Installation view, Kunsthalle Lissabon. Photograph by Bruno Lopes.

Installation view, Kunsthalle Lissabon. Photograph by Bruno Lopes.

Installation view, Kunsthalle Lissabon. Photograph by Bruno Lopes.

Installation view, Kunsthalle Lissabon. Photograph by Bruno Lopes.

Installation view, LUMA Foundation, Arles. Photograph by Hervé Hôte.

Installation view, LUMA Foundation, Arles. Photograph by Hervé Hôte.

Installation view, LUMA Foundation, Arles. Photograph by Hervé Hôte.

Installation view, LUMA Foundation, Arles. Photograph by Hervé Hôte.

All Our Tomorrows
(2016)

Materials: polyester fabric, cotton mesh

All Our Tomorrows is both an installation and a framework for discussing institutions. It is installed as a model:
- A 1:1 fabric model of an institution is inserted in another – a 1:1 model of one of the floors in the SESC leisure centre, wraps around and contains discussions about institutions. In this way, a full scale prop of a model institution is used as a framework to discuss institutional models.
- A case study: A model institution – an institutional model: SESC Pompeia, São Paulo.
- A ghost: In doubt about what an institutional practice may be I asked the material reality of an institution to be present.

Designed by Lina Bo Bardi, 1982, SESC was a forward-thinking institution, and set-up as the creation of an unconventional collective facility. The project’s aspiration to approach culture as a comprehensive, flexible field and to transcend aesthetic and intellectual production by incorporating everyday life and embracing the educated, and the popular cultures within its educational and leisure programmes. Ultimately, SESC wanted to encourage new audiences to be active and creative groups and individuals.

No one transformed anything. We found a factory with a very beautiful, architecturally important original structure, and no one messed with it… Our starting point was the desire to construct another reality. We added just a few things: a little water, a hearth. The initial idea for the re-use of the complex was informed by architettura povera – a poor architecture, not in a sense of achieving the maximum communication and dignity with minimal, humble means.

‘The Architectural Project’, Lina Bo Bardi, 1986 as re-published in Stones against Diamonds, Architecture words 12, Architectural Association, 2013

Commissioned by LUMA Arles foundation, LUMA foundation collection.