{"id":2280,"date":"2017-12-18T12:32:10","date_gmt":"2017-12-18T12:32:10","guid":{"rendered":"http:\/\/fundacionnmac.org\/collection\/gregor-schneider\/cube-cadiz\/"},"modified":"2017-12-20T16:04:44","modified_gmt":"2017-12-20T16:04:44","slug":"cube-cadiz","status":"publish","type":"page","link":"https:\/\/fundacionnmac.org\/en\/collection\/gregor-schneider\/cube-cadiz\/","title":{"rendered":"Cube C\u00e1diz"},"content":{"rendered":"

GREGOR SCHNEIDER<\/a>\n<\/div>
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CUBE CADIZ – 2006<\/strong><\/h2>\n

Gregor Schneider\u2019s work is based on the manipulation of architectural space. By using installations and sculptures, the artist bases his artistic creation on the conception of a precise place, which exceeds the visible and invisible, where perception and duplication of space confronts the passing of time and the disappearance of the environment.<\/p>\n

Gregor Schneider\u2019s project represents the duplicity of public and private space as a way of generating ties with its surroundings and with the unknown.\u00a0 Like his earlier Cube project (designed for the Piazza San Marco in Venice, and which could not be finished, for political reasons, during the 2005 Venice Biennale), this project can be seen to have ties to the image of the Kaaba in Mecca.\u00a0 In this case, the project titled Cube C\u00e1diz, is located on a height overlooking one of the most typical Andalusian \u2018white villages\u2019, Vejer de la Frontera, whose whitewashed architecture dominates the landscape, and from which one can see where the Mediterranean and the Atlantic meet\u2014as well as the encounter between Africa and Europe.\u00a0 With Cube C\u00e1diz, Gregor Schneider gives new life to the Venice Cube project, creating a structure with similar dimensions to the Kaaba, but this time it is white, the colour of tolerance, peace, and dialogue, prevailing over an international scenario in which dialogue, respect, and understanding are lacking.<\/p>\n<\/div>

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