Felipe Mujica
Untitled (Curtains), 2011
Christinger de Mayo, Zurich
exterior curtains over the windows of the 23 de Janeiro apartment
entrance to the ideal apartment
Raimond Chaves
23 de Enero, 2005
Digital print of drawing
courtesy of the artist
the display structure for the exhibition, a plan of a 3 bedroom apartment at the 23 de enero housing complex in Caracas, was devised by artist Mauricio Lupini
23 de Enero, 2005
Digital print of drawing
courtesy of the artist
the display structure for the exhibition, a plan of a 3 bedroom apartment at the 23 de enero housing complex in Caracas, was devised by artist Mauricio Lupini
Carla Zaccagnini
Evidências de uma Farsa, 2011
(Time February 13, 1956 vs The Economist November 12, 2009/ Brazil takes off)
Two magazine covers
Vermelho, Sao Paulo
views of the interior of the demonstration apartment
Liprandi, Katy Hernandez and Roberto Paradiso inside the living room of the apartment, social community experiment of art market cohabitation...
and Mujica, Hernandez, Botner and Christinger, exercises in market and community cohabitation!
Pia Camil
Tlatelolco, 2011
oil on canvas
La Central, Bogotá
painting of a prefabricated balcony of Tlatelolco housing estate in Mexico City designed by Mario Pani in 1960, inaugurated in 1964, site of the student murders in 1968, some buildings demolished by earthquake in 1985
Pablo Helguera
The Exogeologist, 2011
C-prints with corresponding texts, 9x12”, box of 35mm. slides
Galeria Enrique Guerrero, México D.F.
Photo slides found in a second hand market, imagined narratives on each image.
Alberto Baraya
Comparative Modernist Studies, 2011
4 plant taxonomies, 10 black and white photographs
Galeria Nara Roesler, Sao Paulo
Alberto Baraya, Comparative Modernist Studies, 2011
about the relationship between nature and organic modernist architecture in Brazil
Mauricio Lupini photographs and slide shows
Mauricio Lupini
Espejismo, 2010
C-prints
Ignacio Liprandi, Buenos Aires
Mauricio Lupini
Good Design, 2010
Digital slide show
Ignacio Liprandi, Buenos Aires
Angela Bonadiés y Juan José Olavarría
La Torre de David, 2011
Drawings, photographs, installation
1990s glass tower squatted by Caracas homeless revolutionaries,
read interview with Angela Bonadiés and Juan José Olavarría by Jesus Fuenmayor about the project in Domus: http://www.domusweb.it/en/architecture/the-tower-of-david/
Luis Romero, Las Rejas de Caracas (Caracas Window Grates), 2011 (left)
and Angela Bonadiés y Juan José Olavarría, La Torre de David, 2011 (right)
Runo Lagomarsino
Untitled three, 2011
Three commercial sodas
Elastic, Malmö
Dominique Gonzalez Foerster
Sand Corner, 2011
courtesy Jan Mot, Brussels
Books by Enrique Vila Matas and Roberto Bolaño:
Roberto Bolaño, El Tercer Reich, open on pages 180-181 (Spanish Edition) and Enrique Vila Matas, A viagem Vertical on pages 224-225 (Brazilian edition) which includes a drawing of a map of the Atlantida given by Bolaño to Vila Matas.
Pia Camil
Tlatelolco, 2011
polaroids and video
La Central, Bogotá
Jesús ‘Bubu’ Negrón
El Falansterio, 2011
Low Budget Drawings
Roberto Paradise, San Juan
"Puerto Rican families can not live together, because their excessive individualism leads them to fight among themselves"
quote from the Administrators of the Puerto Rico Reconstruction Administration, in Rodríguez, Luz Marie. (2000). 'Suppressing the Slum! Architecture and Social Change in San Juan’s Public Housing', in Vivoni Falagio, Enrique. 'San Juan Siempre Nuevo: Arquitectura y Modernización en el Siglo XX', Archivo de Arquitectura y Construcción Universidad de Puerto Rico (AACUPR), Río Piedras, p. 95
Carla Zaccagnini
Evidências de uma Farsa, 2011
(Acuarela do Brasil 1943 vs Rio 2011)
Vermelho, Sao Paulo
Felipe Mujica
Untitled (Silkscreen prints), 2011
Christinger de Mayo, Zurich
Video screening room, showing a film programme with works by Judi Werthein, Ivan Candeo, Terence Gower and Raphaël Grisey:
Judi Werthein
This Functional Family, 2008
Video, 15'
courtesy Figge von Rosen, Berlin
Filmed in the Sonneveld House, a 1930s modern house in Rotterdam, the house inverts the role of the inhabitants, the owners of the house are black immigrants, while the servants are white dutch.
Terence Gower
Ciudad Moderna, 2004
Video 6'20''
courtesy Henrique Farias, New York
Ciudad Moderna is made from scenes of the film 'Despedida de Casada' from 1966, the background being Mexican Modernist architecture, interiors, facades and cityscapes which are then paused or rendered to become stills of a disappeared modernity.
Raphaël Grisey
Minhocão, 2010
Video, 31', stereo 16/9, HD, color and B&W
courtesy of the artist
A car with a big sound system broadcasts a text by Eduardo Affonso Reidy on his ideas for modern architecture while driving around the Conjunto Habitacional Pedregulho, a social housing complex build from 1946 by Reidy and also called Minhocão (the big worm) by his inhabitants. The circuit done by the car and speaker around the complex is combined with interviews, and other scenes of the building today producing a portrait of it while raising issues about social housings in a place which is about to be renovated after 50 years of abandonment by the state.
Iván Candeo
23 de enero: paisaje a caballo, 2010
Video
courtesy Oficina # 1, Caracas, Venezuela
A horse ride though the 23 de Enero housing state in Caracas, designed by Carlos Raúl Villanueva in the 1950s as the pinacle of housing modernity, and confronting it with the reality of the project today.
Daniel Steegmann
Acuarelas Exactas (Bon Dia), 2010
Watercolour on paper
Mendes Wood, São Paulo
Daniel Steegmann
Sylvanna, 2007 (the apartments light bulb!)
Collage
Mendes Wood, São Paulo
Luis Romero
Las Rejas de Caracas (Caracas Window Grates), 2011
Xilografias
Oficina # 1, Caracas
Johanna Unzueta
A Dança do Vermelho, 2011
Felt plumbing
Christinger de Mayo, Zurich
Denise Milfont, from Casa de Denise/Capacete Dance Sound Performance, next to Johana Unzueta's felt plumbing pipes
Katy Hernandez from La Central, Bogota, Pia Camil's Tlatelolco painting behind
Sophie Nys wearing Karin Schneider's 'New Domestic Architecture: Gio Ponti's Villa Planchart' transformed into a cigar vending tray held by a neck strap.
Paulo Herkenhoff, with Felipe Mujica's modernist curtain's behind
23 de JANEIRO
curated by Julieta González and Pablo León de la Barra
with the participation of:
01 Alberto Baraya / Nara Roesler, São Paulo
02 Angela Bonadiés y Juan José Olavarría / Caracas
03 Pia Camil / La Central, Bogota
04 Ivan Candeo / Oficina # 1, Caracas
05 Raimond Chaves / Lima
06 Terence Gower / Henrique Faría, New York
07 Dominique Gonzalez Foerster / Jan Mot, Brussels
08 Raphaël Grisey / Berlin
09 Pablo Helguera / Enrique Guerrero, México D.F.
10 Runo Lagomarsino / Elastic Gallery, Malmö
11 Mauricio Lupini / Ignacio Liprandi, Buenos Aires
12 Felipe Mujica / Christinger De Mayo, Zurich
13 Jesús ‘Bubu’ Negrón / Roberto Paradise, San Juan
14 Luis Romero / Oficina # 1, Caracas
15 Karin Schneider / Ignacio Liprandi, Buenos Aires
16 Daniel Steegmann / Mendes Wood, São Paulo
17 Johanna Unzueta / Christinger De Mayo, Zurich
18 Judi Werthein / Figge von Rosen, Berlin
19 Carla Zaccagnini / Vermelho, São Paulo
The display structure for the Solo Projects at Art Rio is a 1:1 scale model of the floor plan of an apartment in a modernist social housing complex called the 23 de Enero in Caracas, which was designed by Carlos Raúl Villanueva and built in the 1950s. The display structure articulates the different projects in the exhibition and is a contribution by Venezuelan artist Mauricio Lupini, whose work exists at the intersection of art and architecture and explores issues related to the legacies of the modernist project. Housing complexes like the 23 de Enero in Caracas, Pedregulho in Rio de Janeiro designed by Affonso Eduardo Reidy, Tlatelolco in Mexico City designed by Mario Pani, and El Falansterio in San Juan Puerto Rico, were part of the agenda of progress and modernization that changed the urban configuration of major cities in the American continent at the time. The 23 de Janeiro exhibition address this moment of modernity in the history of Latin America, its utopian motivation but also its shortcomings. The selection of artists has been guided by a desire to anchor the work within a set of references allusive to modernity, architecture, domesticity, utopia, and the construction of historical narratives.
A estrutura de exibição para os Solo Projects na Art Rio é uma maquete em escala 1:1 da planta de um apartamento num complexo de habitação popular modernista chamado 23 de janeiro, projetado por Carlos Raúl Villanueva e construído em Caracas nos anos 1950’s. Essa estrutura de exibição, que articula os vários projetos na mostra, é uma contribuição do artista venezueleano Mauricio Lupini, cuja obra existe na intersecção entre arte e arquitectura e explora questões relacionadas ao legado do projeto modernista. Complexos habitacionais como o 23 de janeiro em Caracas; o Pedregulho no Rio de Janeiro, desenhado por Affonso Eduardo Reidy; o Tlatelolco na Cidade do Mexico, desenhado por Mario Pani; e El Falansterio em San Juan, Puerto Rico, eram parte de um programa de progresso e modernização que transformou a configuração urbana das grandes cidades do continente americano naqueles anos. A exposição 23 de janeiro se refere a esse momento da modernidade na história de América Latina, a sua motivação utópica e também a seu devir. A seleção de artistas foi guiada por um desejo de ancorar seus trabalhos dentro de uma série de referências alusivas à modernidade, à arquitetura, à domesticidade, à utopia e à construção de narrativas históricas.
23 de Janeiro was done as part of Art Rio Solo Projects
with thanks to the participating artists and their galleries
Evidências de uma Farsa, 2011
(Time February 13, 1956 vs The Economist November 12, 2009/ Brazil takes off)
Two magazine covers
Vermelho, Sao Paulo
views of the interior of the demonstration apartment
Liprandi, Katy Hernandez and Roberto Paradiso inside the living room of the apartment, social community experiment of art market cohabitation...
and Mujica, Hernandez, Botner and Christinger, exercises in market and community cohabitation!
Pia Camil
Tlatelolco, 2011
oil on canvas
La Central, Bogotá
painting of a prefabricated balcony of Tlatelolco housing estate in Mexico City designed by Mario Pani in 1960, inaugurated in 1964, site of the student murders in 1968, some buildings demolished by earthquake in 1985
Pablo Helguera
The Exogeologist, 2011
C-prints with corresponding texts, 9x12”, box of 35mm. slides
Galeria Enrique Guerrero, México D.F.
Photo slides found in a second hand market, imagined narratives on each image.
Alberto Baraya
Comparative Modernist Studies, 2011
4 plant taxonomies, 10 black and white photographs
Galeria Nara Roesler, Sao Paulo
Alberto Baraya, Comparative Modernist Studies, 2011
about the relationship between nature and organic modernist architecture in Brazil
Mauricio Lupini photographs and slide shows
Mauricio Lupini
Espejismo, 2010
C-prints
Ignacio Liprandi, Buenos Aires
Mauricio Lupini
Good Design, 2010
Digital slide show
Ignacio Liprandi, Buenos Aires
Angela Bonadiés y Juan José Olavarría
La Torre de David, 2011
Drawings, photographs, installation
1990s glass tower squatted by Caracas homeless revolutionaries,
read interview with Angela Bonadiés and Juan José Olavarría by Jesus Fuenmayor about the project in Domus: http://www.domusweb.it/en/architecture/the-tower-of-david/
Luis Romero, Las Rejas de Caracas (Caracas Window Grates), 2011 (left)
and Angela Bonadiés y Juan José Olavarría, La Torre de David, 2011 (right)
Runo Lagomarsino
Untitled three, 2011
Three commercial sodas
Elastic, Malmö
Dominique Gonzalez Foerster
Sand Corner, 2011
courtesy Jan Mot, Brussels
Books by Enrique Vila Matas and Roberto Bolaño:
Roberto Bolaño, El Tercer Reich, open on pages 180-181 (Spanish Edition) and Enrique Vila Matas, A viagem Vertical on pages 224-225 (Brazilian edition) which includes a drawing of a map of the Atlantida given by Bolaño to Vila Matas.
Pia Camil
Tlatelolco, 2011
polaroids and video
La Central, Bogotá
Jesús ‘Bubu’ Negrón
El Falansterio, 2011
Low Budget Drawings
Roberto Paradise, San Juan
"Puerto Rican families can not live together, because their excessive individualism leads them to fight among themselves"
quote from the Administrators of the Puerto Rico Reconstruction Administration, in Rodríguez, Luz Marie. (2000). 'Suppressing the Slum! Architecture and Social Change in San Juan’s Public Housing', in Vivoni Falagio, Enrique. 'San Juan Siempre Nuevo: Arquitectura y Modernización en el Siglo XX', Archivo de Arquitectura y Construcción Universidad de Puerto Rico (AACUPR), Río Piedras, p. 95
Carla Zaccagnini
Evidências de uma Farsa, 2011
(Acuarela do Brasil 1943 vs Rio 2011)
Vermelho, Sao Paulo
Felipe Mujica
Untitled (Silkscreen prints), 2011
Christinger de Mayo, Zurich
Video screening room, showing a film programme with works by Judi Werthein, Ivan Candeo, Terence Gower and Raphaël Grisey:
Judi Werthein
This Functional Family, 2008
Video, 15'
courtesy Figge von Rosen, Berlin
Filmed in the Sonneveld House, a 1930s modern house in Rotterdam, the house inverts the role of the inhabitants, the owners of the house are black immigrants, while the servants are white dutch.
Terence Gower
Ciudad Moderna, 2004
Video 6'20''
courtesy Henrique Farias, New York
Ciudad Moderna is made from scenes of the film 'Despedida de Casada' from 1966, the background being Mexican Modernist architecture, interiors, facades and cityscapes which are then paused or rendered to become stills of a disappeared modernity.
Raphaël Grisey
Minhocão, 2010
Video, 31', stereo 16/9, HD, color and B&W
courtesy of the artist
A car with a big sound system broadcasts a text by Eduardo Affonso Reidy on his ideas for modern architecture while driving around the Conjunto Habitacional Pedregulho, a social housing complex build from 1946 by Reidy and also called Minhocão (the big worm) by his inhabitants. The circuit done by the car and speaker around the complex is combined with interviews, and other scenes of the building today producing a portrait of it while raising issues about social housings in a place which is about to be renovated after 50 years of abandonment by the state.
Iván Candeo
23 de enero: paisaje a caballo, 2010
Video
courtesy Oficina # 1, Caracas, Venezuela
A horse ride though the 23 de Enero housing state in Caracas, designed by Carlos Raúl Villanueva in the 1950s as the pinacle of housing modernity, and confronting it with the reality of the project today.
23 de Enero from Iván Candeo on Vimeo.
Daniel Steegmann
Acuarelas Exactas (Bon Dia), 2010
Watercolour on paper
Mendes Wood, São Paulo
Daniel Steegmann
Sylvanna, 2007 (the apartments light bulb!)
Collage
Mendes Wood, São Paulo
Luis Romero
Las Rejas de Caracas (Caracas Window Grates), 2011
Xilografias
Oficina # 1, Caracas
Johanna Unzueta
A Dança do Vermelho, 2011
Felt plumbing
Christinger de Mayo, Zurich
Denise Milfont, from Casa de Denise/Capacete Dance Sound Performance, next to Johana Unzueta's felt plumbing pipes
Katy Hernandez from La Central, Bogota, Pia Camil's Tlatelolco painting behind
Sophie Nys wearing Karin Schneider's 'New Domestic Architecture: Gio Ponti's Villa Planchart' transformed into a cigar vending tray held by a neck strap.
Paulo Herkenhoff, with Felipe Mujica's modernist curtain's behind
23 de JANEIRO
curated by Julieta González and Pablo León de la Barra
with the participation of:
01 Alberto Baraya / Nara Roesler, São Paulo
02 Angela Bonadiés y Juan José Olavarría / Caracas
03 Pia Camil / La Central, Bogota
04 Ivan Candeo / Oficina # 1, Caracas
05 Raimond Chaves / Lima
06 Terence Gower / Henrique Faría, New York
07 Dominique Gonzalez Foerster / Jan Mot, Brussels
08 Raphaël Grisey / Berlin
09 Pablo Helguera / Enrique Guerrero, México D.F.
10 Runo Lagomarsino / Elastic Gallery, Malmö
11 Mauricio Lupini / Ignacio Liprandi, Buenos Aires
12 Felipe Mujica / Christinger De Mayo, Zurich
13 Jesús ‘Bubu’ Negrón / Roberto Paradise, San Juan
14 Luis Romero / Oficina # 1, Caracas
15 Karin Schneider / Ignacio Liprandi, Buenos Aires
16 Daniel Steegmann / Mendes Wood, São Paulo
17 Johanna Unzueta / Christinger De Mayo, Zurich
18 Judi Werthein / Figge von Rosen, Berlin
19 Carla Zaccagnini / Vermelho, São Paulo
The display structure for the Solo Projects at Art Rio is a 1:1 scale model of the floor plan of an apartment in a modernist social housing complex called the 23 de Enero in Caracas, which was designed by Carlos Raúl Villanueva and built in the 1950s. The display structure articulates the different projects in the exhibition and is a contribution by Venezuelan artist Mauricio Lupini, whose work exists at the intersection of art and architecture and explores issues related to the legacies of the modernist project. Housing complexes like the 23 de Enero in Caracas, Pedregulho in Rio de Janeiro designed by Affonso Eduardo Reidy, Tlatelolco in Mexico City designed by Mario Pani, and El Falansterio in San Juan Puerto Rico, were part of the agenda of progress and modernization that changed the urban configuration of major cities in the American continent at the time. The 23 de Janeiro exhibition address this moment of modernity in the history of Latin America, its utopian motivation but also its shortcomings. The selection of artists has been guided by a desire to anchor the work within a set of references allusive to modernity, architecture, domesticity, utopia, and the construction of historical narratives.
A estrutura de exibição para os Solo Projects na Art Rio é uma maquete em escala 1:1 da planta de um apartamento num complexo de habitação popular modernista chamado 23 de janeiro, projetado por Carlos Raúl Villanueva e construído em Caracas nos anos 1950’s. Essa estrutura de exibição, que articula os vários projetos na mostra, é uma contribuição do artista venezueleano Mauricio Lupini, cuja obra existe na intersecção entre arte e arquitectura e explora questões relacionadas ao legado do projeto modernista. Complexos habitacionais como o 23 de janeiro em Caracas; o Pedregulho no Rio de Janeiro, desenhado por Affonso Eduardo Reidy; o Tlatelolco na Cidade do Mexico, desenhado por Mario Pani; e El Falansterio em San Juan, Puerto Rico, eram parte de um programa de progresso e modernização que transformou a configuração urbana das grandes cidades do continente americano naqueles anos. A exposição 23 de janeiro se refere a esse momento da modernidade na história de América Latina, a sua motivação utópica e também a seu devir. A seleção de artistas foi guiada por um desejo de ancorar seus trabalhos dentro de uma série de referências alusivas à modernidade, à arquitetura, à domesticidade, à utopia e à construção de narrativas históricas.
23 de Janeiro was done as part of Art Rio Solo Projects
with thanks to the participating artists and their galleries
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