By understanding modern architecture as an attempt to construct a romanticized portrait of Brazil, I appropriated a scene from the film L’Homme de Rio by Philippe de Broca (1965), in which a kind of 007, played by Jean-Paul Belmondo, flees through a still-under-construction Brasília, full of scaffolding, wooden slats, and bricks that confuse the viewer, making the city also appear as rubble from something that once was. The confusion of references—such as the fact that a 007 evokes Pop Art, while at the same time maintaining a cult tone due to the French direction and the choice of pastel colors in the film—ends up generating an image like a portrait contaminated by opposing references.
In the projection of this scene across different spaces of the house, at different times, and with the sound of the character’s footsteps also playing at different exhibition times, a strange noise was created, which referred back to the very escape from the attempt to close a portrait as something rigid, fixed, inert. The screening of the scene was followed by a joint discussion between myself and Professor Rodrigo Queiroz, an urbanist and professor at FAU, about the romanticization of Brazil's image, provoking the mediation of the visitors to the space.
The understanding of this mediation as an important part of the work—stimulating the conversation of those present—aimed to clarify that an artistic movement is not just an aesthetic construction, but also an aesthetic reverberation, a "noise" with social consequences. It becomes a powerful amplifier of the situation of the house itself, installed as a promise of ruin. My intention was to create relationships between the subjectivity of the individual as a target of a social system affected by capitalist logic, and the subjectivity of the place as something also targeted, as it is configured as a form of constructing a concept that will sustain an administrative and governmental order of bodies.