An ecology of architectural ideology.
Unless your –ienniale
takes place on a small urbanized island in the northwest corner of Italy, it is
not unusual for the relation between the event itself and where it takes place
to act as a primary catalyst for reflection and production. With its complex
topography of both production and reflection distributed throughout its
exhibitions and events, the 2013 Lisbon Architecture Triennale is no different
in these regards to the phenomena of –ienniales that has taken place in the
creative fields over the past decade. Focusing from the outset on the effect
over time events of this magnitude have on the city, most of the exhibitions
are designed to unfold over the course of the next three months. As such, at
this point it is futile to make any sort of value judgments regarding its
success or failure (because, really, who would it be a success or failure
for?). This approach instead orients the critical gaze towards the individual
projects themselves and how they respond to the ambitions, conditions and
constraints they have taken upon themselves.
The event is
multifaceted, taking shape in four main curated exhibitions and a vast program
of affiliated projects that are all in different mediums and locations
throughout the spatiotemporal city. As a consequence of this distributed
nature, it is perhaps more common for one to come across a single manifestation
of the overarching curatorial project rather than entering into a heterotopia
of discourse. Under the title Close,
Closer, curated by Beatrice Galilee the 2013 Lisbon Architecture Triennale
approaches the community of architectural discourse by casting a wide net to
reveal what is actually there in the sea and foster its potential rather than
investing in specific technologies and locations to harvest a single population
of fish that everyone purportedly likes.
The range of
interpretations given to the local and discursive constraints of the Triennale
is wide, but all find common ground amongst each other in their sincerity and
clarity in projecting a highly contingent vision forward. Schematically divisible
into two groups, Reality and Other
Fictions, curated by Mariana Pestana, and Future Perfect, curated by Liam Young, present radically opposed
yet deeply homologous interpretations of the opportunity to exhibit work in a
context formerly known as the museum, whereas on the other hand New Publics, curated by José Esparza,
and The Institute Effect, curated by
Dani Admiss, meditate on the processes of producing this thing we call work
itself. While the difference between these two pairs runs deep, it is also a
divide that emerges rhetorically to the surface: the former proclaims itself to
be based on transcendental nouns such as the ‘future’ or ‘reality,’ the latter
concerns itself with transient verbs such as ‘to make public’ and ‘to
institute’.
In this sense,
the experience of each exhibition is highly particular and responds directly to
the context in which it is located. Located in the former electricity power
station that has recently been transformed into a museum about its own past,
Young’s Future Perfect sets out to
materialize at a 1:1 scale what elements of the future city may look like and
do. Taking shape in construction robots,
surveillance drones, interactive light installations, wax clothing, and a
series of videos all situated within an artificial forest inside a reasonably
small room of the museum, the exhibition ultimately demands of the museum-goer
that they are not only highly informed, a ‘fan’ in its own sense, but that they
submit the momentary potentials of their individual consciousness to this
hyper-particular and somewhat over-aestheticized vision of the future.
On the other end
of the museum spectrum, Pestana’s Reality
and Other Fictions takes place in a grand palace which was once home to the
first Marquis de Pombal, Sebastião José de Carvalho e Melo, the Prime Minister
and architect of Lisbon’s urban reconstruction after its infamously sublime
earthquake of 1755. Set within a decadently ornamental context, the work within
largely reflects on the building’s extravagant beauty, and in a sense the
contingent and particular nature of all things beautiful. With exquisitely
detailed installations, topics such as the personal and architectural
embodiment of power, the declaration of rights and its formalization as law,
the inscription of discourse and the perceptions of comfort are rhetorically
materialized in such a way that a latent process of self-reflection is effectively
induced in the experience of the space.
Esparza’s New Publics is paradoxically both the
loudest and quietest of the four primary curatorial lines. Considered more a
program than an exhibition, if one was to go and look for it, there would
honestly be very little to see. Sitting in Praça da Figueira,
one of Lisbon’s central and most prominent squares, Mexican architect Frida
Escobedo’s delicately figured and finely detailed Civic Stage acted as the literal platform for a series of speeches,
performances and plays that occurred during the inauguration of the Triennale.
While the stage will only be intermittently populated by informal classes or
whatever other ways the citizens of Lisbon decide to inhabit its open surface,
this very gesture of absence and potential is profound. Like John Cage’s interpretation of the
significance of a concert in 4’33” or
Marcel Duchamp’s approach to the museum in Fountain,
New Publics treats the architecture
of public space as the arbitrary yet necessary and incessant medium for the
performance of society.
As if realizing
in a state of melancholy that what was made in the euphoric liberty of public
performance only lasts for as long as the performers are on stage performing
the performance, a few blocks down the road and back inside is The Institute Effect. Situated within
MUDE, a museum of fashion and design that inhabits the contemporary ruin of a
former bank that was stopped in the midst of renovation, a series of sequential
residencies take as their task a highly reflective process of revealing what it
takes to make and what it means to have an institution. Starting from a tabula
rasa, ten independent architectural institutions from around the globe
iteratively occupy a single space over the course of the next three months
while holding workshops and public programs. Including the likes of Fabrica
(IT), Storefront for Art and Architecture (US), LIGA (MX), SALT (TR), Z33 (BE),
and many more, each institution’s singular identity is subconsciously presented
in the very way the space is occupied.
With respect to
its original curatorial intention of positing questions as opposed to proposing
answers, it could be decided that Close,
Closer did in fact achieve the goals it set out for itself, but it should
perhaps be reflected upon whether the questions it has, and will continue to
raise, are indeed the ones it wants to be asking. The 2013 Lisbon Architecture
Triennale is an event that is saturated with ideology yet haunted by the
absence of hegemony. If what has become the norm is in fact problematically
unsustainable, it is crucial to interrogate the ways in which discourse evolves
away from that tradition. While it appears as if the only possible explanation
for the radical lack of Álvaro Siza or Eduardo Souto de Muora in a Portuguese
architectural event is the result of decision to not include this certain type
of architectural thought, it is perhaps a presence that is so prominent within
the contemporary Portuguese architectural discourse, pedagogy and culture that
it should not have been ignored altogether. Instead of trying to convince those
who attend the event one way or the other about its projected form of architectural
ideology, the 2013 Lisbon Architecture Triennale perhaps most strongly makes
the case for the need of mutual recognition and an ecology of ideological
difference.
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