Potrc will present her latest research on the informal Caracas (Caracas
case Project). The "Dry Toilet" is a hands-on Projetct which
she realized together with architect Liyat Esakov, in the upper areas
of the Barrios La Vega, this being a part of the city entirely without
access to the public water supply. "Caracas Visual Vocabulary"
shows how modernism turns into a dfensive architecture, both referring
to a type of decorative visual language. "Invading, Making and Appropriating"
deals with strategies focussing on rural landscapes, cities and urban
areas. Marjetica Potrc points out, that the two most successful urban
forms found in the contemporary city are the gated communities and the
shanty towns, both of which prefer the private space to the public space.
Marjetica Potrc turned from her interest in urban planning when she realized
that this point of view would sooner or later become too limiting. To
her, a city is not a body that can be controlled, saved and operated,
like a surgeon does. Ever since then, she has been examining examples
where individuals take care of the city themselves. Individual initiatives
can achieve practical results, and are not dependant on planning and control.
The two most successful forms of the contemporary city, shantytowns and
gated communities, are both individually initiated.
Recognizing these forms of self-organization is one of the aims of Marjetica
Potrc's work. Her way of looking at things is mirrored in the photographs
she takes on her frequent travels to cities all over the world. Marjetica
Potrc tries to process what she sees in the simplest way possible. She
looks at people's taste and at what they consider beautiful. This results
in sometimes rather odd observations such as a house with an overhang
supported by concrete pillars that had been painted to look like tree
trunks, seen in Mexico, or a very different sort of tree, a camouflaged
cell tower, made of plastic and resembling a pine tree, in upstate New
She prefers the idea that her work is not about social criticism or institutional
critique, but rather showing what she sees in the cities today. In this
way, not being judgmental or categorising, she leaves the judgmental look
to the eye of the beholder.