Interiores: notes on an exhibition
Pedro Gadanho is the curator and author of the projects presented in the exhibition being held within the scope of the Lisbon Architecture Triennial 2010, under the heading Falemos de Casas [Let's Talk about Houses]. The photographs and videos being shown confront us with the working process of a photographer who specializes in architecture, and of four plastic artists.
The authors and the projects: Fernando Guerra, on the Casa Baltasar, 2007, photography; Filipa César, with the video Stereo on the Galeria Presença, 1998/2002; João Paulo Feliciano, on an apartment in Lisbon, 2001/2010, photographic collage; Daniel Malhão, on the Ellipse Foundation, 2006, photography; and Edgar Martins on the Casa GMG, 2010, photography.
Interiores should be seen as an authorial project that takes place from the inside out. Like a spiral with its epicentre in Pedro Gadanho's architecture production and its ramifications for the work of the artists and of a photographer that form the documented and exhibited corpus. The breadth of this project also includes the publishing of a book with a limited print run. It is important to state that Pedro Gadanho's activity attempts to speak of an architecture beyond the projects he creates, being disseminated into such diverse areas as curatorship, publishing and fiction writing.
Pedro Gadanho's architecture operates on the idea of difference, intimacy and desire, without losing sight of the connection to the cultural and urban context of the spaces on which he reflects and works. This practice of architecture, which is more closely devoted to the entrails and to the life of reserved spaces, has existed alongside the virtuoso practice of interior decoration and the potential of design, which Gadanho knows but resists. This act of resistance shows his reflections on the construction of the place and of its experience, counterpoising the use of the prop or of the object created according to functional and aesthetic standards to the creation of a system of relationships between the dynamic of the use of the inhabitable space and the equipment necessary for this, contaminated by references from the outside world that are involved in architecture, art and everyday objects. Between erudite language and popular language.
The interiors that are shown to us in the form of photography or video are independent works from the descriptive memory of each project, and should be observed as entrances into the process that each one of the authors found for their experience of the spaces. Beyond the proximity or the truth that we seek in each image.
João Silvério, October 2010