when I was an architecture student in Bogotá. Back then, I wanted to approach architecture beyond the purely functional or spatial; I wished to explore its historic, cultural, political, philosophical implications… The idea of the circuit or cycle, the idea of space and its construction, as well as that of production, paired with the concepts of structure, sequence and matter, have always been present in all of my works. These notions come from my student years and my first projects working on image-time. Space has been a constant interrogation. In art, everything tends to become an image in time, and space turns into a memory. What interests me in space is the way in which it can be configurated and bound; as well as the different definitions you can give to it, and the models we produce to approach it, all of these contaminated by the political context in which they are produced. It’s about the space of production and the production of space. Nobody dares to state what space really is, as if it were an undefinable entity.
Jessica Briceño Cisneros
I relate to architecture from the discovery and observation of the cities I walk on foot.
The geometry and shapes that the cities and urban units put together propose layers of readable history. Buildings are history and cities are great stories of ruins. We absent-mindedly look at these forms, and these in turn despise the understanding of their totality from our pedestrian point of view. The forms urge me to create strategies to develop a privileged look in an attempt to understand them.
The joint architecture accounts of cultural conquests, violent and passive. Wanting to read the imposition of forms is fundamental to understanding our forced histories. In the words of Carol Illanes, forms are the identity beyond the transitory.
I study architecture and recreate its forms and technicalities, thinking different versions of modern projects, giving special emphasis to water architecture and the relationship of materials and matter. My proposals usually incorporate a nostalgic and sometimes apocalyptic idea, the result of a contemporary look at a phenomenon of the past.
My obsession is time. And architecture has helped me to make analogies such as the one of weft and warp in the constant fabric of the temporal and the spatial. Time leaves evidence in the material unfolding of this world of cycles of growth and decay, and in it different imaginaries intersect. Also, the historical, material and daily time are some of the ways that have led me to imagine materializations of that ungraspable experience of the temporal. I have always approached the architectural when it is too late, when it is no longer architecture. I’m interested in the ruin, the undone, the demolitions, small palimpsests of urban disaster. It is digging inside the ruins of the architectural remnants of my city (Bogota) that I have found the thread of my work. A thread that is recast when I read the city as an old manuscript that preserves traces of a previous writing, erased expressly to give place to the one that now exists. Through this prism, I imagine architecture as an analysis of the ability of cities to sediment the different layers of their history, constantly superimposing different times and making the urban fabric more complex.