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Ordinariness and Light, after Alison and Peter Smithson, 2018. Acrylic and book Ordinariness and Light: Urban Theories & Their Application in a Building Project, (by Alison and Peter Smithson, Cambridge, MA: The MIT Press, 1970) © António Jorge Silva
Evento finalizado
09
may 2018
15
jul 2018

Compártelo en redes

Cuándo: 09 may de 2018 - 15 jul de 2018
Inauguración: 09 may de 2018
Precio: Entrada gratuita
Dónde: Galería Baginski / Rua Capitão Leitão, 51 - 53. 1950-050 / Lisboa, Portugal
Organizada por: Galería Baginski
Artistas participantes: Fernanda Fragateiro
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Publicada el 11 abr de 2018      Vista 73 veces

Descripción de la Exposición

For us a book is a small building is the title of the exhibition that Fernanda Fragateiro presents at GALERIA BAGINSKI rescuing a quote by the British architect Alison Smithson, who establishes an analogy between the processes of conception of a book and of a building. This idea finds a significant expression in the body of work of Fernanda Fragateiro and can be presented as a synthesis of her artistic production, where the field of architecture and space assumes the conceptual leading role, while the textual production is established as an instrument of correlation of content with formal manifestation. In Fragateiro’s work, written material is like any other material, with an expression that can be translated both in plastic and conceptual terms. If, as objects, books can be transformed into small buildings, drawings or cobble stones, as content, can represent ideas that operate in a process of construction. In this sense, the exhibition takes as reference the writings of Alison and Peter Smithson in order to focus on the social housing complex Robin Hood Gardens, an emblematic project conceived by the British duo and of which’s recent demolition, condemned by architects, artists and critics, although having gone relatively unnoticed by the general public, represents the end of an important period of social reformation in England. Through the works present in the show, Fragateiro characterizes the building and describes in a subliminal way the principles that give structure to the architectural project and the reasons that lead to its failure. Simultaneously, it appeals to the materiality of the pieces as a way of suggesting a commentary to the premises that gave origin to Brutalism, as well as to the decline of the style that resulted from a simplification of the concepts of materiality, carefully introducing remains from “bairro 6 de Maio”, in Amadora, as a confrontation between the two demolition processes that are happening simultaneously to the period of the exhibition. Despite the symbology of the destruction of a social complex of architectural authorship, the degree of aggressiveness in the devastation of the informal architectures of “6 de Maio”, which has been subject to a similar negligence by the general public opinion, is symptomatic of a social and political indifference for the human dignity that was the main motivation underlying the Smithson project. FERNANDA FRAGATEIRO (Montijo, 1962) lives and works in Lisbon. Of her solo shows can be highlighted A reserva das coisas no seu estado latente (“The reserve of things in their latent state”), curated by Adam Budak, Fórum Eugénio de Almeida, Évora, PT; and dos arquivos, à matéria, à construção (“from archives, to matter, to construction”), MAAT – museum of art, architecture and technology, curated by Sara Antónia Matos, Lisboa, PT. Fragateiro's work has been exhibited at Anozero - Biennial of Contemporary Art of Coimbra (Coimbra, 2017), Museu de Arte, Arquitectura e Tecnologia (Lisbon, 2017), Galleria Nazionale d’Arte Moderna e Contemporanea de Roma (2017), Fundação Eugénio de Almeida (Evora, 2017, 2015), Palm Springs Art Museum (2016), Fundação Calouste Gulbenkian (Lisbon, 2016, 2012, 2004; Paris, 2013; London, 2013), CaixaForum (Barcelona, 2016, 2004), Orlando Museum of Art (2015), Palais des Beaux-Arts de Paris (2015), Carpenter Center for the Visual Arts, Harvard University (Cambridge, 2015), Krannert Art Museum (Champaign, 2015), CIFO Art Space (Miami, 2014), Bronx Museum (New York, 2014), Mitxelena Kulturunea (San Sebastian, 2014), MUAC Museo Universitario Arte Contemporáneo (Mexico City, 2014), Dublin Contemporary (2011), Lisbon Architecture Triennale (2010) Institut Valencià d'Art Modern (Valencia, 2008); Centro Cultural de Belém (Lisbon, 2007); Centro Galego de Arte Contemporánea (Santiago de Compostela, 2006), Fundação de Serralves (Porto, 2005), Culturgest (Lisbon, 2003). Her work is featured in several public collections such as: The Ella Fontanals Cisneros Collection, Miami; Fundación Neme, Bogotá; Fundação de Serralves, Porto; Fundação EDP, Lisbon, Fundação Calouste Gulbenkian, Lisbon; António Cachola Collection, Elvas, Berardo Museum Collection, Lisbon; Caixa Geral de Depósitos Contemporary Art Collection, Lisbon; Centro Galego de Arte Contemporanea, Santiago de Compostela; Museo Nacional Centro de Arte Reina Sofía, Madrid; Marcelino Botín Foundation, Santander; La Caixa Foundation, Barcelona; Fundación Helga de Alvear, Cáceres.

Actualizado

el 09 ene de 2019

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