Exhibition Le Corbusier, an atlas of modern landscape in Caixa Forum Madrid.

CaixaForum Madrid hosts until October 12 a special exhibition devoted to this creative, organized by the Museum of Modern Art in New York and in collaboration with the Fondation Le Corbusier in Paris. 
 
The exhibition offers a truly vital tour through Charles-Édouard Jeanneret's life with his early influences at his birthplace, in La Chaux-de-Fonds (Jura, Switzerland., 1887), and tracking of all his movements at the planet, which had a great influence on his work and his concept of architectura and urbanism. 
Jeanneret was more than an architect and furniture designer, was also a painter, writer and photographer, and, moreover, was a visionary, critic and ambitious, whose revolutionary projects were breathtaking for everyone. But what it was most fascinating in his works was the idea of questioning the status quo and ambition as a radical change in concepts, starting with the material used itself and following the organic character of the buildings. In 1920, already established in Paris, founded with poet Paul Dermée magazine of art and avant-garde culture L'Esprit nouveau, where he began signing his articles with the pseudonym Le Corbusier, not to link your real name to provocations contained in his writings. 
Its buildings are the aesthetic lines of the 50s, however, the zenith of his creations blossoms between 1920 and 1930 never would have said that some of their best ideas are from this period, but it is. The commitment reinforced concrete housing construction modular and expandable and movable plates, the vast redevelopment projects of European capitals ... The ideas of Le Corbusier soaked all their architectural conceptions and in them was always the deseeo of espetar dialogue with the landscape and the environment, and create a magnificent work which incorporate all the good that had been collecting throughout his many travels abroad. From this period are the groundbreaking proposals for redevelopment of the center of Paris or Moscow Kremlin, projects that never saw the light. 
 
The insatiable ambition of Le Corbusier not always (or rather never) coincided with the desire for change or reform who had to approve their projects. Le Corbusier was busy, tireless in attack the obsolescence of these thoughts and the obtuse and limited character who cercenaban, again and again, his view of revolution and urban transformation. Few of his extraordinary complete renovation projects were carried out, and that fruited did outside Europe. Indeed, Le Corbusier was almost bound to an intellectual exile. In his many lectures, in which he drew while setting out his ideas, to the amazement of the audience, did not hide his disappointment with the impositions of power and constant denials that he was a victim. 
Le Corbusier did not hesitate to go to South America, Africa and Asia. However always dreamed of returning to Europe. And he did, accepting projects 
lesser importance in which he could also implement some of his ideas, such as building known unités d'habitation, modular homes designed to facilitate the building and be functional, or designs in harmony with the landscape, such as the well-known chapel of Notre Dame du Haut, Ronchamp. 
 
In recent time, Le Corbusier became melancholic and nostalgic, and drastically reduced its activity, taking refuge in his painting studio at the foot of the Mediterranean, to live with what he called "my island".

 

One of the proposals included in the calendar of the “Art Madrid-Proyector'20” program was the organisation of several meetings with artists within the fair. This gave visitors the opportunity to get to know their work better and open a personal dialogue with them after the presentation of their last lines of work. From Wednesday 26th to Saturday 29th of February, we had the participation of Abelardo Gil-Fournier, Fernando Baena, Mario Santamaría and Maia Navas, a group of creators who work with the moving image, but also with the installation, technological art, performance and video art.

Abelardo Gil-Fournier's work revolves around the hybridization between the real and the sensible. This artist and researcher approaches this question in his works from a perspective in which perception, image and material production merge. Both his artistic and research practice deal with issues related to land use and plant growth without losing sight of these three points of interest. This results in works that incorporate the presence of nature from various perspectives, sometimes as a space of experimentation in which to reflect on the connection between art and politics, the relationship of the human being with the environment or the criteria for landscape intervention.

During his presentation on Wednesday 26th, Abelardo told us about some of his latest projects, in which the presence of technology is key to offering an artistic interpretation of the individual's impact into the territory. All this affects issues such as agricultural techniques, the progressive deforestation or the exploitation of land resources. The result is colour-coded pattern drawings that break down the analyzed landscape and offer a more visual and technology-based reinterpretation of these human behaviours. In addition, in this meeting, the artist explained his work “The Quivering of the Reed”, an installation that mixes video image, sound and material elements, and that plays the role of mixing the sensory with the real.

Abelardo Gil-Fournier

Fernando Baena shared a talk with us on the afternoon of Thursday 27th. This artist has focused a large part of his work on performance, happening and video pieces, many of them designed to capture the result of the action and give the work a second life in a new format. The main subjects that monopolize his work range from the treatment of sexuality and gender issues, to migratory movements and the drama of refugees, the exercise of political freedom and thought ... all of them are far-reaching issues that Fernando addresses from a familiar approach, with the use of common materials and recognizable environments. Another of the characteristics of his work is the presence of Marianela León in many of his pieces, a performer who has been collaborating with Fernando for many years until becoming almost an alter ego of himself and starring in most actions that take place in public spaces.

In this meeting, Fernando was able to explain part of his creative processes and to highlight a key aspect to the performance artist: to understand the reaction of the public. In this way, the impact of a work conceived from the theoretical plane is also analyzed, the meaning of which can completely change depending on the viewer's perception. As he himself explained in the talk regarding his piece "Balsa":

"What started out as a performance with an established script ended up being a happening in which the public participated with sometimes unusual reactions".

For his part, Mario Santamaría, who was with us on February 28th, shared with us a completely different work from Fernando's. This artist is focused on the analysis of the use of data, the feeling of manipulation and lack of control over our information that is produced in the digital medium and the desire to transform into something real some ideas as ethereal and commonplace today as the use of virtual storage clouds, the location of web pages or the data flow over the Internet. Much of his work, documented on video or transformed into technological facilities, is a form of research on the impact of the digital medium on our daily lives. His desire to bring these terms to the material plane, which we handle in our language today without really understanding their meaning, has led him to visit server bunkers, storage warehouses, in addition to tracking the exact location of the servers that host his own website to find isolated places far away from humanity.

Mario proposed a material trip to this reality to demonstrate that we are facing a very fragile system, whose durability is sensitive to natural phenomena, as evidenced by some of the documentation work carried out, where he rescued images of wild animals entering these data centres and endangering the livelihood of the digital world.

Mario Santamaría

Finally, Maia Navas, recently arrived from Argentina, shared with us the afternoon of Saturday 29th in a chat in which she told us about her creative work as well as her experience at the head of Play-Videoarte, a festival entirely dedicated to this discipline that she co-founded in 2012, and that in these six editions has combined an annual exhibition with a program of activities that take place in the City of Corrientes (Argentina), at the Cultural Centre of the University Extension that depends on the National University of the Northeast (UNNE).

Maia has a degree in psychology, as well as a degree in arts and technology, and combine her artistic career with teaching. The impact of psychology among her work topics is evident, and some of her video works try to delve into disturbing and perplexing aspects of human behaviour, such as the series "Procedures" that we could watch during the presentation. In it, the artist portrays the daily lives of people affected by OCD syndrome with an excellent visual narrative that puts the accent, almost with a cinematographic vision, on the personal experience of this phenomenon.

Maia Navas, foto de Marc Cisneros

From Art Madrid, we want to thank all these artists for sharing their creative experience with us and giving us the opportunity to dialogue with them about their present and future projects.