stand for circo de ideias
One among many standard stands at the book fair, a 3-by-3-metre footprint tasked with holding little more than shelves and a counter. the budget, predictably, was limited. Within this almost generic brief, the project accepts its condition as an installation, but refuses its expected neutrality. it works instead with what is already there: leftover metal profiles of different sections, repainted in a deliberately fresh, almost excessive palette.
These elements are assembled into a three-dimensional grid, faintly recalling eisenman, though without his collisions. Here, profiles of the same colour never meet. They approach, hesitate, and resolve themselves into knots rather than intersections. twenty-four pieces in total, organised around a slightly displaced central column, introduce a quiet instability into an otherwise orthogonal logic.
on its own, the metal structure performs adequately. But a second layer redefines the reading: the interior perimeter is clad entirely in mirror. The twenty-four elements are replicated and extended in three directions, producing a field that exceeds its physical limits. The books, the visitors, occasional birds, and the surrounding park are continuously absorbed and projected back. The box, initially constrained, begins to suggest an improbable depth.
The colours, developed in parallel with other projects, appear almost incidental, yet find an unexpected correspondence with the peacocks inhabiting the park. When one passes by, the installation momentarily aligns with its context, as if the constructed and the accidental had been calibrated in advance.
