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 the architecture? How can/should we perceive it?”
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 the architecture? How can/should we perceive it?”










