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TORRES DE VIENTO

Galería El Museo, Bogotá.

2011

 

Torres de viento alude a la idea de dejarse llevar del pensamiento más gaseoso para manipular su hondura y su perversión. Franco estudia en su análisis propio de la arquitectura y de las proporciones y contrapesos de la ingeniería, las  imágenes de diversos mitos en los vestigios de una arquitectura del deseo que nos llega a través de planos, dibujos, maquetas, películas y fotografías. Imágenes heredadas  del acervo patrimonial artístico de occidente, fraguado a través de la tradición judeo-cristiana de nuestra cultura. Franco se sumerge en  estos indicios artísticos de la arquitectura del deseo, midiendo las distancias, racionalizando los planos, colocando las imágenes en distintas perspectivas, pensándolas en su posibilidad material para luego volver a deconstruirlas a través de un dibujo plástico guiado por las leyes de la pintura orgánica y del barro, estableciendo un orden nuevo de perspectivas que al mismo tiempo van siendo sepultadas por sucesivas capas. La línea del dibujo domina la escena imposible de estos desequilibrios y formas sobrepuestas. 

 

Una de las piezas más poéticas de esta muestra es la intervención que Franco realiza en el espacio de la Galería El Museo (con barro sobre las paredes) en donde encontramos por un efecto óptico y pictórico un espacio mental que se configura como un cubo, falsamente tridimensional. Una arquitectura imaginada por un deseo inconcluso e inalcanzable -pero vívido- de engendrar la realidad mas allá de los límites de la tierra prometida y de su dios autoritario y castigador, para bien o para mal. Quizá para nuestro bien y para nuestro mal. (Ver texto completo)

 

Maria Belén Sáez de Ibarra

 

 

 

WIND TOWERS

Galería El Museo, Bogotá.

2011

 

Wind Towers allude to the idea of falling from the most ethereal of thoughts into a deeper and more misguided space. Through an analysis of form, structure and architecture, Franco dwells on these ancient or founding beliefs, remnants of the architecture of illusion. He studies these forms of architecture available to us through images such as drawings, models, the designs for such structures, films and photography. His images are reminiscent of all this material that encompasses the cultural heritage of the West, having its founding traditions on ancient Judaism and Christianity. Franco analyzes these forms by measuring distances, studying the designs for such structures, choosing different perspectives for the images and thinking how to give a material quality to them. He thinks of the composition in such way to finally come up with an organic drawing where all of this has been decomposed into a knowledgeable and studied painting in mud. Here he creates a new set of perspectives, simultaneously buried under new layers of paint.

 

One of the most poetic pieces in this exhibition is Franco’s mud intervention, depicted on the walls at the Galeria El Museo. By an optical and pictorial illusion, the space takes the form a cube that falsely appears to be three-dimensional. A type of construction that has come about as a result of a non-fulfilled and unattainable illusion, but which seeks to create a reality pushing beyond the boundaries of a promised land governed by an authoritative and punishing God. For our well being or our non-well being. Maybe for both. (See full text)

 

Maria Belén Sáez de Ibarra