I believe to possess a brisk mental digestion of Hyperintellectually-deep projects , but this one at first really beat me. The first time I witnessed SUPERPOWERS OF TEN by Andrés Jaque, was at the Chicago Architecture Biennial (2015). The incredible response by the public, made me feel even worse: like an nitwit. Was I the ONLY ONE that didn´t understand this architectural masterpiece? Is this Architecture? Does it even mattered?
I was mortified and too shy to requesting Andrés an explanation.
What just happened there?
OH! I SEE…
In 1977, Charles and Ray Eames produces Powers of Ten : a Film Dealing with the Relative Size of Things in the Universe and The Effect of Adding Another. This is a beautifully designed cinematographic experiment that presents a journey through the universe´s diverse scenery at different scales.
The reinterpretation and re-enactment that Andrés Jaque proposes reveals the historical events and political conflicts that were left out of the EAMESES frames.
Besides the several presentations of SUPERPOWERS OF TEN that took place on the museum´s main plaza, Museo Jumex group produced an INCREDIBLE bilingual publication to be given away at the presentations. It was edited by José Esparza, with the editorial assistance of Viridiana Zavala. The OUTSTANDING design by Maricris Herrera and Emilio Pérez ( Estudio Herrera) made this publication PERFECT to fully understand what one was witnessing. There were also talks and workshops as part of the presentation, which turned Museo Jumex not only in a pristine scenario as any other museum but an educational venue engaged with its invitees.
In this publication Jaque´s ongoing research-based project SUPERPOWERS OF TEN is completely expounded and includes a contributions by Beatriz Colomina whom also gave a talk regarding Jaque´s piece and the main tangent topics to it. In Esparza´s piece “Cosmic Constellations”, he depicts the attempts of this masterpiece to communicate the many centers of the contemporary world, such as real stories of social and political relevance that were being developed as the Eameses film was being shot. The publication includes the COMPLETE SCRIPT of Jaques piece, which is brilliant.
“THERE WON´T BE A REVOLUTION UNLESS IT IS A FEMINIST REVOLUTION. THERE WON´T BE A REVOLUTION UNLESS IT IS A QUEER REVOLUTION. THERE WON´T BE A REVOLUTION UNLESS IT IS A TRANSGENDER REVOLUTION”
Quote from SUPERPOWERS OF TEN Script.
Museo Jumex chose to show this work as an exhibition-in-process, rather than a completed work and made an emphasis on how Jaque´s piece by showcasing “how and inclusive world, along with its complexities and political frictions, is much more rich and empowering than the idealized portrayal of the place we live in.”
This brilliant masterpiece along with Museo Jumex publication turned into a device for questioning and observe anew the social and political events surrounding us shaping the territories in process we live in.
There is no doubt that the “messenger” is vital on depicting the current works and positions taken by many (including spatial thinkers) and their philosophical approaches. “How to enable understanding in the spectator ?” and”How to create openness between a cultural venue and the information exposed?” are two questions that the ones in charge of communicating ideas, should be asking themselves. When a curator steps away for his/her rockstar figure and makes the spectator understand what it is looking at, the cultural nourishment begins. Thanks a lot for those enablers that praise acumen via different tools and for making this design/art/architecture microcosmos, permeable and homey.