En el camino [On the Way]

12 photographs | Variable dimensions | C-Type prints | Edition of 3 +2P.A. | 2006-2007 Pre-ruins are frustrated illusions, their projection and construction halted in the middle of the process. We don't know why, but their appearance always indicates that the decision was made suddenly, at times it even seems as if the workers themselves fled in an instant, abandoning their materials and tools, and that they never returned. In each case their pre-conclusion transmits a dramatic, even tragic, sensation. When a construction under project, with its plans and capacity defined, is abandoned it does not produce architecture, not even half-finished architecture, this would only happen when something, some sign, indicated that it was going to be finished. [...] Pre-ruins are socio-sculptural phenomena forged the poles of dream and regulations. The circumstances under which the ideas, needs or plans were found to be within the market determinants, the permissions, regulations or credits, are always defined by an abrupt and dramatic decision that transforms a plan into an unplanned result, architecture into a pre-ruin. A dream into a memory. Omi (Thomas Scheiderbauer - calc). Definition of "pre-ruin". The proposal On the Way documents unfinished architecture, abandoned for various reasons and which, exposed in their basic structure, are moulded by time and nature. Inspired by the concept of pre-ruins, the proposal follows the different routes through the road network selectively photographing those constructions that were left stranded at the roadside and that lost their functional sense before even being finished. Each construction is presented as a strange entity, an object placed in a context that seems alien and whose only reference can be found in the road network itself, in the name of the road and the exact kilometre point of its location. Their own overwhelming materiality makes them part of the landscape, like landmarks, with the same intensity that their ruinous state and absence of function diffuses, highlighting their contradictory presence. It is this motorised wandering that is uncovering a territory built around road and rail links, characterised by mobility and change, where other forms of space are generated. A new hybrid and anthrophised landscape made up of defeats and disruptions that remain scattered throughout the axes of communication networks. An entropic territory where the wounds inflicted on nature are being reabsorbed and will finally be ‘accepted’ as another nature and another aesthetic.