As in previous interventions by SANAA, Ai Weiwei, Jordi Bernadó ('Pavilion Mies van der Rohe, Second reconstruction' Luis Martínez Santa-María ('Fear of Columns') or Andrés Jaque ('Phantom, Mies as Rendered Society'), among others, today we present the intervention of the artist Domènec.
This time it is Domènec, an artist with a broad trajectory on the political strategies of historical memory and social empowerment, who proposes a reflection in the form of uchronía. An abstraction of how the Mies van der Rohe Pavilion could have been seen in the period after the Exhibition had not been dismantled.
His intervention provokes us an image opposed to the one we have of the mountain of Montjuïc in the context of the International Exhibition of 1929: the little-explained social reality of this same place in the following period. The need for labor for the growth of the city, of what it is exponent of the International Exhibition, generates a migratory flow that in Montjuïc flows into entire neighborhoods of barracks and with the enabling of the Belgium Pavilion, the Palace of Missions and the Olympic Stadium to welcome or detain people without resources. If the Mies van der Rohe Pavilion had remained and had also been set up as a refuge, it would have been necessary to find a way to delimit the spaces where to make life: Domènec refers to the image of the clothes hanging from the article by Huertas Claveria in the magazine Destino en 1966 and relates it by inserting images, texts and objects in the space of the Pavilion.
The Stadium, the Pavilion and the Palace, is a collaboration between MACBA and the Fundació Mies van der Rohe within the framework of the exhibition Domènec. Not Here, Not Anywhere that can be visited at the MACBA from April 19 to September 11, 2018.
This time it is Domènec, an artist with a broad trajectory on the political strategies of historical memory and social empowerment, who proposes a reflection in the form of uchronía. An abstraction of how the Mies van der Rohe Pavilion could have been seen in the period after the Exhibition had not been dismantled.
His intervention provokes us an image opposed to the one we have of the mountain of Montjuïc in the context of the International Exhibition of 1929: the little-explained social reality of this same place in the following period. The need for labor for the growth of the city, of what it is exponent of the International Exhibition, generates a migratory flow that in Montjuïc flows into entire neighborhoods of barracks and with the enabling of the Belgium Pavilion, the Palace of Missions and the Olympic Stadium to welcome or detain people without resources. If the Mies van der Rohe Pavilion had remained and had also been set up as a refuge, it would have been necessary to find a way to delimit the spaces where to make life: Domènec refers to the image of the clothes hanging from the article by Huertas Claveria in the magazine Destino en 1966 and relates it by inserting images, texts and objects in the space of the Pavilion.
The Stadium, the Pavilion and the Palace, is a collaboration between MACBA and the Fundació Mies van der Rohe within the framework of the exhibition Domènec. Not Here, Not Anywhere that can be visited at the MACBA from April 19 to September 11, 2018.
