Didier Fiuza Faustino, Chip'N Dale - Photograph on Baryt paper - 2011
Galeria Filomena Soares presents the exhibition “Habeas Corpus” by the artist Didier Fiuza Faustino (1968, Paris, France), from January 19th to March 10th. The opening will take place on January 19th (Thursday) at 9:30 pm with the presence of the artist.
Degree in Architecture, the artist works in photography, video, installation, sculpture, curator, performance, scenography, urban furniture, exhibition scenography and design, in addition with teaching and architecture projects. His works are built between artistic and architectural methodologies. Using indistinctly both genres the artist question ethic and political the conditions of socio-cultural and economic communities of contemporary cities. Spaces, buildings, photographs, drawings and objects turn out to be possible platforms for the intersection of the individual body and the collective body. Each project represents a concept that subverts the social and functional context where objects are located. In this way, the act of seeing and experimenting goes beyond the dichotomy of the social rules that normally mark out public space and private space. The viewer’s body is refocused based on changes to your surroundings suffers. This ambiguity of space’s representation alerts the viewer to the dangers and pitfalls that can contribute to the deletion of your own individual and collective identity.
Doppelgänger is a white mask separates into two. Its conjoined parts fuse together recreating a sort of prosthesis for a mirror kiss. The double entry mask pivots the heads of those who put it on, defining the minimum limits, an immaterial border becoming real. Doppelgänger (2011) seems to prevent contact and yet it reveals a link, the meeting of the mouths which slot into one another through a perfectly traced, proportioned orifice. Like a hygienist mask maintained in equilibrium, Doppelgänger appears to be like a prosthesis which controls the kiss. Doppelgänger forces the tête-à-tête to feel the other, to let them slip into their inner world, with the risk of meeting their alter ego and losing themselves within it.
The purpose of The Naked Lunch (2010) project is to infiltrate an ambiguous object into the domestic space. With its undetermined function and sculptural look, it abolishes the distinction between public and private sphere, by combining values both esthetical and functional.
Le meilleur des mondes (2011) is an installation specifically created for the Cité de l’architecture et du patrimoine (Paris, France). It is designed as the distorted reflection of a meeting, a place of gathering, a space for exchange, dialogue and discussion in which power is exercised. This \”micro-nation\”, with its uncertain lines, questions our debate practices. The strange and fragile proportions of this ensemble, on the verge of collapse, invite viewers to project themselves into it, without being able to stay.
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