INTERVENTION AT MARACAIBO BIENNALE
Museum of Contemporary Art
CLAUDIO ROSSI OFFICE OF: ARCHITECTURE / URBAN DESIGN / LANDSCAPE / RESEARCH / ACADEMICS / INTERVENTIONS/////
Proposing a museographic intervention for the 1st Maracaibo Architecture Biennial, carried out at the Museum of Fine Arts, presupposed two major challenges. The first one is to establish the dialogue between an exhibition of architectural projects and the way of living or reading this type of proposal in a space dedicated to art; and on the other hand, to synchronize in a holistic way the different events that in summary exemplify the first sample of architecture and urbanism of the city of Maracaibo, that is, the mooring gestures between graphic discourses, artistic performance, recreational facilities and the forum of ideas, the present project of the discussion in architecture and the materialized past, recognized and built.
The museographic proposal materializes as a revealing line of routes, which establishes a criterion for discussion throughout the exhibition. This line of mooring between events, inhabits the space of the museum without pretending to collapse the sample, on the contrary its contrasting color (bright red) and its thin materiality, with twenty-five centimeters in width, runs through each corner of the exhibition as a spectator. It is in the search to see, but at the same time be seen where its meaning underlies, using space as the medium of this discussion. It is important to say that the line is defined as a component of the Biennial and its role is to unveil the space as a support to the discussion in architecture.
The excuse of walking gave rise to the incorporation of texts inherent to the architectural process, taken from different bibliographical sources and selected to create a discontinuous reflection. The line works on the surface of the theater, changing its nature and mutating small corners of granite and pure white, in spaces for green. This line is detached from the ground and verticalized remembering the irreverence edilicia. Finally, it is lost on the second floor of the exhibition where, through one of the skylights of the museum, it dematerializes when it encounters natural light.