“Máquinas de vivir” exhibition at CentroCentro Madrid

Through choreography, music, actions, images, paintings, photographs, films, models, books, documents and scenographies, the exhibition proposes the spatio-temporal relation between three different and fields of production, three ways of understanding the territory, the city and the house, different and related ways of being in the domestic space, architecture and urban planning.

 

Viviendas para una comunidad de gitanos (O Vao, Pontevedra, 1970-1972), Pascuala Campos y César Portela. Foto: Anna Turbau.

Viviendas para una comunidad de gitanos (O Vao, Pontevedra, 1970-1972), Pascuala Campos y César Portela. Foto: Anna Turbau.

 

“Máquinas de vivir” (Machines for living) is a project that opens a three-way dialogue between radical architecture, social criticism and flamenco representations. Through choreography, music, actions, images, paintings, photographs, films, models, books, documents and scenographies, he proposes the spatio-temporal adjustment between three different and linked fields of production, three ways of understanding the territory, the city and the house, different and related ways of being in the domestic space, architecture and urban planning, reinventions of the flows of circulation, mobility and walk, whose development in the present starts in the second half of the twentieth century.


 

Practical information

“Máquinas de vivir”
October 20, 2017 – February 4, 2018
CentroCentro Cibeles,
Plaza Cibeles, 1, 28014 Madrid
Spain

 


In a first approach, it shows the attention of the works of artists linked to the Situationist International by the occupation and mobility in the space of the Roma, the gypsies, the flamencos or the bohemians of the Spanish political exile, especially the libertarians.

 

PinotGallizio. Cortesía Archivo Gallizio, Turín

PinotGallizio en Alba. Cortesía Archivo Gallizio, Turín.

PinotGallizio en Alba. Cortesía Archivo Gallizio, Turín.

 

A second field explores the various social housing projects that were carried out in France, Spain and Portugal with the idea of ​​housing the Roma population taking into account their particular backgrounds and the ways of life they occupied, with their family and group characteristics and delocalised trades. It also addresses what was a second phase, when community projects fail and the Roma population and other marginal groups are assimilated into the large polygons of housing built for rural and southern migration.

 

13.Fotos y collage de Mario Fuentes para el disco Campo Joven de Manuel de Paula.

Fotos y collage de Mario Fuentes para el disco Campo Joven de Manuel de Paula.

12.Fotografía de Mario Fuentes para Oratorio de Teatro Estudio Lebrijano, 1969

Fotografía de Mario Fuentes para Oratorio de Teatro Estudio Lebrijano, 1969

 

A third field notes how the gypsies and flamenco artists, in line with the political demands in the tardofranquismo and the Transition and, specifically, in the field of theater, were aware of these spatial transformations, and how the new ways of inhabiting the territory demanded a certain deterritorialization of the old scenarios.

10.Mario Fuentes y Antonio Atienza para el disco Romance de Manuel justicia de Manuel de Paula, 1976.

Mario Fuentes y Antonio Atienza para el disco Romance de Manuel justicia de Manuel de Paula, 1976.

11.Cartel de Los Palos, La Cuadra de Sevilla, 1976. Cortesía del Centro de Documentación de las Artes Escénicas de Andalucía.

Los Palos, La Cuadra de Sevilla, 1976. Cortesía del Centro de Documentación de las Artes Escénicas de Andalucía.

 

 

“Máquinas de vivir” takes its title from the first locution that Federico García Lorca made of the famous machine à habiter by Le Corbusier, a key and original figure of modern urbanism and architecture.The functionalist term is applied by Lorca to the modest home of a flamenco The appeal is conflictive, there are paternalistic, orientalist, even colonialist traits in that assimilating the functionality of the modern house with the necessary sobriety of a poor man’s house, however, the gap of meanings that Lorca opens between living and to inhabit is the center on which our researches gravitate: to live and to inhabit, zoé and bios, natural life and political life “. Pedro G. Romero and María García.

 

7.Ginesa Ortega y Pedro Sierra durante el rodaje de Bellvitge, Bellvitge!, Julián Álvarez, Barcelona, 1978.

Ginesa Ortega y Pedro Sierra durante el rodaje de Bellvitge, Bellvitge!, Julián Álvarez, Barcelona, 1978.

6.Cité du soleil (Avignon, 1961) del arquitecto Georges Candilis. Foto: VéraCardot y Pierre Jolly. Cortesía del Centro Pompidou, París.

Cité du soleil (Avignon, 1961) del arquitecto Georges Candilis. Foto: VéraCardot y Pierre Jolly. Cortesía del Centro Pompidou, París.

Fotografía de la serie Fillesdétournéespourl’Espagne, Internacional Situacionista, 1964.

Photography of  Fillesdétournéespourl’Espagne, Internacional Situacionista, 1964.

9.Cartelería de la película Les Princes de Tony Gatlif, 1983, con intervención de GuyDebord (Babylon Films).

Les Princes de Tony Gatlif, 1983, con intervención de GuyDebord (Babylon Films)

 

Center Cibeles Center for Culture and Citizenship and La Virreina Center de la Imatge (Barcelona) co-produce this project of exhibitions, editions and activities, curated by Pedro G. Romero and María García and coordinated and organized by the Independent Platform of Modern and Contemporary Flamenco Studies ( pie.flamenca) and BNV Producciones.


 

News source: CENTROCENTRO
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