Addressing the Barcelona Bench as a manifestation of modernist values in public spaces as well as cultural institutions. It is modified with steel bars reminiscent of those on public benches, anti-deviation structures that excludes ‘undesired’ bodies and their functions. Modernist structures, in particular Mies Van Der Rohe and his contemporaries’ philosophy which held multi-functionality in high regards is embraced by contemporary society with its aesthetics ever more popular, this embrace of modernist aesthetics ironically has also attached the misguided values of modernism: the paradox of exclusion and inclusion, and the myth of progress. Certain bodies, values, and voices are labelled as deviations in the public, exclusion for progression. Perhaps then these steel bars of exclusion should exist in other spaces of demarcation as well, physically and culturally. The luxurious unassuming seats in a Barcelona bench for those who proclaim cultural discourse is actually a structure that supports demarcation and forbids deviation.
This project is exhibited in THE SHOW , the Emily Carr Graduation exhibition of 2016 as a functioning piece of furniture.
Barcelona Bench, steel
In the image of Marat I laid there, another failed revolution.