On Thursday, 7 July at 10am the artist will carry out an action inside the exhibition space to reflect the architecture-failure which he feels symbolises the Palacio de Cristal. Memory, frailty and temporality play a central role in his performance, allowing him to question the order and solidity of architecture as a language of power.
This intervention foregrounds Carlos Bunga’s understanding of his own work: something which is living and constantly transforming.
Carlos Bunga (Porto, 1976) focused the beginning of his career on painting, before expanding his interests towards three-dimensional experimentations, allowing him to explore the interrelationships between bodies and spaces. A significant part of his work challenges the concept of architecture as a language of power, calling into question deep-seated inertia such as order, solidity and eternity. Bunga also willingly dispenses with the bombast of traditional materials, opting instead for the precariousness of certain structures made solely from packing cardboard and tape.
His installations — often impulsively off-scale maquettes — invoke the multiple possibilities of architecture at full strength. Floors, ceilings, walls and makeshift pillars introduce the temporality of constructive forms, while in the assembly of the installation its dismantling is already implicit. The graphic documentation of the process ends up the only “ruin”, the only reminder, of architecture that once existed. Modes of doing, and undoing, which underscore at once the constant mutability of the artistic process and the performative character of its social interaction.
As ephemeral constructions, subject to the circumstantial nature of time and place, Carlos Bunga’s interventions also possess the capacity to deconstruct the spaces in which they are inserted, situationally, to then be resignified. Such examples include the compartments he lined up in the Kursaal Conference Centre in San Sebastián for Manifesta 5 (2004), the installation of the central courtyard in the Pinacoteca do Estado (State Art Gallery) in Sao Paulo (2012), his intervention in the central point of La Capella in the Museu d'Art Contemporani de Barcelona (MACBA, 2015), and the maze he articulated in the Museum of Contemporary Art Detroit (MOCAD, 2018). Using a building within a building, continent on content, Bunga re-sizes the experience of the spectator, who not only contemplates the work, but does so as he becomes part of it and transforms it.
This project for the Palacio de Cristal is the continuation of the previous investigations with which Bunga introduces new layers of reading into a location that is already connoted in its own right. The cycles of nature that surround the Palacio, as well as the context in which the building was originally constructed, form some of the keys to his new installation, which interlocks the dialectic between the inside and outside of discourses.
Carlos Bunga’s work has been exhibited in major international museums and art centres such as Museu de Serralves in Porto (2012), Museo Universitario de Arte Contemporáneo MUAC-UNAM in Mexico City (2013), Whitechapel Gallery in London (2020) and Secession in Vienna (2021), among others. This project for the Museo Reina Sofía is his biggest intervention in Madrid to date.
3 June – 19 September 2022
Néstor Sanmiguel Diest
The Vicissitudes of the Automaton
18 May – 10 October 2022
Like the Ivy on the Wall
4 May – 5 September 2022
< Garden of Mixtures: Attempts to Make Place, 1995 -… >
Alejandra Riera (*)
23 March – 29 August 2022
From Posada to Isotype, from Kollwitz to Catlett
Exchanges of Political Print Culture. Germany - Mexico 1900-1968
24 June - 14 October 2022
Chronicles of a Discourse
Galería Juana Mordó in Post-Francoist ArtMuestras documentales, Biblioteca y Centro de Documentación