MEDIO MUNDO Arquitectos. Marta Pelegrín + Fernando Pérez.
Design and Production of models for ‘Maquinas de Vivir’ Exhibition
Production and layout of 9 models for exhibition on flamenco and architecture
CentroCentro Cibeles of culture and citizenship
20 October 2017 to 4 February 2018
Comisariada por Pedro G. Romero y María García
Fabio Orizia, José Becerra, Valentín Berlanga, Alice Simpkins-Woods, Amelia Maresca.
BNV Productions, Independent Platform of Modern and Contemporary Flamenco Studies ( pie.flamenca) ARTEC
“Máquinas de vivir” is a project that opens a three-way dialogue between radical architecture, social criticism and flamenco representations. MEDIOMUNDO arquitectos is commissioned to join the research team for the documentation and interpretation of original archives and to build up the architectural models for the Exhibition and the theatre and dance scenographies.
It is about opening the dialog Through choreography, music, actions, images, paintings, photographs, films, models, books, documents and scenographies, the exhibition 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.
In a first field, 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.
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.
A third field notes how the gypsies and flamenco artists, 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.