Emilio Pemjean, Modern Black and White Bauen IIII, 2013, Photography

Description

“BAUEN III”, 2013 Emilio Penjeam Immeubles -Villa. Le Corbusier. No specific location, not built, 1922-1929. 140 x 140 cm, printed … more “BAUEN III”, 2013 Emilio Penjeam Immeubles -Villa. Le Corbusier. No specific location, not built, 1922-1929. 140 x 140 cm, printed with mineral pigmented ink, cotton paper Hahnemühle Photo rag, wood frame and glass. Limited edition of 5 prints and 2 for the author. The project is a reflection on the circle of action that occurs between a man and the spatial system that conforms around, about relationships or interactions between the subject and the occupied and built space. The domestic space, the shelter, the center of the world constitutes a sounding board. “Bauen” investigates this soundboard where the spatial structure and its inhabitants interact and transform each other, it reconstructs spaces, places of reflection, built or destroyed utopias, places that define the authors and time. Architectures (with ability to be understood as true but no longer exist or have ever existed) have been constructed from a scale model and turned into essential areas making these “codes” of living. The shelter of the thinker (Bauen1), home to a new man (Bauen 2 + 3), the worker’s home (Bauen 4), the artist’s studio built around its objects (Bauen 5), the country retreat where the dictator organizes his life and that of others (Bauen 6 + 7), the house for a couple without children (Bauen 8 + 9) are both past, present and future time; memory places where others may recognize us, play and horror, but also utopias to build and where it is possible to project to the world. Each representation system or tool used (transversely connecting various disciplines) allows a different approach to the project: The phantom, the simulacrum of a non-built (or destroyed) architecture is present from the photographic process and post-videographic construction models. Photography, from its two-dimensionality and collective observation, abandons his traditional documentary account of mechanism capable of capturing the truth and introduces doubt about what you see and naively accept as real. The video introduces the time factor from the movement of the sun, changing phenomenological space, connecting the individual and the universal, the past and the future. Models from a three-dimensional representation, become “substitute statements” firsthand experiences (questioning the certainty of our worldview) and habitats and constructions of thought. The scaling of the object, its reduction allows a different approach where the whole precedes knowledge of the parties and where the perception comes from the intimacy and intensity that produces closeness, as would a voyeur trying to find something more than the hole by looking lets you view. Our life is organized around essential milestones, sublime and unforgettable events that mark our time and that of others. The rest (most of our lives) are intermediate, bland, fuzzy moments in our memory, generally neglected, sometimes trivial and indifferent. The project evaluates these intermediate times (located between two events), transitional and unstable equilibrium, in which at any moment something could happen that transforms and makes them immortal. They are invisible moments, blind to the future, anxiety, fear and tense wait for the unexpected but also of promise and hope to recover what time relegated to oblivion. less