invitation:
Charo Garaigorta is showing 1/400. The Institute of the complex aisles at La Taller Gallery. We can see a kind of model or sculptural piece and a series of collage drawings composed of raw remains of the construction process of the same sculpture, which will be shown in the same place. On the wall there will be works of different dates that found a journey between architecture, fantasy and education.
The total is a workshop; a work scenario that distills sketches of an urban issue too intense to be loved.
Press release:
Charo:
“The house for when I become a little girl is the house I drew as a child. All the furniture was stolen. We made a park with the remains of invisible airplanes, of spy planes. The park was unacceptable because it was undetectable. My house is a spy house too. I spy, sometimes I think I remember the future, it’s the childish anxiety to have a remoteness to go back to that house. I want to have, but I don’t want to fall. The steel of the airplanes was my adolescent cult. My house has fuselage walls, spy walls. I tell things to those walls. Then they tell them to others and they all give me a bad look.”
Ibai.
Your sculpture is closer to ruin than to something that would be built now, because this piece is a failure and it is a feat. As long as it has no use, no utility, its architecture dilutes the concept of architecture, and the only thing it will have left to go to war with over the years, is the ruin. The Institute of Complex Aisles, is an artifact that abducts the use, and moves us -with an intangible and important load of images and looks- towards a collapse. And there we will find a space of survival: while the architecture is dying, an inner journey back in time takes place. Here, more than an exercise of the present, there is an exercise of futures and remote pasts.
Ainhoa.
For me your device is a God, a machine, a unit … but it is split. There seems to be a world, its negative, and another which is the one that exists. But these natures, the one that does not exist and the one that does, are crossed by a single gaze. You cannot pretend to live in the conscious ignoring what you do not want to see. Because no matter what, what you do not want to see continues to form a unit that walks by itself (or by signs). The important thing here is to look for the question that justifies this artifact. The question that it creates itself.
Imagen zenital de la pieza
José.
Your object does not respond to a code but to the intertwining of several; which may not be compatible with each other, but which are gathered here. There is a table that convulses and suddenly the legs merge as if it were becoming organic, as if it were becoming animal. It is reminiscent of a space station. From this intertwining of the mutant table with the space station, it is interesting how the genres are deconstructed, juxtaposed and mixed: visual, geometric. The difference between the architectural genre and the sculptural genre is questioned here. It is a transgender and transgenic object. The piece seems the promise of itself. In some moments you think you are seeing the DNA of something that will emerge. The DNA in action of something unfinished.
Foreshortened view of the sculpture and two wall pieces.
IdePC ‘s related drawings
Set of octopus and other species.
IdePC ‘s related drawings
Scale of the sculpture with two visitors.
The crack and its icy mouth.