Thursday, January 2, 2014

WORK WITH A VIEW ____________________LLLL ART AGENCY




WORK WITH A VIEW




ANTO LLOVERAS
> director

LAPIEZA ART SERIES
LLLL ART AGENCY
TOMOTO FILMS
HOLA VERDE URBANO

ØVRE ALLE 13, 7030  NORWAY
SAN MATEO 12, 28004 MADRID

> architect > artist > curator > editor




LLLL ART AGENCY




RELATED VITAMIN 002 (III/-)



Space was created by piling matter on top of matter, cemented to form a solid new whole. Junkspace is additive, layered and lightweight, not articulated in different parts but subdivided, quartered the way a carcass is torn apart - individual chunks severed from a universal condition. There are no walls, only partitions, shimmering membranes frequently covered in mirror or gold. Structure groans invisibly underneath decoration, or worse, has become ornamental; small shiny space frames support nominal loads, or huge beams deliver cyclopic burdens to innocent destinations... The arch, once the workhorse of structures, has become the depleted emblem of 'community', welcoming an infinity of virtual populations to non-existent there's. Where it is absent, it is simply applied - mostly in stucco - as ornamental afterthought on hurriedly erected superblocks. 13% of all Junkspace's iconography goes back to the Romans, 8% Bauhaus, 7% Disney - neck and neck - 3% Art Nouveau, followed closely by Mayan...


Like a substance that could have condensed in any other form, Junkspace is a domain of feigned, simulated order, a kingdom of morphing. Its specific configuration is as furtuitous as the geometry of a snow flake. Patterns imply repetition or ultimately decipherable rules; Junkspace is beyond measure, beyond code... Because it cannot be grasped, Junkspace cannot be remembered. It is flamboyant yet unmemorable, like a screensaver; its refusal to freeze insures instant amnesia. Junkspace does not pretend to create perfection, only interest. Its geometries are unimaginable, only makable. Although strictly non-architectural, it tends to the vaulted, to the Dome. Sections seem to be devoted to utter inertness, others in perpetual rhetorical turmoil: the deadest resides next to the most hysterical. Themes cast a pall of arrested development over interiors as big as the Pantheon, spawning stillbirths in every corner. The esthetic is Byzantine, gorgeous and dark, splintered into thousands of shards, all visible at the same time: a quasi-panoptical universe in which all contents rearrange themselves in split-seconds around the dizzy eye of the beholder. Murals used to show idols; Junkspace's modules are dimensioned to carry brands; myths can be shared, brands husband aura at the mercy of focus groups. Brands in Junkspace perform the same role as black holes in the universe: essences through which meaning disappears...






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