Curator: Michel Blancsubé
Production: Rodrigo Suárez and Laura Valencia Lozada
The charcoal of Sobre Negro showed the presence of concrete "squares" inside the tower. In total there are 38 flat vertical rectangles constitutional to the sculpture. Points of view and control when, in 1968, they shook the Torre de los Vientos imagined by Gonzalo Fonseca? Taking advantage of the existence of these "squares," Jean-Luc Moulène will convert the inside of this monument into an area with 38 green, blue, black and red monochromes during 4 months.
A pictorial act opposite in its methodology than that of Sobre Negro, VERDE AZUL BLANCO NEGRO ROJO gives the opportunity of a different vision than that of Fonseca's Torre, emphasizing details of its structure.
Jean-Luc arrives at Fonseca's Torre. He brings with him color and discovery. What do the squares inside the Torre mean? Today we don't know anything more about them, only that they are there. Was it an idea planned by Fonseca or a result of the construction? In this intervention the insets above or below the surface of the walls are transformed into the principal characters, following Moulène's thinking.
The inside is a brightly-colored palette, suggesting the presence of the 21 sculptures of The Route of Friendship that the Uruguayan work of art belongs to, and of which is the only one lacking color on the outside. Blancsubé finds this connection and brings it to the inside of the Torre. Michel proposes a permanent connection between the projects that take place in the Torre. The translucent walls of white paint leave visible what transpires in the past intervention, Sobre Negro, thus making the colorfully-dyed squares stand out on the aqueous-appearing walls.