Gernika, 1985. Igor Bragado is an architect, professor of architecture, writer, and co-director of the design office Common Accounts.
His work is focused on the urban impact of the beauty industry, the cult of the body, death, and vlogging. Common Accounts was a finalist to direct the Canadian pavilion in the Venice Architecture Biennial 2020, and has works undergoing construction in Shanghai, Seoul and Toronto. Bragado has been a professor at the College of Architecture at Cornell University, as well as at Cooper Union in New York. He has given conferences at universities such as Columbia, Harvard, and Princeton. His works have been exhibited at the Architect Biennials of Istanbul, Seoul and Spain, and in museums and art galleries in Los Angeles and Toronto. More recently, the National Museum of Contemporary Art of Seoul has acquired his work for a permanent collection. Bragado has contributed periodically to the section of Babelia, in the newspaper El País, and was awarded the Premio de Escritura (writing award) 2017 by the Design History Society in London, as well as the Suzanne Kolarik Underwood Prize at Princeton University.
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El luto de tu archivo. Músculo y eternidad (The mourning of your file. Muscle and eternity)
The cemetery and mausoleum are no longer spaces exclusively for mourning. The arrival of the social networks not much more than a decade ago has altered the social sphere of the funeral rite, multiplying the spaces through which death navigates. On the other hand, the problematic of the property of personal information on digital media and the volume with which we build a personal virtual archive on a daily basis, has superimposed an unprecedented ceremonial responsibility on the image of the body.
Recent cases of online funeral memorials through the practice of fitness, have brought to surface a relationship (between the cult of the body and projects of eternalisation) already with a long history, it attests to a long casuistry that goes from the practice of athletics at Estruscan funerals to the development of the modern fitness culture as a direct response to the existential crisis of nuclear threat in the United States. In this context, the first significant encounter of Facebook with death (spurred by a fitness coach claiming access to the digital content of his dead son) shows the displacement of spaces of mourning into areas such as the section left for comments on social media, the gym, and muscle itself.
The Project for the Spanish Royal Academy in Rome proposes a rearticulation of the current commemorative constructions so that they may serve their purpose on an urban sphere as well as on the social media. The pavilion gives first stage to the ritual capacity of the images of bodies and to its construction, as part of an eternalization project and explores the format in which emerging funeral services understand muscle as an archive. More importantly, the notion of a death should be reconsidered, owing to its fragmentation and accessibility on multiple scales and media channels, it builds city.
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