Fight between Carnival and Lent

The optic metaphor of Álvarez Bravo serves to present the wide array of reflections and glances that pretend to offer points of view when they only bring confusion. Chaos has indeed come to be so much in fashion that it served to name a perfume, but when a Venice Biennial was held under the title ‘the architect as seismograph’, Isozaki filled the Japanese pavilion with images of the then recent Kobe earthquake, stressing that seismic movements are sometimes for real, and in those cases society expects the architect to be a urban doctor, rather than an interpreter keen only to record the tremors of the times with a shaking needle. We can no longer recover the organic and harmonic unity of the male anatomy drawing, and the world around looks more like the fragmented female body represented by Magritte, but when entering the disheveled stage of life – with the bashful indecision of the visitors of the exhibition of Marina Abramovic and Ulay, forced to pass between the naked bodies of the artists – we should be able to inscribe its torrential flow within geometric frames that make it intelligible. The resulting landscapes of this final collage of utopian fragments shall have the exquisite and monstruous beauty of the faces of Arcimboldo...[+]