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Artere, 24 rue d'Aguesseau.
The entrance display paintings on metal shelves that float on the air, at times transporting their shadows to the wall
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or
taking a piece of it and a fake bar by
Lia made of bottles filled with glasses cut in
different shapes and illuminated by a one of the five tubular lamps,
implying the shape of the
chimney. |
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In
the gallery, 22 objects -based on steel plates that were balancing weights
of an architect's draughting table.
We shared 11 plates each to work our concepts, based on the history of such found object: Lia mixed those plates with glass,  pushing
them into an harmonic interaction in forms that, in a way, imply buildings
or bridges; |
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Facundo collected samples of concrete -went around the city looking for buildings under construction- that will become one with the plate, and for this, each piece was to be named with the address of the site where the matter came from, except of 24 rue d'Aguesseau that had no concrete but hangs in a steel column of the gallery. |
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In the glass celing studio where Lia placed all her small glass works (the same that in "Magritte is dead" she showed on the table made of the steel shelves -that later became Facundo's painting from the entrance), leaning the walls only to display the shadows of this glasses. The
brick chimney which Facundo used to project a film showing the clouds
moving above and also below our feet, divided this ancient
steel mill basement in the center.
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Around this chimney, one side of the floor was covered with pages of phone books and in the other side with bamboo cuts and steel ribbons, adding to the sound of Lia's fountain of drops falling over styrofoam and the interference of an untuned radio while we walk. |
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