[inglês]

Created especially for the Bienal 50 Anos exhibition, the Cityscape installation was conceived as a passage environment that is constituted from the relations between the Bienal Pavilion and Ibirapuera Park. In this sense, the work seeks to convert the internal environment - that of architecture, and external - that of the landscape and its views of the city into a single space-time, thus creating a suspension and extension zone for the visitor. Thus, the articulation of the elements that constitute the work and its context, aims to provide the experience of multiple and simultaneous landscapes: space, sound, mirroring and memory, the latter rescued from the collection of personal experiences of the visitor/user. Taking advantage of the glass façade of the building, I create a new façade inside the Pavilhão, a meta-façade, a 'poem architecture' that, due to the effects of the mirroring obtained by the material used, simultaneously replicates the world and remakes it in a fragment image, in moving image, almost 'technicolor'. If, on the one hand, this 'poem architecture' imposes itself solid and firm in its scale and presence, the fleeting nature of the multiple reverberations on its mirrored surface and the musical composition generated by presence sensors and the computer, reveals the transitory, fleeting and work transparent. This work continues the most recent investigations that include the discussion about the artifices that we use today to escape the pressures imposed by everyday life. It is about giving emphasis to those artifices that, articulated by the media of the capitalist world, make the individual at the same time an accomplice and a victim of this system that has already co-opted him. The most perverse consequence of this process is the illusion of power, pleasure and self-esteem experienced. Therefore, making use of elements from the universe of passageways present in my work so far, I now add the text as an index of experiences that evoke a way of being in the world and reveal the contemporary individual as dependent on these artifices that promise to ensure some kind of 'refuge'. The visual poem is made up of words and expressions engraved on the surface of the colored stainless steel and reproduced in the musical composition, specially designed for Cityscape by Ruggero Ruschionni. The use of three languages suggests the universality of the subject's experience addressed in this work. In its various layers of meanings, this space of passage intends to provide the public with a space-time experience of displacement and suspension, poetically evoking questions regarding the place of the subject in the space-time of the world and of art.

Ana Maria Tavares, 2001.