Habitación 32
Txuspo Poyo (Alsasua, 1963) uses montage and pre technological devices such as
pixel vision, celluloids or newspapers to build tales with crossed imagery. His plots bring
together unfinished leftovers from the past and fragments of a collective and individual
culture, captured from the history of art, films, architecture and science fiction. These
projects are re­reading forms and models of production and representation. Poyo received his B.F.A in the Basque Country University, Bilbao and has been awarded numerous
grants and awards. He has held solo shows in venues such as the Artium Museum, Vitoria; Art Center La Panera, Lleida; Contemporary Art and Design Museum, Costa Rica;
La sala Montcada de la Caixa, Barcelona; and BizBak, Bilbao. He has been featured in
group shows at the Jeu de Paume, Paris; CAAC Museum, Sevilla; Marco Museum, Vigo;
Guggenheim Museum, Bilbao; Reina Sofía Museum, Madrid; Artist Space, New York;
Fondazione Sandretto Re Rebaudengo, Torino and the Image Biennale, Paris. In 2015
he received a production grant from the Fundación Botín and the Fundación BBV­A.
U.N (INVERSE 2010
19 min /
3D video animation, colour, sound 5 + 1 AP
Short description
U.N(Inverse) is a project that looks into mechanisms of historical complexity parting
from tracks of fragmentation and linking concerns of interpretation, narration and fiction
that have surrounded the construction of the United Nations, specifically the architectural complex of its New York Headquarters.
Longer description
U.N(Inverse) is a project that looks into mechanisms of historical complexity parting
from tracks of fragmentation and linking concerns of interpretation, narration and fiction
that have surrounded the construction of the United Nations, specifically the architectural complex of its New York Headquarters.
The constant changes of reference models have brought me to a crossroads between
the current idealism and symbolism, architecture and cinema, which all share main character role in collapse period. In terms of architecture, the decongestion and suspension
suggested by Le Corbusier is confronted to the ideological vacuum of Wallace—the architect in vogue at the time of the UN birth. The backdrop of the cinema in the middle
of the Cold War era is related to the way in which the UN is now surrounded by Hollywood stars in order to promote itself abroad. Peter Pan’s Tinkerbell is the new ambassadress of the United Nations.
This project was presented at Museo Artium and Centro la Panera
Music
Gordon Monaham y Otto Castro. / Produced and Comissioned by Artium y la
Panera
Sponsored by