Assembly 4

The proposal, a stand, is not an exhibition, it is a small-scale marketing operation, limited in time and space but amplified by the dizzying pace of activities and visits.

If someone wants to commission a booth, the first thing to think about is whether they want to make it a purpose or a means.

In a disguised advertisement, we make a speech in which we sell something without appearing to be selling it. This comforts the addressee who loses his natural predisposition to reject but also the one who does not feel he is the addressee because he avoids being aware of the message.

To be more limited and arbitrary, to be more eloquent and committed.

The Confemadera stand exhibits nothing, contains nothing, it is told in two acts: The first from lignon structural timber, its structural capacity, its materiality, its manufacturing dimensions. The stand shows the effects of light through it, the variegated quartering of a cladding, the abstraction of a facade, the lattice of frames, the design of a library or the canonical structure of a bridge. Tell all that and more but nothing is explicit.

The second act is a warm suit. Eight variants of wrapping, which close rows or show through them, coordinated from a single measure that gives them origin. Circular, triangular, rectangular, concave, convex, aggressive, calm shapes, like a repertoire of symptoms, a laboratory test tube where to experiment with options, stock-options of future works. However, it is not a rhapsody, the pavilion does not show a sum of fragments. Its duality is not two-headed, it is unitary and the dialectic it presents is resolved in the central platform, empty, ready to be colonized.

The void is your meeting place.

The absence of an entrance is noteworthy. The different ways of arriving and looking, from, to, towards, by, without, on, after, are not a consequence of their development but of their origin, as of their size and shape, designed to be assembled on site.