Art@Site Guga Ferraz Cidade Dormitorio Rio de Janeiro

Guga Ferraz


Cidade Dormitorio

Praca Tiradentes
In April 2007, amid the chaos of the city center of Rio de Janeiro, the artist Guga Ferraz made his installation site-oriented "Cidade Dormitóri", consisting of eight beds stacked on the side of the gallery "Gentil Carioca" located on the Praça Tiradentes, the objects were stacked symmetrically (a bunk of eight floors height), referring to the idea of building or tower. The artist work through this, offered an urban facility to anyone who wants to spend some time - or do any other type of occupation - lounging on one of the"rooms" of this iron frame.
The aesthetics of the work is currently one of mimesis of popular buildings for people who can afford. However it refers to socioeconomic and political problems that go beyond the appearance of the work, as the housing deficit that prevails in the country in general and in Rio de Janeiro in particular. Showing that the work is a protest against the artist present state of poverty in the city center. This artwork demonstrates a commitment and clash with reality when dealing with a very delicate situation, the homeless, which is often ignored by society that has better living conditions and goverment agencies depending on their posture management, do not give them proper care and structure. In this site-oriented the artist Works with the acidity even in subtle tone while offering a welcoming structure for those who needed the work, applying for the residence time of the work or even an everyday utilitarian function.
At the inauguration was a kind of playground for a broader audience, but from the second day and in the following months, the work was being occupied by the homeless, beggars, drunks, bystanders in general, people who somehow were requiring too this space and began to turn a kind of route. But,any homeless who wanted to get hold of one of the "rooms" can do it for four months, which was the period in which the work remain in place. Because that was the intent of the work: the use of occupation.
Source: Shanghai Academy of Fine Arts
For that is what the artist took advantage of to create his "Dormitory City", on the wall of Galeria Gentil Carioca, in the central region of Rio de Janeiro. There, in full integration with the architecture of the place - externally dirty and abandoned - Praça Tiradentes, hotels of low reputation and the Cultural Center Hélio Oiticica, Guga riddled "bunk" of 08 (!) Floors.
Offering urban equipment to anyone who wants to spend some time - or do any other type of occupation - resting in one of the "rooms" of this iron structure, with wooden railings and sinkers to the wall. And with mattresses on all floors. Something reminiscent of minimalism - for its purity and formal repetition - but mocks the history of art.
Such a street installation leads us to think, first, of the question of the housing deficit that prevails in the country, in general, and, in Rio de Janeiro, in particular. And we could be induced to believe that the work is the artist's protest against the state of indigence that is rife in the center of the city. It might be. Any beggar who wants to take possession of one of the "little rooms" can do so, for the next four months, which is the deadline for the work to remain in place. At least that is the intention: of use, of occupation.
It also suggests that it is a mimesis of any popular housing complex, such as these "pigeon nests" that are being built, more and more, for people who can pay less and less. And, since the issue is dealt with from the point of view of art, it can be any building, or even a playful toy. Or even as a proposal for nomadism as a lifestyle. One day sleep here, another day there, and so on.
Passing by one night, two days after the opening of the exhibition, the children of the neighborhood and the police who guard the place wanted to know what it was. . And the guards left.
The fact is that there is nothing as philanthropic or playful in this or in other works by Guga Ferraz, properly speaking, as there is in the works of the Polish artist Wodiczko, who makes urban equipment for the indigent. Or, in the work of Vito Acconci, an artist from the United States, who made urban equipment, within the event Arte Cidade, in Sào Paulo, placing toilets, bathrooms and offering a place for homeless people to rest. Guga's criticism is more acidic. It's more ironic. And the ambiguity between the functional and the asthetic, urban fixtures and sarcasm, at the very least makes anyone think about it suspiciously. We don't ask if what we see is art. We ask about what we see.
Finally, it is necessary to think about the risks of this type of work, of clashing with reality, which does not have the possibility of retreat, once it has been put into circulation, nor of being redone, like a painting or a sculpture. Even less of being hidden in the basement of the house, in case it wasn't to the artist's taste. This confrontation with the "life" support is what makes it exciting, challenging, because, by taking into account the context where the work is exhibited, it allows an approach to people, within issues that are relevant to it, and not as an art whose codes cannot always be accessed by an unskilled audience. That, in fact, is the design.
Het werk waarmee Ferraz het sterkst geassocieerd wordt, werd speciaal ontworpen voor de blinde muur van [A Gentil Carioca] in Rio: de Cidade Dormitório (slaapzaal stad) is een enorm acht persoons stapelbed dat, toen het daar in 2007 werd geplaatst, effectief door enkele daklozen van de wijk werd gebruikt om in te slapen. Deze 'sculptuur' werd nu naar Antwerpen overgebracht om buiten het museum te worden geà¯nstalleerd. Het onbetwistbaar ontropische klimaat van Belgià« maakt het onvermijdelijk disfunctioneel.
The work which Ferraz has the strongest association was especially designed for the blind wall of (A Gentil Carioca) in Rio: the City of Dormitório (a dorry town) is a huge, eight-seater bed, when in 2007 it was placed, to be effective by some of the homeless people in the area and was used for the roof. This sculpture was transported to Antwerp from outside of the building is to be installed. It is indisputable ontropische the climate of Belgium is the inevitable dysfunctional.
A cada ediçào do projeto Parede Gentil, um artista é convidado a desenvolver um trabalho especialmente para a parede externa da galeria. No caso de Cidade Dormitório, a intervençào oferece um mobiliário urbano para quem quiser passar algum momento descansando em um dos 'cà´modos' dessa estrutura de ferro, com grades de madeira e chumbada à  parede, com colchonetes em todos os andares.
In each edition of the project, the Wall Gently, as an artist, he is invited to perform and especially to the outer wall of the gallery. In the case of the City in the Dorm, the intervention provides an ideal city for those w to spend some time relaxing in one of the rooms in this structure, the iron bars of the wood and grouted to the wall, with mattresses on the floors.