HUSSMANNIZATION

EDUARDO CAPILLA, LEOPOLDO MALER, PATRICIO GONZALEZ BEZANILLA AND JORGE MIÑO

Mar 6  |  May 2, 2014

Haussmannization: (derived from Baron Haussman who created the urban plan for Paris during the period of Napoleon in 1860) relocating the royalty to display their new wealth and possessions, stimulating a new economy, tire down much of the old, widening streets, demolishing old apartments and replacing them with boulevards and large gardens. Paris is now known,during that period, for as much physical demolition as for social destruction.

The Baron's vision to redefine Paris, respectively it is progress, which has been attributed to many. In regards to Miami, a prospect with genius intuition and organizational expertise for the current times must be enlightened. In paralle to heal the world cities' movement towards growth by a new bourgeoisie market , where tribes are redistributed self-branded with printed labels , thinking that we are seeing as opponents of progress.

How must we redefine the stage where life goes, from a plan?, or from a dream ?, or from the primary patrons? There were looks of the artists, who immortalized the nostalgia of the death of the old Paris; in a large format of oil on canvas, Eduardo Capillaworks in painting and high relief format adding to the visual language from the technical drawing of the system to a different mode as to the comprehension of thoughtlessness. He offers an overview of both geometric archetypes of gestural expression associated with a contemporary treatment that succumbs to redefine the ideal landscape. Exposing the random laws governing the integration in cities through a number of cars, Leopoldo Maler, is assimilating a city such as San Juan de Puerto Rico. He intends to show and document the progressive change of the " arteries " to capture the way in which a predetermined amount of cars mix and merge with others in a regular flow of traffic. Jorge Miñoinvites us to wonder and look for an unseen everyday gesture through photography, where modernist architecture as a trigger, with its rational elegance to move from side to side effortlessly, up, down , north or south , east or west , as if the operation it describes, has left precise traces and ads textures to achieve a reason, the passage, timeless antidote to the urban maze of mega-cities and the tyranny of formal public spaces. Static as any photo, its merging points are an invitation to move. Retaking the hyperealist patience of paint and photography, Patricio Gonzalez Benzanilla, reveals the intrinsic feature, which we attribute to the myth of the outer urban. Paint and fabric as the means of eternal communication reflects on the social contradictions of natural and cultural behavior.

Witnessing the new urbanism in this precocious era, life within the coordinates and an urbanization which is supposed to project the prospect of a city, that will be lived in the future by new coming and arriving generations.