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PADELAI HERITAGE SITE TEMPORARY OCUPATION AND REACTIVATION, BUENOS AIRES 2012.


Proyect organized and produced by the Spanish Embassy Cultural Department and the CCEBA within the framework of the Buenos Aires Government`s CIUDANZA 2012, Dance in Urban Landscapes Festival

The project is aimed to occupy and revitalize the Padelai building and its gardens during one week. Nowadays in ruins, the Padelai is a 1897 building located in the San Telmo neighbourhood in Buenos Aires (Argentina) that was once an orphanage for abandoned children. The intervention format consists of a five days´ interdisciplinary workshop and an final open door event.

 

event

 

event2

 


The project deals with ideas concerning the reading of obsolete spaces. Having reached its maximum load capacity, these particular spaces have already been deciphered. They could be conceived as the opposite of “tabula rasa” spaces, as we can find multiple places and times contained in their reality. They are actually spaces with a superabundance interpretations and appropriation levels. These spaces are especially tailored to the development of alternative spatial practices which would make it possible to discover new architecture and urban realities.
The interdisciplinary workshop “Espacio-Tiempo-Movimiento. Registros de la Touch & Go Reality” counted on the participation of architects, dancers and film-makers. The participants were put in mixed teams and developed works patterns that followed the cycles of the site’s experience and its recordings. These work processes revealed both the different layers that were present in this particular reality and the new tools that should be used in order to explore these layers.

The proposal of each team intensified not only the site’s experience but also the site’s beauty from different points of view. They transformed both the architecture and the garden spaces: some proposals were aimed at creating resonances between the garden and the spaces of the building. On one hand, this was achieved through the combination of a vegetal structure in the garden and its playful occupation and, on the other hand, a “dark camera” manipulation of the garden reality which was perceived by spectators being inside the building. The proposed itinerary, which allowed people to go through gardens (natural and artificial) and rooms, made it possible to re-read an obsolete site, encouraging us to build a collective imagination for a new urban space. Dealing with complex definitions about intimacy and collectivity, these new urban spaces go beyond simple public-private definitions (ECO).

 

+ Video ECO//////////////////////

 

 

intension eco

 

intension hab aus

 

Other proposals aimed at exploring innovative conceptions of space, reality and the site’s experience, which were based on successive cycles of construction and destruction processes. These methods created “frames” in which time was stopped and aspects such as gravity were questioned. Phenomena such as explosions of easily recognizable objects that float in a mishmash of remains are seen from close and far points of view ((IN)TENSIÓN).

 

+ Video (IN)TENSIÓN//////////////

 

in tension

 

The body became an essential part of the site. Without corporal presence, the place could not be understood or remained incomplete. Real space projections were manipulated through the sum of virtual body shadows that maintained an ambiguous identity, making it difficult to distinguish whether they were bodies or architectural elements. These projections revealed what our current implications in any spatial configuration might be, highlighting that the use of this new perception could enrich not only creative processes but also our understanding of a particular place. At the same time, these shadows became recordings or traces of other inhabitants’ presence. People inside this room could experience the convergence and overlapping of various instants of time. (HABITACIÓN DE AUSENCIAS).

 

 

quinta 1

 

 

umb

 

quinta 2

 

The cellar of the building became a “choreographic machine” where invisible threads manipulated the bodies wandering through the space. The spatial substance became dense and viscous. Their authors explained it as “an underground space which is characterized by the decomposition of both the time that goes by and the bodies that were once inhabitants. Subconscious urges of a tough story overload the atmosphere and produce a cathartic ending, leading to the total destruction of the contained space” (5ª VARIACIÓN DE UNA PIEL ACCIDENTADA EN FUGA).

 

+ Video QUINTA VARIACIÓN... //////////////////

+ Video performance QUINTA VARIACIÓN... //////

 

cartographies

drawings

 

New spatial taxonomies appeared associated to thresholds. Thresholds which were measured, calibrated and catalogued through the use of body and voice. A real-time narration functioned as a talking scanner that built a new collage of the building. Thresholds acquired great importance as they created a new universe made of in-between places which overlapped and repeated throughout multiple layers when accumulated, were sensible to our presence. This experience was condensed in an installation where, once again, a multiplication of threshold relationships was ready to be occupied by the spectators. (UMBRALES);

 

+ Video UMBRALES////////////////////////////

+ Video performance UMBRALES////////////////

 

Another proposal explored alternative perceptions and parallel constructions of space in which conventional orientation patterns were no longer valid: we could hardly perceive the images but their fleeting traces and their dislocated sounds. Movement and sound did not coincide in the space. Our senses became dissociated and reality created a new collage with captured fragments. An ephemeral experience which could only be experience by oneself….it was impossible to register. (ÍNTIMAS PERCEPCIONES);

Finally, the light became the only habitable place, the only available space. The creation of new places using artificial light, as well as the creative and playful occupation of them, led to innovative spatial practices in which natural light was not present. The recordings and cartographies of these new places were made in real time, through drawing spaces and rhythms, appearances and disappearances (TU LÍMITE ES MI LUZ)   

 

CREDITS:

 

CURATORS AND ORIGINAL IDEA BY

Victoria Cobeña and Mª Auxiliadora Gálvez

 

WORKSHOP DIRECTED BY

Mª Auxiliadora Gálvez (Architecture), Edgardo Mercado (Dance) and Daniela Muttis (Video)

 

COLLABORATOR

Daniela Ponieman (Photography)

 

SPONSORING ENTITIES

Agencia Española de Cooperación Internacional para el Desarrollo (AECID)

Ministerio de Asuntos Exteriores de España

Oficina Cultural de la Embajada de España en Buenos Aires

Centro Cultural de España en Buenos Aires (CCEBA)

 

SUPPORTING ENTITIES

Gobierno de la Ciudad de Buenos Aires (GCBA). Festival del GCBA CIUDANZA 2012

 

PARTICIPANTS

ECO (Espacio Claro Oscuro): Nina Corti (V), Ana Giura (D), Valeria Hataulina (A), Julia Kilberg (D),Rodrigo Kommers Wender (A), Fernando Darío López Plá (A),Hugo Sanchez (V).

(in) TENSIÓN: Romina Cariola (V), Lucía Guerberoff (A), Gabriela Muriel Antezon (A+D), Ana Lia Ruiz (A+D).

HABITACION DE AUSENCIAS: Ana Friedlmeier (D), María Alejandra Marques (D), Carina Viviana Mercado (A), Stella Maris Santiago (V), Agustin Zanalda (V+A).

ÍNTIMAS PERCEPCIONES: Eva Cristina Jaramillo (A), Alejandra Ibánez (A+D), Romina Robles (D), Eugenia Basabe (D),Mercedes Lastra (D).

5ª VARIACIÓN DE UNA PIEL ACCIDENTADA EN FUGA: Cristina Rodriguez Pereira (A), Luciana Silberfaden (A), Juan José López (D), Susana Claramunt (D), Aline Benchemhoun (V), Andrés Sartisón (V).

TU LÍMITE ES MI LUZ: Marina Villelabeitia (A), Cristina Rocío Gutierrez (A), Maria Celeste Martín (D), Camila Donato (D).

UMBRALES: Isabella Moretti (A), Constanza Zarnitzer (V), Violeta Mansilla (D), Verónica Paz (V).

[(A) Architecture  (D) Dance (V) Video]

 

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