More info: imagensubliminal.com/polivagina-de-fan-riots
Design: C+arquitectos (Nerea Calvillo con Marina Fernández)
Construction: Workshop with architecture students from the Universidad de Alicante directed by Miguel Mesa del Castillo
Vicent Ibi, Rebeca Férez, Gloria Herranz, Irene Corcoles, Maria Cabañero, Andrea Montoya, Martín Carballo, Jesús M. Saorín, Isabel Blanco, Rosa Villaescusa, José Miguel Asencio, Carlos Sanjuán, Jose Diaz, Beatriz Antón, Marta Navarro, Mercedes Muela, Rafael Hernández, Vicente Llinares, Jesús Cases, Viviana Bey, Elisabeth Ferrando, Carlos Lidon, Mark S. Hamaoka, Carlos E. Pérez, Alberto Navarro,Carlos Paternina, y voluntarios de la Universidad de Murcia.
Client: Fan Riots, project curated by Iván López Munuera for the music, culture and art festival SOS 4.8. Participants: Greil Marcus, Tim Lawrence, Amparo Lasén, Eloy Fernández-Porta, Abel Hernández Pozuelo, Marisol Salanova, Silvia Martínez, Servando Rocha, Remedios Zafra, Kiko Amat, Henry Jenkins, Fernando Castro Flórez, P.A. Cruz, FruFru, Jorge López Conde, Equipo Palomar, Cooking Sections, Ryan Rivadeneyra, Black Tulip, Zackary Drucker, Candice Breitz, Humberto Vélez, Bollería Industrial.
Area: 650 m2
Location: Murcia, Spain
Images and video: Miguel de Guzmán (email@example.com)
MORE INFO: cmasarquitectos, imagensubliminal.com
Polivagina is a light, unstable and ephemeral skin to host Fan Riots, an artistic event curated by Ivan López Munuera for the music and art festival SOS 4.8. It is a flexible skin that constructs a condition of interiority that is necessarily public, and which is discussed and tested with every video installation or performance that took place in its interior. It is multiple because it generates several spaces and circulations, and because it reflects endlessly the image of fans due to its composition, poliamida.
The Polivagina also reclaims non normative materialities. On the one hand it intends to activate invisible materials like helium and air, which work as structural elements of indefinite performativity. But it also intends to include elements that do not belong to the normative repertoire of construction materials such as balloons used in parties and celebrations. These balloons filled in with helium or air, work as constructive units that enable to cover large spans without touching the existing building and assembled in two days.
But the Polivagina is also an experiment on how to design with uncertainty. Due to the lack of technical specifications of helium or air in relation to their lifting capacities, their joining systems and so on, instead of designing the object or its geometry what was designed were the conditions to experiment with them. This implied the acceptance of the agency of the materials, which forced us to find temporary arrangements of equilibrium with the air (catching, pressing, holding, etc). It also implied the invention of a collective process of construction developed with architecture students by trial and error, as well as a social structure that enabled not only decision making, but also the spontaneous collaboration of volunteers without architecture knowledge.
So this multiple, technological and interior skin was built and inhabited as a cosmopolitical experiment in which gases, students, lights, fans, sand bags, artists, balloons and firemen negotiated conditions of temporary equilibrium, initiated the first day of construction and dissolved the last day of the festival to get re-assembled in traditional balloons that were distributed among the fans that were dancing in the main stage…