A exposição “Misunderstandings”, realizada conjuntamente pela galleria Campo (Roma) e o Le FRAC Centre (Orleans, França), foi pensada como um experimento sobre como deve ser um acervo histórico e como a prática arquitetônica contemporânea pode abordá-lo.
Para fazê-lo, doze arquitetos e artistas foram convidados a fazer um projeto a partir de um desenho da coleção Le Frac. Guiados apenas pelo poder conceitual e plástico dos desenhos, a interpretação esteve aberta a todos os “mal-entendidos”, como erros científicos e inadequações históricas.
Um dos doze trabalhos que compõem a mostra é o nosso A Grelha. Publicamos aqui partes deste desenho de quatro metros lineares, em cartaz até janeiro na Campo e até abril no Le Frac Centre. A sequência foi feita a partir de um díptico provido pelos curadores no qual fizemos intervenções para criar uma paisagem “palafitada” que corrompe o desenho original.
O texto abaixo é um excerto do material apresentado na exposição:
“The better futures of the existent city are in latent fields that simply need to be developed and enlarged. The “concrete palafittes” – a widespread architectural accident in Belo Horizonte and many other hilly cities in Brazil – are a corrupter of a well-known object – the grid – that clash against modernist architecture origins: it demystifies style to create an object that escapes and despises the pure morality and ethical uniformity of its creators.
“This system is an atrocious byproduct that, being devoid of intention and language, acts as such a grotesque caricature of the modernist grid capable of causing strangeness. And for us, this corruption, this trouvé system is loaded with hope, with change, events and freedom.
“Now, could these palafittes be regarded as an unusual phenomenon of international scope? As a caricature of themselves used in an infiltrating system that eventually becomes universal? Can this space taken as residual and malefic be exported to other finished architectures and invade stable buildings? The effect of this operation can be surprisingly positive as a mathematical operation: minus x minus = plus (as well as it risks operating only as a nostalgic revival of some notorious critiques of modernism).
“There is an expectant energy found only in incompleteness, in emptiness and in the ordinary that lies just around us. Assuming the ambitions of a universal multiplication, in this new scale the palafittes grid is applied to several buildings and has nothing to do with their original urban contexts. It not only complements, but also enhances found architectures we take as starting point for an addition: the whole architecture of the city is now imaginary expectancies to be extended, thus fulfilling an unconscious intention of a return to a primitive state, under construction, in a state of becoming. The grid is inserted without any distinction: either in prosaic, emblematic, symbolic, ordinary buildings; on the periphery, in the center; here, there. (…)”
After two drawings by David Georges Emmerich; with excerpts from Vasco Mourão’s “New York Skyline”
© Vazio S/A