Photographic installation by Claudia Jaguaribe at Instituto Bardi / Casa de Vidro
September 15 to October 27, 2018
“The house is who inhabits it, it is itself, and it mirrors the human spirit and shows it defects, vices and vanity or balance and understanding.”
Lina Bo Bardi
About Lina’s Garden
Born in the same decade of construction of the Glass House, Claudia Jaguaribe proposes, in this exhibition, to establish a photographic dialogue from the House in order to achieve an immersion in the work of Lina Bo Bardi. The work consists of an installation of three sets of sculptures, with seven images in each set, a book of the same name and a series of three compositions, each with two different photos.
For this project in the House of Glass, the artist uses architectural elements of the house as a starting point to create a second architecture, this one made of images. The installation produces a new version of the main elements of the house, the columns and glass windows, remade in the form of photographs and sculptures. In the eponymous book, Claudia Jaguaribe chose to organize a visual narrative in which documentation and fiction were combined in a walk between the garden and the house, evidencing the changes of time in this space.
“I identify with several issues addressed by Lina. She has enormous freedom, is not restricted to dogmatic paths and in this project one of the main interest was to review her modernist architecture and how surrounding environment affected the original structure . I tried to create a photographic installation that presents the visible and not visible next to the present tension between the nature and the architectural construction in the work of Lina.
“By focusing on Lina’s universe, I bring the possibility of revising her innovative character from the perspective of contemporary photography. “The various questions that Lina addressed in her art highlight her influence on current artistic processes and show how heritage of the modern created the basis for Brazilian art today,” Claudia adds.
At the time of the construction of the Glass House, Brazil was more closed, not international but represented a freedom and a very different future from Europe, quite punished with war. Today, conversely, Brazilian art is increasingly present in the international context even though it experiences moments of political crisis. From this context, one can see how the dialogue between different generations for the production of new questions, taking into account our history, is fundamental.
From Claudia to Lina, the image of an interlude
Excerpt from the text of the curator Diego Matos
“Contrary to the all-encompassing, abstract agenda of modern architecture, Claudia positions herself at a distinct spot, drawing on the perception that the place is pervaded by the scars of time and use. She posts up in the in-between spaces of Lina’s architecture, precisely to find another territory, at times wavering ironically where the house itself finds balance. It is in this middle ground that the residence actually does waver between a crystalline box suspended on stilts and a quasi-cavern dominated by nature. It is precisely in this transitional space that Claudia creates a photographic middle ground.
In a suspended state between day and night, a new environment of fictional nature is constructed. In this environment, what stands out is the dichotomy of the place, comprised of the imponderable organic and the architectural solidity, as well as the details of a territory suffering from the indelible marks of time: entirely impregnated by light and tones of specific colors. Indeed, everything in this place seems to graze the tonal spectrum between green and blue, varying according to the incidence of light and the colors of nature and objects, in keeping with the microclimate of the house.”