15 Biennale di Venezia. In Finis Terrae | Elsa Urquijo

THE TERRITORY SCULPTS THE LANDSCAPE AND ITS OWN PEOPLE, IT IS THE ORIGIN OF THEIR WAY OF BEING AND THEIR WAY OF MAKE AND FEEL.

IN OUR STUDIO, THIS FEELING PROVOKES A VERY SENSITIVE WAY OF WORK, TOUCHING MATERIALS, DRAWING BY HAND, STUDYING PROPORTIONS, TRYING TO TRANSMIT THOSE SENSATIONS INTO SPACE.
FOR US, A SPACE NOT MAKES SENSE UNTIL A PERSON WALKS INTO IT AND FEEL IT.
OUR INTERVENTION CONTEMPLATES THE CREATION OF A SPACE WHERE THIS SENSITIVITY IS REFLECTED LOOKING FOR THE INFINITE.

INSIDE OF THE VENETIAN PALAZZO BEMBO ROOM, A CLOSED CENTRAL SPACE WILL BE BUILT; A CUBE. THE DAYLIGHT VIEWS OF THE GRAND CANAL DRIVE THE VISITOR TO OUR OWN WORLD IN A SENSITIVE TRAVEL TO THEIR OWN INSIGHT. THE INSIDE WILL ACCOMMODATE BOTH THE INTROSPECTIVE AND THE INFINITUM. A CENTRAL CYLINDRICAL PIECE, A VESSEL HALF FILLED WITH GALICIAN WATER, A CLEAN UNIQUE SPOT OF LIGHT ON TOP OF IT AND THE SOUND OF MEDIEVAL LYRICS WILL EVOKE THE INFINITE AND INTROSPECTIVE SENSIBILITY THAT DRAWN OUR ARCHITECTURE. THE VESSEL WILL BE THE TESTIMONY OF THE MATERIALITY; THE TANGIBLE.THERE IS THE MAGIC, THE CONNECTIONS BETWEEN THE TANGIBLE AND THE INTANGIBLE, THE FINITUM AND THE INFINITUM.

THE INTANGIBLES WILL COME FROM THE LYRICS. THE MUSIC WILL BE COMPOSED BY AN INTERPRETATION OF THE SINGING OF THE SIBILA GALAICA, PART OF THE CANTIGAS OF ALFONSO X EL SABIO (S.XIII). THE SIBILA IS A GREGORIAN DRAMA LITURGICAL MELODY THAT HAD MUCH DIFFUSION IN SOUTHERN EUROPE DURING THE MIDDLE AGES. SIBILA IS A DOOMSDAY PROPHETESS OF THE CLASSIC MYTHOLOGY WHO WAS ADAPTED TO CHRISTIANITY BY ANALOGY TO THE BIBLICAL CONCEPT OF THE FINAL JUDGMENT.

AROUND THIS CENTRAL CUBIC VOLUME, LARGE SCREENS WILL REPRODUCE PIECES OF OUR INSIGHTS OUR PERCEPTIONS OF OUR LANDSCAPE AND OUR TERRITORY TOGETHER WITH SOME FRAGMENTS OF OUR WORK. THESE IMAGES REPRESENT THE TRACES, THE LINES AND SYNTHESIS OF WHAT WE ARE.
A MORE "INFINITUM" WAY OF PERCEPTION IN FINIS TERRAE.