CORPUS CONFECTUS

Authors’ Comment

CORPUS CONFECTUS
An interactive coplanar installation that brings TOGETHER dreams of bodies and the voids they traverse in past, present and future lives

Authors: Ana Maria CRISAN, Alexandru CRISAN
Collaborators: CHEțU Teodora, SIMION Maria, NACA Marian Claudiu, ȚURLUI Sergiu, UYSAL Merve, ONEA Radu, DOLHA Mihaela

Participants/ activators Installation (students of the University of Architecture and Urbanism Ion Mincu Bucharest): APOSTOLIDIS Mihaela-Denisa, ARDELANU Ana Maria, ARNĂUTU Silviu-Daniel, BOB Raluca, CHEȘU Teodora, CIURIA Ștefani, DOLHA Mihaela, IOSIF Teodora, ENACHE Lavinia Elena, JIMAN Maria, MOțĂĂIANU Andra, NACA Marian Claudiu, ONEA Radu, PANGICĂ Dan Paul, PARASCHIV Simona Mihaela, RENțEA Teodora, SIMION Maria, SILION Miha, ȘTEFAN Andreea, TARHUNA Patric, TUDOR Andra, ȚURLUI Sergiu, UYSAL Merve.

guests in the dialogue: Octavian NECULAI, Adina GRAPĂ, Alexandru CRISȘAN

exhibition, installation, event: installation within the exhibition until IN PANZELE ALBE, September 28-October 4, with event / thematic finish within the 16th edition of the White Night of the Galleries (October 4) (curator Ana Maria Crișan ).

location: Galeria Galateca, Bucharest
date: September 28-October 4

Corpus confectus is a coplanar architectural installation, a spatial poetics of the human scale, resulting from the association of the physical, textile body and the built body of the house represented virtually by the passageways, doors and windows.

The installation materializes on a real scale, 1/1, in the projection plan of the Galateca gallery walls, in the same plan and time, the voids of the vernacular domestic spaces from the beginning of the 20th century, the voids of the 15th-17th century cave spaces, alongside the filomuro openings specific to the language contemporary in a poetics of passage.
The result is a dynamic virtual plane, actuated by the imagination as a re-experiencing of the human scale, starting from the textile body.

The confectus body or the ready-made body, the worn body is the ultimate volumetric projection of man, with its fluidity or rigidity, with the silhouette of the times from which it comes, with its own ability to cross the planes.

The installation pursues a re-experimentation of the scale of the voids studied in situ by the authors, collaborators and participants in the Elemente, and d_ÎN PIATRA workshops, a comparative analysis of their scale starting from physical interaction. A series of openings, selected from 7 households, studied in situ within the Astra Open Air Museum, Sibiu in 2022, were resumed, reproduced in outline at the real scale, 1/1, and were transformed into the support of an application, bringing into question the reality of the different bodies we have and the play of permeabilities that alter physical perception. The game refers to the variable coplanarity of the carpentry and the thickness of the traversable limits, with the irony of the support, of the filomuros movable openings of the exhibition wall.

The apparently static installation was moved into the dynamic sphere - man being in the context not only a user but also a transformer and, the paradoxical void as a poetic adapter of scale.

Le Cadavre Exquis Boira Le Vin Nouveau - Andre Breton's famous phrase, announcing the game and the role of the sequential interaction of the participants - illustrates both the Surrealist intention to reconfigure the perception of voids as sum, after deconstruction to the loss of spatiality and meaning after reconstruction.

Memories, experiences... TOGETHER place the experience of the installation as a collective form, artificially generated through associative translation.

Lastly, this 2d transposition, bringing TOGETHER architectural elements, de-contextualizes them, cancels their scale, individual meaning, reason for being... People TOGETHER re-establish them, through their own bodily scale, through individual or collective experience, re-establish them as elements of common vocabulary, to which thought gives virtual spatiality in a critical escapade (with reference to Escaping Criticism, oil painting, by Pere Borrell del Caso)

7 source households, 23 student activators/performers of the installation, 15 linear meters of filomuro installation, 7 source households, 16 openings outlined by doors and windows