The Green Parrot
Unforessen change, Eva Fàbregas
“Eva Fàbregas’ work deals with today’s endless mobility and circulation of commodities, signs and people. She has an interest in Modernism and industrial design as an “international style” of homogenized and transportable patterns and forms. They are universal and therefore sold in the international global market.
In Settlement (2014) Eva Fàbregas uses patterns from found Scandinavian caravan brochures, reproduced to create the wallpapers that now decorate the walls of The Green Parrot. These mobile entities are universal dwellings, the dream of Modern architecture of modular manufactured objects that can create a transportable city.
Self-organizing system (2014) is a colony of swarming objects that consists of polystyrene foam inserts, edge protectors and other industrial packing materials, all of which were originally designed for protecting consumer goods and fragile items in transit. Styrofoam materials are as ubiquitous as they are essential to the global circulation of commodities, but reaching their destination they are immediately discarded. By attaching motors, sensors and electronic components to these found materials, they are enabled to navigate across the space, moving around slowly and even interacting to one another as a community of their own, while the viewer is encouraged to seek patterns of emergent order in their obscure behaviour. Left to their own devices, these minimal objects remain within the sphere of circulation but are no longer in need of human agency to instigate their mobility.
Catoptrophilia (2013) by David Ferrando Giraut is a 3D animation film structured around the encounter between two objects belonging to two different, distant historical moments, but whose complex set of symbolic functions are, in a way, intimately connected: an Egyptian hand mirror from the New Kingdom (XV C. BC) dedicated to Hator, goddess of beauty, and an iPhone 4 Elite, released by Apple, California, in 2011.
In a narrative that crosses different civilizations and historical moments, the piece stresses how the human tendency to create images has depended, from ancient times to the current moment, on the supply of mineral resources; resulting in the emergence of a system of slavery in which a dominant class –aristocracy in the past, the citizens of the so called first world in the present– has access to the creation of their own image; an image, that, in return, exerts a different type of submission, of dependence, upon them.”