Fondation Cartier, 2022
Mondo Reale has been imagined as a landing on our planet, a step into the unknown of the everyday world. Departing from this statement, the exhibition design aimed to respond to an apparently simple question: what is reality in the context of a fabricated exhibition?
Balancing the needs of contemporary art to exist in the spatial abstraction of museums’ ‘white cubes’ has been an exercise to reconsider the ecological implications of designing a temporary space.
Accordingly, the space has been conceived as a series of pavilions, creating internal chambers allowing the visitors to focus on the singular element such as a video projection.
The pavillions also foster a sense of permeability and connection between the different artworks. The materials used for these pavilions, mostly borrowed or recycled, allow for repair and reuse, as they include paper, wood, bricks, metal scaffoldings, and woollen carpets.
Entering the space, among the exhibition interventions, visitors find a timeline of sunrises and events captured by Sho Shibuya.
His paintings of Brooklyn’s sky and international events in the series 'Headlines: 2020-2022' accompany visitors from the entrance to the end of the exhibition.
These paintings are encased in a series of frames hanging on the wall that can be flipped to have the possibility of seeing both the painting and the original page of the New York Times, a way of presenting not only the output but also the artist’s process.
The artworks are arranged to link the exhibition spaces to each other. For instance, photographer Jessica Wynne presents a series of large-scale photographs of blackboards bearing writings by the greatest scientists of contemporary times.
Three walls made of Japanese paper Takeo host some of the masterpieces presented in Mondo Reale.
A first lightly curved partition frames the painting 'Mondo Reale' by Alex Cervenny, a 'visual map to reorder all human knowledge'.
A tower shaped pavilion circumscribes the mystical movie by Andrei Ujica, '2Pasolini', creating a feeling of reverence and spirituality. This is accentuated by the materiality of the pavilion that allows for transparent and natural light to illuminate the space from the back.
At the end of the path an S shaped wall encompasses and highlights the work of Sarah Sze, 'Tracing the Falling Sky', on one side, while on the other it creates a small private chamber where visitors can stop, sit on an armchair and take part of the conversation between David Lynch and Jack, the monkey protagonist of the short movie 'What did Jack do?'.
The movie 'Nature' by Artvazed Pelechian is hosted in the cinema created as a space within the space of the exhibition, allowing the entirety of its monumental cinematic experience to unravel, as it escapes the classical distinction between fiction and documentary. In order to accentuate the experience, the space is conceived as a dark immersive environment, covered by textile and moquette, where the visitors can rest on armchairs by italian furniture company Tacchini.
The caption system is designed not to become an appendix of the exhibition but as a key element strongly linked to the artworks. Long plates made in brushed stainless steel host the essential information for visitors: artist’s name, artwork’s title and year.