The simplest thing is the hardest to do, Laercio Redondo at the Mies van der Rohe Pavilion

In the framework of the Barcelona Gallery Weekend, Fundació Mies van der Rohe and Ana Mas Projects present an intervention by artist Laercio Redondo, which explores History and its multiple narratives. The aim is to create a dialogue with the space itself, raising questions of memory and effacements in time, especially in relation to its construction and later reconstruction.

To Redondo, architectural landmarks such as the Pavilion not only have a history but also tell a story. They are essentially narrative devices, that serve its time (and dominant ideology) by highlighting certain aspects of history while deflecting others. That is why the intervention here is subtle: it seeks to produce almost invisible disruptions in space that magnify such effacements.

The central piece consists of a set of translucid displays, made out of silk, and meticulously distributed along the glass panels. Depicting the few surviving photographs of the original building which served as models for its reconstruction, they confront the viewer with a superimposition of past and present. Offering, thus, a composite perspective on the building and the outside garden.

The artist has also created a set of prints on plywood displayed on supports that use the same kind of travertine stone as the Pavilion’s floor. Appearing at first glance as completely black monochromes, these images depend on the movement of the spectator’s body (and gaze) to reveal themselves in tenuous contrast. A sound piece installed in the garden completes the intervention, offering a multi-layered account on the work of the architect and his collaborator Lilly Reich.

The interest for Mies vas der Rohe is part of Redondo’s long-term artistic research on International and Brazilian Modernism, as seen in previous works such as The Glass House (2008), Memory from Brasilia (2012), Façade (2014) and Detour (2015) among others. Redondo’s varied choice of media in his dialogue with the physical and symbolical structure of the Pavilion is also a nod to the Modernist trope of blurring the contours between painting, sculpture, design, and architecture.

 

Read the text by Cecilia Fajardo-Hill here: The Opacity of the Modern, Cecilia Fajardo-Hill

 

Acknowledgments:
Texts: Cecilia Fajardo-Hill, Ivan Blasi, Laercio Redondo
Text editor: Daniel Jablonski (text, Laercio Redondo)
Text revision: Ângela Vianna (text, Laercio Redondo)
Translations: Rosa Lleó (Spanish & Catalan text, Laercio Redondo), Peter Lenny (English text, Laercio Redondo), Fundació Mies van der Rohe (Spanish & Catalan text, Cecilia Fajardo-Hill)
Audio/Voice over: Rosa Lleó
Exhibition project: Laercio Redondo in collaboration with Birger Lipinski
Thanks to:Alba Baeza Martínez, Ana Mas & Ana Mas Projects, Birger Lipinski, Carla Zaccagnini, Cecilia Fajardo Hill, Chiara & Claudio Bugatti, Daniel Jablonski, Daniel Steegmann Mangrané, Fundació Mies van der Rohe & staff, Ivan Blasi, Jeanine Toledo, Juliana Suzuki, Kaira M. Cabañas, Laura Cantero, Laura Erber, Marcia Leite, Simone Prais, Soraya Guimaraes Hoepfner and Rosa Lleó.

The exhibition is also supported by The Swedish Arts Grants Committeé

 

 

Date

16-09-2020 <27-9-2020, Opening 16-09-2020, 19:00h

Opening 16-9-2020, 19:00h
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Text by Cecilia Fajardo-Hill: Text