Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó
13/03/2014.
[BCN] Spain
metalocus, JOSÉ JUAN BARBA
metalocus, JOSÉ JUAN BARBA
Titled "The Pavillon Mies van der Rohe. Second Reconstruction.", has been presented today the installation-performance by hotographer Jordi Bernado on the legendary Mies Pavilion in Barcelona.
The project is part of the invitation program that the Foundation has developed in recent years with international architects and artists like Ai Weiwei, Antoni Muntadas, Jeff Wall, Dennis Adams, SANAA, Kazuyo Sejima and Ryue Nishizawa, Enric Miralles and Benedetta Tagliablue or Andrés Jaque, among others.
The project is part of the invitation program that the Foundation has developed in recent years with international architects and artists like Ai Weiwei, Antoni Muntadas, Jeff Wall, Dennis Adams, SANAA, Kazuyo Sejima and Ryue Nishizawa, Enric Miralles and Benedetta Tagliablue or Andrés Jaque, among others.
Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici
Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici.
Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici.
Doors removed with Jordi Bernadó. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici.
Doors removed with Jordi Bernadó. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici.
Doors removed with Jordi Bernadó. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici.
Opening today, March 13, 2014. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó. Photography © Pietro Milici.
Plan of the pavilion before the intervention. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó, by Jordi Bernadó.
Plan of the pavilion after the intervention. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó, by Jordi Bernadó.
Alzado del pabellón con la nueva situación de las puertas y su posición anterior. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadó, by Jordi Bernadó.
Mies referred to the Pavilion as a “Pavilion of Representation”. An Ephemeral building whose maximum value was to represent an idea. The aspect of the Pavilion that has endured is therefore an Evocation, not an object. A conceptual, not a material, act. A generator of thought, not a generator of physical space. Consequently, what remains of the Pavilion is the idea and its images. And mies ordered the Pavilion to be photographed without doors. In Mies’s thought and view, the Pavilion had no doors. in fact, the Pavilion existed in all its plenitude only when the doors were removed. the moment of the gaze is the only real moment.
The photographer proposes, through a minimal gesture, to restore the image of the Pavilion by removing the doors. The Pavilion without doors at last. At its side, doors without a building. The Pavilion reconstructed at last. And the doors out of their setting, by themselves generating the question posed by the intervention. The doors ask the question.
The building without doors is the answer.
Intervention Rendering by Jordi Bernadó.
Photographing is not only fabrication of images (and therefore objectual). It is above all a gaze (and therefore intellectual). The photographer gazes. And gazes, presumably and ironically, as Mies did. And curiously enough, it is thanks only to the gaze that the Pavilion once again becomes, temporarily, what Mies imagined. In this way, the Time factor is transformed also into a fundamental aspect of the project.
Concept, immateriality, time, deviation. Ideas with which Mies worked and which constitute the essence of the Pavilion. And which the project reclaims also. As Ms Hock said, “Gazing is inventing”.
Text.- by Jordi Bernadó.
Intervention “The Pavillon Mies van der Rohe. Second Reconstruction.”
Dates.- from March 13 to April 21, 2014.
Venue.- Mies van der Rohe Pavilion. Barcelona. Spain.
More information
JORDI BERNADÓ
Jordi Bernadó (Lérida, 1966). The artist understands photography as a way of conceiving the world. He understands the discipline as a form of knowledge and a tool to see the city, architecture and the artistic activity from another perspective. He has published over 20 books and many of his works have been acquired by public and private collections worldwide.
His photographs have been acquired for major public and private collections, such as those of Fundació “La Caixa”, Fundación Telefónica, Bibliothèque Nationale de France, Deutsche Bank Collection, Artium, MUSAC, Fundación Vila Casas, and Banc Sabadell among others. They have also been shown in many solo and collective exhibitions in Spain and abroad, at venues such as Artist Space in New York, la galerie VU' in Paris, Galería Senda in Barcelona, Filter Space in Hamburg, Museo Civico Riva del Garda in Italy, Fundación Telefónica in Madrid, in Fotografie Forum International in Frankfurt and the MAXXI museum in Rome.
He has published more than 20 books focusing on contemporary architecture and landscape, such as Good News* always read the fine print (winner of Laus award, 1999), Very very bad news (winner of the best photography book in Photoespaña 02 and best art book prize from Spanish Ministry of Culture in 2003), True Loving and other tales (selected as one of the best photography books in Photoespaña 07), Lucky Looks published in 2008 (for Banc Sabadell), Welcome to Espaiñ in 2009 and Europa in 2010.
Among others he is the winner of the following awards:
Fotopres Scholarship (1993), Endesa Scholarship (2007), PhotoEspaña best photography book award (2002), the Ministry of Culture Award for best art book of the year (2003), he was granted by Beca Endesa X in 2007 and the award for best experimental film “Hello Ms. Hock” in the Architecture Film Festival of Santiago de Chile (2013).
Jordi Bernadó en el Pabellón presentando su intervención el 13 de marzo de 2014. Fotografía © Pietro Milici.
