|Cliente:||Old Vic Tunnels|
Water (Re) claiming space MMX’s proposal engages with the spectator; with its contradictions, its circumstances and its possibilities. The project intentionally moves away from the idea of the object, to discuss and modify the space itself. A former underground piece of infrastructure, fallen into oblivion, posits many dicotomies that the instalation incorporates. In the one hand an underground space is far from being a space where human activity happens naturally or spontaneously. However its particular humid atmosphere generates curiosity and brings peole in. In the other hand, while public spaces are normally thought as open air places, this one has, regardless of being almost totally closed, a new public calling as a result of the evolution of the city and its purpose. Finally the proximity of Thames and the underground condition of the tunnels, strongly suggest the history of the urban as an invasion and the constant struggle of the water to claim back its domain. Such tension, between the urban realm and the water, has constantly been present across the history of both London and Mexico City; hence the intervention both acknowledges it and evokes this link. The proposal reflects upon that fragile “balance” through a mental-physical construct: Gravel from the Thames shores is brought in, both to suggest an open air setting by changing the texture of the floor, and to create a dam-like structure that replicates the somewhat basic building desire and effort. Water is also brought in to make the geometry of the place perform, as it mirrors in the water, but mostly to materialize the strenght of the river that could litterally leak into the space, making evident the tension between the two territories. The installation results in a new underground scenery with a flooded crater or set of craters that re-articulate the space of the tunnels, evoking the idea of an outdoor space through sensorial means. The landscape and the transformed atmosphere are not a standalone installation; they act ambiguously as an art piece and as a background for the exhibition of the art work.