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Dossier De Premsa Dossier de premsa ÍNDEX 01.- Presentació.......................................................................................... 3 02.- Apartats de l’exposició ...................................................................... 5 03.- Textos de sala .................................................................................... 8 04.- Llistat d’obra ..................................................................................... 16 05.- Activitats paral·leles ......................................................................... 32 06.- CV de les comissàries ....................................................................... 35 07.- Catàleg .............................................................................................. 36 08.- Selecció d’imatges per a premsa ..................................................... 37 09.- Informació general ........................................................................... 41 10.- Crèdits de l’exposició ....................................................................... 42 El CCCB és un consorci de 2 01.- PRESENTACIÓ Bentham | Piranesi | Ledoux | Lequeu | Fourier | Sade | Restif de la Bretonne | Pierre Adrien Pâris | Vivant Denon | Bastide | Blondel | Adolf Loos | Schindler | Carlo Mollino | Ant Farm | John Lautner | Chrysalis Wilhelm Reich | André Masson | Paul Delvaux | Guy Debord | Nicolas Schöffer | Verner Panton | Madelon Vriesendorp | Ricardo Bofill Taller de Arquitectura | Ettore Sottsass | Archigram | Haus-Rucker Co | Superstudio Coop Himmelb(l)au | Rem Koolhaas | Douglas Darden | Bernard Tschumi Kohei Yoshiyuki | Larry Sultan | Alessandro Guerriero | Jean-Didier Bergilez ecoLogicStudio | Danli Wang | Pol Esteve | Marc Navarro | Ursula Biemann Fito Conesa | Ania Soliman | Ingo Niermann | Yann Minh | Alexa Karolinski Joan Morey | Johannes Wohnseifer | William Kentridge L’exposició investiga com s’han projectat, construït i imaginat els espais per al sexe en la societat occidental des del s. XVIII fins als nostres dies. Mitjançant unes 250 peces, entre dibuixos i maquetes d’arquitectura, instal·lacions artístiques, audiovisuals, llibres i altres materials, l’exposició explora el poder que exerceixen els espais com a motor del desig i mostra com ha contribuït l’arquitectura al control dels comportaments i a la creació dels estereotips de gènere en la nostra societat patriarcal. La mostra presenta alguns dels projectes que s’han distingit per la subversió dels models tradicionals i el postulat d’utopies de convivència sexual o espais privats concebuts exclusivament per al plaer. Revisa les propostes de Claude-Nicolas Ledoux, Charles Fourier, Sade, Guy Debord, l’arquitectura radical dels anys seixanta i setanta, Carlo Mollino, Adolf Loos, Nicolas Schöffer, Wilhelm Reich, l’arquitectura de Playboy i l’obra d’arquitectes i artistes contemporanis. La llibertat sexual d’avui molts la qualifiquen de liberalització sexual. En una època en què els nostres dies estan monitoritzats per la producció i el consum, quin és l’espai reservat a la nostra societat per al desig i el plaer sexual? 3 «1.000 m2 de desig. Arquitectura i sexualitat», comissariada per l’arquitecta Adelaïde de Caters i la cap d’exposicions del CCCB Rosa Ferré i que es presenta al CCCB del 26 d’octubre del 2016 al 19 de març del 2017, sosté la necessitat de revisar per a la nostra contemporaneïtat la vigència i l’interès d’alguns projectes especulatius radicals que sembla que ens parlen directament des d’una distància, en alguns casos, de més de dos segles. Dibuixos i maquetes d’arquitectes, obres artístiques, instal·lacions, pel·lícules i documentals, llibres i altres materials ens conviden a considerar com es construeixen les sexualitats d’acord amb determinats codis culturals subjectes a normes corporals i discursives, i quin és l’espai del desig i el plaer a la nostra societat. L’exposició posa de manifest com la creació de certs parèntesis de resistència al que és normatiu neixen sobretot de l’arquitectura informal i de l’apropiació de llocs. Evidencia com la pràctica de l’arquitectura ha estat dominada per homes fins molt recentment i que, en conseqüència, els espais proposats per al plaer s’imaginen des d’un desig i una fantasia masculins. L’arquitectura, com a disseny físic de l’espai i com a atmosfera, forma part substancial de les nostres fantasies. Molts dels espais exposats no s’han fet mai realitat, només s’han imaginat i s’han construït mitjançant el llenguatge o la imatge projectada. La proposta es desenvolupa en tres capítols temàtics: Utopies sexuals, Refugis llibertins i Sexografies, i inclou diversos espais autònoms que funcionen com a «miniexposicions», comissariats, cadascun, per diferents especialistes: una reproducció del Centre d’Entreteniments Sexuals de Nicolas Schöffer (Eléonore de Lanvandeyra Schöffer i Guillaume Richard), un gabinet de lectura de ficció llibertina (Marie-Françoise Quignard), una instal·lació dedicada a l’arquitectura proposada per la revista Playboy (Beatriz Colomina i Pep Avilés) i una sala de cine porno a la manera de les dels anys setanta (Esther Fernández). També presenta la instal·lació de nova creació Right Into Her Arms, de William Kentridge, que l’artista sud-africà ha fet en el marc de la seva posada en escena de l’òpera Lulú, d’Alban Berg. Comissariat: Adélaïde de Caters i Rosa Ferré Amb l’assessorament de: Beatriz Colomina, Esther Fernández i Marie-Françoise Quignard Disseny de l’espai: a càrrec de l’escenògrafa Sabine Theunissen Catàleg amb textos de: Adélaïde de Caters, Beatriz Colomina, Pol Esteve, Esther Fernández, Fulvio Ferrari, Rosa Ferré, Marie-Françoise Quignard, Rem Koolhaas/Ingo Niermann L’exposició compta amb préstecs de prestigioses institucions internacionals, como Frac Turbulence Orléans, el departament d’arquitectura del MoMA de Nova York, la Bibliothèque Nationale de France (BNF) i la Biblioteca Nacional de España (BNE), i inclou peces procedents de les col·leccions dels mateixos arquitectes, que han participat en el projecte amb una enorme generositat. 4 02.- APARTATS DE L’EXPOSICIÓ 1) UTOPIES SEXUALS (S. XVIII – S. XX) El recorregut s’inicia amb les propostes especulatives d’aquells arquitectes, pensadors, artistes i comunitats que han volgut incidir, mitjançant el control de l’espai, en els comportaments sexuals. S’examinen aquí utopies sexuals del s. XVIII com el temple del plaer de l’arquitecte Claude-Nicolas Ledoux, l’Oikema, els partenions que Restif de La Bretonne organitza segons un reglament minuciós en el seu tractat sobre la prostitució, Le Pornographe, i els espais per a les orgies eròtiques i gastronòmiques de Charles Fourier. La proposta de Fourier revela una imaginació, una radicalitat i una pertinència extremes, amb el falansteri com a motor d’una utopia comunitària governada únicament pels desitjos dels seus habitants. L’exposició presenta un gabinet Sade que investiga com va construir el marquès la seva utopia narrativa de l’excés des de la seva passió per l’arquitectura i per les arts escèniques. Reformistes o subversives, aquestes arquitectures sexuals del s. XVIII i la primeria del s. XIX estableixen certa continuïtat amb utopies més contemporànies, des del modus vivendi de les comunitats hippies fins a l’arquitectura radical dels anys seixanta i setanta: Ettore Sottsass, els grups Archigram i Superstudio, Rem Koolhaas/OMA, Haus-Rucker-Co i el Taller d’Arquitectura de Ricard Bofill. L’exposició vol reivindicar el treball visionari de Nicolas Schöffer, que als anys seixanta, en connexió amb els situacionistes i formant part del moviment d’arquitectura radical francesa, projecta una ciutat utòpica, la Ville Cybernétique (1955-1969), per a la qual dissenya un Centre d’Entreteniments Sexuals. Una enorme instal·lació reprodueix aquest espai, fet de sexe, volts, escultures cinètiques que ballen i perfum. 2) REFUGIS LLIBERTINS (S. XVIII – S. XX) Aquest capítol explora el poder que exerceixen els espais com a motor del desig i analitza com són els refugis per al plaer, des de les petites maisons de l’aristocràcia francesa del s. XVIII, amb estances, decoració i mobiliari especialitzats, fins als apartaments per a solters proposats per la revista Playboy. Mostra el paper de l’arquitectura com a experiència sensorial en les estratègies de seducció i com la sofisticació en el disseny de ginys constructius i mecànics dispara la imaginació eròtica. Arquitectura i narració treballen osmòticament durant el s. XVIII, en un joc de fascinació mútua. L’exposició presenta l’arquitectura de dues novel·les emblemàtiques en aquest sentit, La Petite Maison (1758), de Jean-François de Bastide, i Point de lendemain 1777), de Vivant Denon. 5 Aquí es presenta el gabinet de lectura de ficció llibertina a càrrec de l’especialista Marie-Françoise Quignard, amb novel·les de Nerciat, Crébillon, Servigné, Choderlos de Laclos i Sade, entre altres autors. La novel·la llibertina, relacionada amb la filosofia materialista de l’època, només té un objectiu: celebrar el desig i el gaudi dels cossos. Entrar al gabinet llibertí és entrar en un món imaginari, en què els personatges se sotmeten a totes les fantasies del desig, i també és esquitllar-se en l’atmosfera dels llocs tancats: als tocadors, les cel·les dels convents, els bordells, als quals seguim el narrador, observador clandestí, mentre desenrotlla el fil de la història. L’exposició dedica un capítol sencer a Playboy, comissariat per Beatriz Colomina. Aquesta revista va definir una nova identitat per als homes establint com s’havien de vestir, què havien d’escoltar,
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