SIN_ fronteras] a night of art and architecture

Urban expansion and conserving historical transformation are often in conflict. Phenomenological theories refer to the thought that the body is a product of spatial existence, that it is constituted by its relationship with the space around it and that the body is just a fold of the fabric of space outside itself. The spatial relationships of the world are what create the body (Merleau-Ponty 236).

Following phenomenology then, we should examine the translation of the city as not a singular, static surface, but as an intricate tapestry woven together by a transcript of  experiences, spaces and limits.  It is impossible to expect a singular, orthographic translation between adjacent conversational tensions. And so, the introduction of a third axis can be used to reveal its bodily context.  This collection aims to fundamentally question and generate possibilities of a stimulus for the emergence of the uncontrollable fragments of the city, and how those pieces, composed and understood by their unique individualism, can contribute to the greater order of the city as a 'whole'. 

Through the analysis and investigation of edge/ boundary conditions between the cultural, sociological, political and historical layers, and a new means of representing the city in all of its fictions and realities - an idea of urban expression emerges.  Operating within the (supposedly homogeneous) conditions of the early-modern city of La Habana, Cuba, multiple layers of the human and the physical are digitally painted, drawn-out and  investigated to discuss the ability to open, attack, and comprehend its many possible and impossible conditions.  This technique is intended to express the complexity and the chaos, but it is also intended to provoke a discussion of forces - of entropy, of decay, of history, of ideology, of urban growth, of of edges, boundaries, landscape, infrastructure, culture - all evident within the urban fabric of La Habana.