The language of architecture I think it's a language in the end – I realize it's a ... I'm fascinated with the city and then, I think it's something very natural that's coming recently more and more – no?. And actually this piece [Letter to the Censors] was part of what I did in 2003 I think – it was almost a year after my first real architectural thing that I do for Documenta. I'm using this language and that moment was very recent for me like a ... I discovered how to construct a model ... and I discovered the material to do the model ... was something really fascinating at that time. And I think you know it's like ... all the time I find myself looking to find answers to things through this urban relationship. I think like ... the city is giving you a lot of opportunity. Just to see a cinema decayed in Havana brought me to the whole process to construct a model, to find the history of film. Doing all this is like coming from something and going into a deeper problem. Probably we have to say that I'm reading a house, and from the house I'm reading the life of people living inside. And I think that's a good metaphor for that – no? [Cut] When you go to an architectural school or you see a model from an architect you see this dry situation [through which] they are explaining something. And I have discovered that it is possible to be more warm with that, its even possible to be more ... playing a game with that and that's what this piece is about. Actually we have been using a lot of these wood bars and this plastic and all this ... But at the very end it's using it as in sculpture. It [probably doesn't make a] difference to me [from making] a sculpture – the only difference is that we are using all these very rational ways to arrive ... [Cut] I am very close to music as well, I have music with me all the time and I think that you can see that in the music as well ... that there is a lot of – everything is related to numbers, you know, and to the very perfect lines. And I think that's my appreciation of architecture – of the rationality of architecture – at the very end I find it's fantastic. You can even see this with the conceptual artists – you can see this in [the work of] Bruce Nauman – there is a very rational, dry way to think, but they arrived at very concrete things. It's very important, we still do it. Sometimes I feel bad when I go out and I do something that is more fancy – a little ... like forms [hand gestures] – and then I feel a little bit out of the water. Sometimes this happens. But architecture is fantastic. The city is fantastic in general. |