How will the guerrilla actions materialized, and why did you opt for this aesthetic and visual strategy?
My particular interest was to generate a contrast between Parque Arboleda and the Fair, which in this case is a pop-up event that takes over the building for a few days, and is then dismounted.
This imagery and this idea of guerrilla actions are reflected in the materials, in the way in which these are used, and through the use of color. We know that fairs are a phenomenon that disappears after five days, and that therefore they’re never entirely built, and that they always, by default, use an assembly language of sorts. But we want to highlight this even more, and take over the space with color, in order to visually communicate both the sections as well as the entire Fair. In this sense, we want the color to be a guide. This year, we want the campaign to be reflected in the venue like never before, to have it penetrate the place itself, and not just the street, in order to create a continuous narrative. Color will be everywhere, under the concept of birthday and celebration. We will take the guerrilla (the same one that can be seen on the streets, when we put up the street signs, for example) to this residential neighborhood, prioritizing a soft punk aesthetic in which lighting, color, iron, and other materials are key factors.
How do the ideas that a fair is an ephemeral city, yet also a transaction space, come together?
There are architectural and urbanism perspectives that establish that putting together a fair is like creating a city. I’ve been trained as a designer, and in general, my entire experience has been linked to large brands, therefore my perspective has to do with the relationship between the brand and the user: the user as a consumer or as a simple spectator. In this sense, my concern has to do with strategic elements, such as having a predetermined circuit and flow in the fair that leads to commercial actions. What’s interesting is that these two visions are different but not contradicting, because in the end, they lead to the same result. Fairs, in definitive, are not just places where people go to contemplate art or interact with art, they’re also places for transactions, and the interest of the participating galleries lies precisely in presenting their artists in order to validate the art market.
This year’s layout of the building allows for many common spaces, for resting or interaction. How do you activate these different areas?
The spaces the venue offers us are a gift, both for Ch.ACO as well as for its attendants. These are spaces that will house other kinds of initiatives, and that don’t exist purely for the Fair’s four sections (Main, Focus, Planta, Nave de Ediciones). The key factor for activating these recreation or resting zones is the programming that will de designated to each of these spaces: a series of performances, live music, the installation of artwork and interventions.
We found these spaces after analyzing the general space, after which we began to detect that they had a lot of advantages and potential, and were perfect for using. Once they were detected, the Ch.ACO team began to design an agenda so as to give them a special use.