THIS HOUSE IS NOT FOR SALE
This house is not for sale explores the trans- formation of spatial intentionality, the value of unearthed potential, allowing for its “be- ing nothing”, liberating the perception and everyday use of the space and allowing it to stay as an informal architectural gesture.
At a certain point, the space was a defined, functional structure which transformed over time into being a place of relief, as people perceive it now. It has become open-ended with a spatial direction. I was certain that the key to opening a space was to unlock its po- tential, but I realized that the beauty of the structure layin the struggle between being something and being nothing. Therefore, its value was grounded in the non-utilization of its obvious potential, instead serving as a juxtaposition of multiple intentions.
Through witnessing and hanging out with the guys at the shed, it became clear to me that the project was about elaborating and amplifying the value of that particular space. The project cannot avoid being an overlay, an intervention within the space, but can also be understood as part of the juxtaposi- tion, as long as the project also remains an underlay. This was expressed by exhibiting the space on behalf of the space, through photography and text; the space was ex- plored in the same way that it was exhibited. Five photos and two texts were printed on aluminum and scattered around the space, freestanding. The exhibition itself dissolved during the night, and has now been dis- persed further out.
Unfortunately, we live in a time in which we are dependent on answers. The beauty of this space lies in the absence – neither providing nor demanding answers.
At a certain point, the space was a defined, functional structure which transformed over time into being a place of relief, as people perceive it now. It has become open-ended with a spatial direction. I was certain that the key to opening a space was to unlock its po- tential, but I realized that the beauty of the structure layin the struggle between being something and being nothing. Therefore, its value was grounded in the non-utilization of its obvious potential, instead serving as a juxtaposition of multiple intentions.
Through witnessing and hanging out with the guys at the shed, it became clear to me that the project was about elaborating and amplifying the value of that particular space. The project cannot avoid being an overlay, an intervention within the space, but can also be understood as part of the juxtaposi- tion, as long as the project also remains an underlay. This was expressed by exhibiting the space on behalf of the space, through photography and text; the space was ex- plored in the same way that it was exhibited. Five photos and two texts were printed on aluminum and scattered around the space, freestanding. The exhibition itself dissolved during the night, and has now been dis- persed further out.
Unfortunately, we live in a time in which we are dependent on answers. The beauty of this space lies in the absence – neither providing nor demanding answers.
Text
Location:Lagos, Nigeria
Year:2017
Contribution to Lagos Bienalle:Exhibition
Involved:Baerbel Mueller, Frida Robles, Stefanie Theuretzbacher
Work: Mathias Juul Frost
Title:all over the city “this house is not for sale”, is written on facades as an attempt to avoid the just taking over regular peoples properties
Location:Lagos, Nigeria
Year:2017
Contribution to Lagos Bienalle:Exhibition
Involved:Baerbel Mueller, Frida Robles, Stefanie Theuretzbacher
Work: Mathias Juul Frost
Title:all over the city “this house is not for sale”, is written on facades as an attempt to avoid the just taking over regular peoples properties
