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A new exhibition on Latin American architecture and design recreates the spectacular ballrooms of Freddy Mamani and more

By Mackenzie Goldberg|

Wednesday, Oct 17, 2018

Freddy Mamani, Cholet in red brick residential area, El Alto. Photo © Tatewaki Nio, Néo-andina series, 2016. This work was produced with the support of the musée du quai Branly – Jacques Chirac

The eccentric architecture of indigenous Aymara architect Freddy Mamani has attracted intense global interest in the last few years. From a documentary about his work that debuted at the Architecture Film Festival Rotterdam last year, to a 2015 exhibition at London's Architectural Association School of Architecture, the autodidact's distinctive style has welcomed a growing enthusiasm. 

Freddy Mamani's site-specific environment for the Fondation Cartier exhibition. Courtesy of Fondation Cartier.

One of his colorful designs, a signature ballroom featuring playful Andean motifs, has been recreated for a new exhibition at Fondation Cartier, Jean Nouvel's glitzy modern art museum in Paris. Visitors enter the exhibition, Southern Geometries, from Mexico to Patagonia, through the multi-colored ballroom, beyond which they'll find other site-specific works by a range of Latin American architects including the Paraguayan partners Solano Benítez and Gloria Cabral.  

The growing appreciation for Mamani's work has been matched by the increasing enthusiasm for the region more generally, which forms the basis for the new exhibition. Bringing together 250 artworks made by over 70 artists from the Pre-Columbian period to present, Southern Geometries tries to provide a comprehensive picture of the richness and diversity in Latin American architecture and design.

Facundo de Zuviría, Fray Bentos, Uruguay, 1993 C-Print (2014) 26.4 × 39 cm. Private collection © Facundo de Zuviría.
Anna Mariani, Xique-Xique, Bahia, Brésil, 1979 Façades series, 1973–86. Inkjet print, 20.6 × 30.6 cm. Collection of the artist © Anna Mariani

Featuring both ancient and contemporary works by abstract artists, sculptors, ceramicists, architects and more, the show threads together many styles, cultures, time periods and trends. A wide ranging collection, the commonality amongst them is the various approaches to geometric abstraction at the heart of each—the way the wire sculptures of Venezuelan artist Gego eschew formal rigor or how the photographs of Anna Mariana capture the colorful facades of the houses in north-eastern Brazil.

Olga de Amaral's 'Brumas' series on display. Courtesy of Fondation Cartier.
(Left) Martin Gusinde, The Short spirits Télil, representing the sky of rain (northern sky), and Shénu, representing the sky of wind (western sky), Selk’nam people, 1923. Piezographic carbon pigment print, 39 × 28 cm. (Right) Martin Gusinde Terre de Feu, Argentine et Chili (1886-1969, né en Prusse, actuelle Pologne) Ulen, forte tête, peuple Selk'nam, 1923. Ulen, le bouffon masculin. Son rôle est d'amuser les spectateurs du hain. Piezographic carbon pigment print, 58 x 41 cm. Private collection, Paris © Martin Gusinde / Anthropos Institute / Editions Xavier Barral

The exhibition is also meant to be an informative one, a self-aware admission that some of these works are getting a belated recognition in Europe. One of the goals stated by curators Marie Perennes, Hervé Chandès and Alexis Fabry, was to highlight under-recognized artists, like the large canvasses of the pioneering Cuban minimalist Carmen Herrera, whom hadn't sold a painting until the age of 89. Numerous other works, like those created by the Ishir Indians of Paraguay for ceremonies and rituals, are being presented here for the first time in Europe.

Now open, the exhibition will stay around for five months, closing late February, 2019. Of its expansiveness, the curators hope the diversity of the collection will foster a dialogue between all creative disciplines. "The exhibition highlights the visual relationships that bring together artists, cultures, rites, and symbols," they added.

RELATED NEWS Tadao Ando revisits his career in major Centre Pompidou retrospective, opening Oct. 10
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latin america ● latin american architecture ● freddy mamani ● fondation cartier ● paris ● france ● europe ● exhibition ● event

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A new exhibition on Latin American architecture and design recreates the spectacular ballrooms of Freddy Mamani and more

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A new exhibition on Latin American architecture and design recreates the spectacular ballrooms of Freddy Mamani and more

By Mackenzie Goldberg|

Wednesday, Oct 17, 2018

Share

Freddy Mamani, Cholet in red brick residential area, El Alto. Photo © Tatewaki Nio, Néo-andina series, 2016. This work was produced with the support of the musée du quai Branly – Jacques Chirac

Related

latin america ● latin american architecture ● freddy mamani ● fondation cartier ● paris ● france ● europe ● exhibition ● event

The eccentric architecture of indigenous Aymara architect Freddy Mamani has attracted intense global interest in the last few years. From a documentary about his work that debuted at the Architecture Film Festival Rotterdam last year, to a 2015 exhibition at London's Architectural Association School of Architecture, the autodidact's distinctive style has welcomed a growing enthusiasm. 

Freddy Mamani's site-specific environment for the Fondation Cartier exhibition. Courtesy of Fondation Cartier.

One of his colorful designs, a signature ballroom featuring playful Andean motifs, has been recreated for a new exhibition at Fondation Cartier, Jean Nouvel's glitzy modern art museum in Paris. Visitors enter the exhibition, Southern Geometries, from Mexico to Patagonia, through the multi-colored ballroom, beyond which they'll find other site-specific works by a range of Latin American architects including the Paraguayan partners Solano Benítez and Gloria Cabral.  

The growing appreciation for Mamani's work has been matched by the increasing enthusiasm for the region more generally, which forms the basis for the new exhibition. Bringing together 250 artworks made by over 70 artists from the Pre-Columbian period to present, Southern Geometries tries to provide a comprehensive picture of the richness and diversity in Latin American architecture and design.

Facundo de Zuviría, Fray Bentos, Uruguay, 1993 C-Print (2014) 26.4 × 39 cm. Private collection © Facundo de Zuviría.
Anna Mariani, Xique-Xique, Bahia, Brésil, 1979 Façades series, 1973–86. Inkjet print, 20.6 × 30.6 cm. Collection of the artist © Anna Mariani

Featuring both ancient and contemporary works by abstract artists, sculptors, ceramicists, architects and more, the show threads together many styles, cultures, time periods and trends. A wide ranging collection, the commonality amongst them is the various approaches to geometric abstraction at the heart of each—the way the wire sculptures of Venezuelan artist Gego eschew formal rigor or how the photographs of Anna Mariana capture the colorful facades of the houses in north-eastern Brazil.

Olga de Amaral's 'Brumas' series on display. Courtesy of Fondation Cartier.
(Left) Martin Gusinde, The Short spirits Télil, representing the sky of rain (northern sky), and Shénu, representing the sky of wind (western sky), Selk’nam people, 1923. Piezographic carbon pigment print, 39 × 28 cm. (Right) Martin Gusinde Terre de Feu, Argentine et Chili (1886-1969, né en Prusse, actuelle Pologne) Ulen, forte tête, peuple Selk'nam, 1923. Ulen, le bouffon masculin. Son rôle est d'amuser les spectateurs du hain. Piezographic carbon pigment print, 58 x 41 cm. Private collection, Paris © Martin Gusinde / Anthropos Institute / Editions Xavier Barral

The exhibition is also meant to be an informative one, a self-aware admission that some of these works are getting a belated recognition in Europe. One of the goals stated by curators Marie Perennes, Hervé Chandès and Alexis Fabry, was to highlight under-recognized artists, like the large canvasses of the pioneering Cuban minimalist Carmen Herrera, whom hadn't sold a painting until the age of 89. Numerous other works, like those created by the Ishir Indians of Paraguay for ceremonies and rituals, are being presented here for the first time in Europe.

Now open, the exhibition will stay around for five months, closing late February, 2019. Of its expansiveness, the curators hope the diversity of the collection will foster a dialogue between all creative disciplines. "The exhibition highlights the visual relationships that bring together artists, cultures, rites, and symbols," they added.

RELATED NEWS Tadao Ando revisits his career in major Centre Pompidou retrospective, opening Oct. 10
RELATED NEWS Sou Fujimoto's delicately powerful exhibition Futures of the Future comes to Los Angeles
RELATED NEWS Edoardo Tresoldi's ghostly wire mesh basilica earns a Gold Medal for Italian Architecture

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