didier faustino

ДИДЬЕ ФАУСТИНО
דידייה פאוסטינו
ディディエ·ファウスティーノ
迪迪埃·福斯蒂诺

vortex populi

didier faustino  des corps & des astres

source: designboom

didier faustino infills magasin, centre national d’art contemporain in grenoble with the exhibition ‘des corps & des astres’ (bodies and stars). curated by reiko setsuda, the show highlights a selection of works created from 2010 to present day, as well as a monumental, site-specific installation titled ‘vortex populi’ that weaves its way through the interior space.

spanning the vast, 1,700m2 art center, the exhibition is modeled on a continuous repetition of hybrid forms and narrations that question the organization of social systems. in this abundance of signs and motifs, faustino associates domestic decor and disastrous landscapes whose overlapping dimensions muddle the senses.

while faustino has just announced the launch of ‘fundación alumnos 47,’ a foundation, library & artist residency in mexico city, the exhibition at magasin credits his 20 years of research on the relationship between body and space, dystopia and ‘bio political’ systems. since the mid-nineties, the franco-portugese architect’s numerous creations and proposed utopias have adopted an sculptural and structural quality characterized by a fictional dimension and critical stance, and extend from installation to experimentation.
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source: wallpaper

When Magasin, the Centre National d’Art Contemporain in Grenoble, invited Didier Faustino to fill its 1,700 sq m venue with his work, the Franco-Portuguese artist accepted, even while wondering how he’d utilise such a vast space. Enter Vortex Populi, one of two new spatial inventions, in which a chain of ubiquitous security barriers twist around each other and upward toward the ceiling. Here, they cordon off the gallery, seemingly lifted by some supernatural force. Manipulating barricades is a familiar theme for Faustino; in this case, however, the scale is more impressive and the message particularly resonates in light of the current refugee crisis. ‘We are in a society where there is no strong position; we’re always compromising,’ he says. ‘I’m talking about control of populations and manipulation; the individual thinks he has a right to speak – but in the end, nothing is achieved.’

And while the work’s title – a play on ‘Vox Populi’, ‘voice of the people’ in Latin – betrays this intention, the double entendre of the show’s title, ‘Des Corps & Des Astres’, reveals his overall modus operandi. Spoken aloud, it can also be ‘Décors et Disastres’. As a brief French language lesson, the former means ‘of bodies and stars’, the latter, ‘décor and disasters'; both apply equally to Faustino’s ongoing artistic pursuit of how the individual fits into a contemporary collective reality.

Along with guest curator Reiko Setsuda, he avoided the temptation to take the retrospective route – despite the fact that this year marks the 20th anniversary of his architecture studio – ultimately settling on establishing a sense of transiting through moments like a film montage. It’s a particularly apt analogy given that the other new installation, ‘Ashes to Ashes’, consists of black concrete stars that evoke the Hollywood Walk of Fame. ‘It’s a minimal statement of repetition and difference,’ explains Faustino of the 39 identical forms, which bear the Latin words ‘Habeas Corpus’ in place of celebrity names. As a legal recourse, it refers to the right to report unlawful detention; but the literal translation, ‘You should have the body,’ also interested Faustino. Which is not to suggest that he expects all visitors to draw weighty conclusions from the works. ‘I believe in art and architecture, a piece doesn’t need to be too obvious. If people are touched by the aesthetic, they can look for meaning and form their own interpretation. I’m not here to write the guidelines; I’m here to show the possibilities.’
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source: cnp-laorg
Born in 1968, Didier Faustino lives and works between Paris and Lisbon. Faustino’s work reciprocally summons up art from architecture and architecture from art, indistinctly using genres in a way that summarizes an ethical and political attitude about the conditions for constructing a place in the socio-cultural fabric of the city. Spaces, buildings and objects show themselves to be platforms for the intersection of the individual body and the collective body in their use.
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source: nuances-oslugaresdaarquitectura
Didier Fiúza Faustino nasce em França no mítico ano de 1968. Termina o curso em 1995 na Escola de Arquitectura de Paris-Villemin. Em 1996 surge como um dos fundadores do Laboratório de Arquitectura, Performance e Sabotagem (LAPS) e, no ano seguinte, do multidisciplinar atelier Fauteil Vert de Paris. De 1998 a 2001 integra a direcção da NúmeroMagazine em conjunto com Dinis Guarda. Em 2001, ganha o Prémio de Arte Pública Tabaqueira, pelo seu trabalho “Stair Way to Heaven – Espaço Público para Uso Individual” a implantar no futuro Jardim dos Aromas da Praça Central de Castelo Branco, zona actualmente em reconstrução no âmbito do Programa Polis. No mesmo ano, forma com Pascal Mazoyer o atelier Bureau des Mésarchitectures; desde então, divide a sua actividade profissional entre Lisboa e Paris. “O Bureau des Mésarchitectures define-se como um grupo de reflexão, uma organização multicéfala que reivindica o diálogo como ponto de partida
para toda a arquitectura. O Bureau interessa-se, prioritariamente, por situações complexas, tumultuosas, logo que os modelos existentes se revelem inoperantes. Entendemos colocar dispositivos de relações através de arquitecturas mais dirigidas à acção do que à contemplação.”
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source: frac-centrefr
La pratique architecturale et artistique de Didier Faustino se définit avant tout par la pluralité des approches qui expérimentent les rapports complexes d’interaction liant le corps à l’espace. Projets d’habitats, vidéos, performances, installations, design, scénographies, écriture, conférences, constituent autant de moyens d’agir et de faire réagir au travers de productions qui éradiquent toute solution conformiste pour, au contraire, engager des réponses plus radicales et troublantes, favorisant chacune une « instabilité visuelle et physique » de l’usager dans sa perception de l’espace. Intégrant le « dysfonctionnement comme vecteur de production de l’espace », Faustino ne définit pas l’architecture par ses composantes géométriques mais sensibles : l’architecture naît de l’expérience risquée que l’on peut en faire et engage l’usager dans une authentique conscience « d’être dans l’architecture ». Interface active entre le corps et l’environnement dans lequel elle s’inscrit, l’architecture émane désormais de notions liées à la temporalité, au désir, à l’ambiguïté, à l’érotisme, à la découverte, à l’imprévu, à l‘aléatoire, au dégradable. Ses réalisations – ensemble mobilier Les liaisons dangereuses, équipement culturel La capitainerie à Lyon, pavillon de thé en Corée, Pavillon Seroussi, Unité Mobile d’Aménagement Fluvial pour les Docks de Lyon mais aussi Concrete Island dans le cadre du concours pour les Voies Navigables de France – expriment ce dialogue permanent qu’il établit entre art et architecture et montrent comment les espaces, les bâtiments et les objets sont des interfaces entre l’individuel et le collectif.
Diplômé de l’École d’architecture de Paris Villemin (1995), Didier Faustino (1968) a fondé à Paris le Laboratoire d’Architectures Performances et Sabotages (LAPS) en 1996, puis l’atelier pluridisciplinaire Le Fauteuil vert en 1997, la revue d’esthétique Numeromagazine à Lisbonne en 1998, et enfin le Bureau des Mesarchitectures avec Pascal Mazoyer à Paris en 2001. L’agence de Faustino est lauréate des nouveaux albums des jeunes architectes 2001-2002 ; il a également remporté le prix de l’art contemporain « Premio Tabaqueira » à Lisbonne en 2001 et participé depuis, en tant qu’artiste, architecte ou commissaire d’expositions, à de très nombreux événements en France et à l’étranger. En 2009, il participe à la création d’EVENTO (biennale d’art de Bordeaux) en qualité de commissaire général.
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source: lootcoza
Didier Faustino, geboren 1968, lebt und arbeitet in Paris und Lissabon. Er studierte an der Ecole dArchitecture de Paris-Villemin und erhielt sein Diplom 1995. Seit 1996 betreibt er in wechselnden Partnerschaften sein eigenes Bro in Paris und Lissabon. Seine Arbeit erstreckt sich von Architektur (Realisierung des Wohnbaus Vertigo in Paris 1998) und experimentelle Architekturbeitrge bis hin zu Videos, Performances und der Herausgabe der Kunstzeitschrift Numeromagazine, Lissabon. Fr Portugal war er Teilnehmer an der Architekturbiennale in Venedig 2004.