Andreas Fogarasi - 1988

DE 21/01/2014 - 01/03/2014 A



Fogarasi’s work deals with themes such as architecture,
the economization of cities and the culturalization of public
spaces, resorting to various procedures to (de)construct
the idea of the city in the European countries. His works
reveal different expectations superimposed socially and
politically on the urban space, pointing to the artist’s
commitment to the architecture of space.

According to the show’s curator, the transformations
that took place in cities around the globe from the 1990s
onward, including in São Paulo’s urban space, point not
only to the phenomenon of gentrification, but also to the
practice of the appropriation of urban space as a tool
of citizenship, opposed to the capitalist logic. Fogarasi
deconstructs this logic and asks, “How should we
understand the streets, public squares, houses, cities, the
construction and materiality of everyday life? How is the
subjectivity of this realm constructed? What is the future
of the great architectural projects in opposition to the
icons of late modernity, such as Lina Bo Bardi’s Casa de
Vidro (in São Paulo), or Luis Barragán’s Casa Barragán
(in Mexico City)?”

The exhibition title that Andreas Fogarasi proposed to
Vermelho, 1988, alludes to the various political changes
that took place in the late 1980s, as well as to other
less visible urban manifestations that have occurred
throughout the last decades. His first solo show in
Brazil, 1988 presents Mirrors (2014) photo series,
created especially for the exhibition, and also includes
the installations North American International Auto
Show (2012), Postcards (Verde Guatemala / Untitled)
(2012/2014), as well as the film Folkemuseum (2010).

Folkemuseum, which borrows its title from the name of
the Norwegian museum located in Oslo, visitors to the
institution share the projection with questions proposed
by the artist, such as, “Should I bring my own actor?”
The film includes images of the history of the Norwegian
museum, the urban landscape that surrounds it, and the
Norwegian city by way of a collection of 155 buildings that
occupy a 140,000 m² area in Oslo.

In Mirrors and North American International Auto
Show, Fogarasi presents images of important
architectural projects that are unfinished or in a process
of deteriorization. Through an interplay of mirrors,
the images create interrelations with conventional
architectural photography, in which the car, the symbol
of capitalism in the 20th century, appears as an antihero,
pointing to the failure of the Fordist economic model that
led to the decadence of cities whose economies were
based on the automobile industry, such as Detroit.

Like no other city in the world, Detroit represents the end
of an economic era. At the same time, it also presents
an alternative for life in the big cities that goes beyond
calculated economic efficiency, such as new forms of
communication and self-generated projects.
The show 1988 suggests various questions to the visitor,
most of them point to what characterizes the identity of
the city nowadays – the cityscape or