During world war II the German army built a defense system for the territories ocuppied that is known as… Read More
BUNKERS, The architecture of violence
During world war II the German army built a defense system for the territories ocuppied that is known as the "Atlantic wall". Near 15.000 frames of reinforced concrete were constructed all along France, which possibly constituted the last physical wall in the history of Europe as a monument with a clear identity : war itself.
Nowadays they are only a remainder of an architecture that has lost his function and context, enigmatic shields of nothing, quoting Paul Virilio "tiny temples without cult", acquiring their beauty from their foolishness and through which war appears to us as a mythical dimension.
Where does the mysterious fascination of this objects reside? Maybe in the disproportion of the material used to build an ephemeral architecture or in the irony of conceiving a powerful stage just for a one-day representation?
In his eagerness to discover it Marcelo Isarrualde presents the bunkers as rubble , in an act of reivindication of the object confronted with the ambition of the subject, maybe because the object wants to remain distant from the observer, without being obstaculized, giving validity to his own formal laws.
Utilizing the perspective to give to each piece an ambiguous tridimensionality, on one hand Marcelo offers to the bunkers the space to unfold in a plastic way and to move mimetically. On the other hand he gives to the light a chance to extend its possibilities into space and to dissolve the constructions pictorically. And this is when, like in an Asimov novel, arises the impression of being in and out of time in a time-space fog.
This metaphysical use of light, with clear references to the work of De Chirico and Antonioni, leads us to the unique possible strategy : that is to say that the object defies the subject confronting it to itself in its fatal strategy, refering us to the experience of assuming the object with all the hidden strength of its objectivity.
Isarrualde programs this war machines for a cruel game of seduction that could illustrate Baudrillard´s affirmations: "Only the object is seductive....what fascinates us is that it adopts the shape of a predetermined object. It´s what redounds in pure objectivity and at the same time liberates us from it".