duendepr.com news Dead Zone by Didier Faustino

Dead Zone by Didier Faustino

Didier Faustino presents Dead Zone in response to the invitation from the Design Project Room. A premonition inspired by Stephen King’s book and Cronenberg’s film, the exhibition presents recent works, which are all linked to habitat and destroy the traditional concept of domesticity. An exhibition produced with students following a Master’s in Spaces and Communication, under Alexandra Midal and Mathieu Bassée.

We should be able to interpret Didier Fiuza Faustino’s work according to his interest and frequent references to American films in the titles of his works and exhibitions. For the Design Project Room, he reveals Dead Zone, a space which refers to David Cronenberg’s eponymous film (1983) which relates the consequences of the perceptions and other precognitions of the main character waking after 5 years in a coma. Although narrative plays a prominent role in Faustino’s work, Dead Zone takes place at the junction between design, art and architecture, via the popular culture constantly linked to the environment and the town. It is the starting point of an adventure acting impacting on the emotional response of the audience.

Opening the exhibition with a head that has been cut out and assembled from the Design Project Room carpet, Faustino invites the viewer to think about the ephemeral nature of existence and things. The response to this very domestic vanity is found in the social and emotional melancholy of contemporary culture, counterbalanced by works playing with a type of raw eroticization of reality. Thus we encounter Scramble Suit, based on J.G. Ballard’s novel High Rise, suggesting returning to a wild habitat. Created using aluminium sheets picked up in the street, this low-tech assemblage outlines a mixed genre meeting point. Just for Glory, a perforated black rubber hammock, is also on view. It offers itself up for a debauchery devoid of frills or seduction, of sex without a name or face which invites and surrenders itself. The main area is taken up by a white board placed against the wall whose epitaph is formed by the collapsing words Fairy Tales Falls. This phrase, central to the interpretation of the exhibition, heralds an end to fairy tales and other sentimental stories, to the benefit of dystopia or negative utopia. Similar devastation plays with both the vanities and the dimension of the architecture of dilapidation and decrepitude, with the ‘anarchitecture’ where the last refuge is destroyed from inside and thus approaches the aesthetical and moral attitude of the dandy.

The melancholic atmosphere, associated with the flâneur and the dandy lost in the excesses of the chaotic metropolis, is the key theme running through Dead Zone. Its ultimate resonance is found in Temps sauvage et incertain, a seemingly unstable seat. This is the basis on which Didier Fiuza Faustino lays the foundations of a territory in crisis which must be reappropriated by pushing back private and public boundaries.

Curator: Alexandra Midal

Work exhibited: Mehr Licht, 2012, ceramic socket, stainless steel cable and bulb, 12.5 x 16.5 x 20 cm

Photo credit: R.Mueller

 

‘Dead Zone,’ solo exhibition, from 6th April to 19th May 2012

Exhibition extended until 2nd June 2012

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