Saharan-colored Legos that transform into ancestral tornadoes of mud, as if the mosques of the Mali Empire were taken long before the industrial era. Human beings have become obsessed with creating cities without limits and consequences with a disproportionate urban planning. Dagoberto Rodríguez shows this and creates through such a complex assembly as a narrative instrument on living canvases that acquire a retrofuturistic dimension in front of a Havana that he builds as encoded cells in 2040, which can be recycled and ordered like a Rubik's cube and then converted into the Humbori tondo; one of the best kept secrets on planet Earth.
Solar, explores the otherness of dreamed metacities in a disturbed, anachronistic and paradoxically desolate world under that immense ball of fire. A future that still continues to captivate us in the imagination of being fictional. The “carpenter” Dagoberto seeks, in another carpenter, the lego creator Ole Kirk, the amazing way to build a universe of metaphorical cities based on the inequalities that occur in urban planning throughout Latin America and having in front of him Havana, thawed and paralyzed in over time, replacing the ferey with fruity colored plastic bricks.
Dagoberto navigated cyber tunnels in the recent past to delve into the archives of Archigram, the group of architects that advanced the future in the 1960s. Its founder Peter Cook has said “The poetry of bricks is gone” and Rodríguez replaces them with laymen, modulating and modeling in a stitching of primitive and modernist grids, … “without individual memory, nor collective consciousness, ruin is the “only legacy to transmit.”
The Sun and eclipse are established as an almost cinematic connection so millimetrically calculated and worked, achieving an astonishing volumetry that jumps out at us. Thousands and thousands of incalculable cells so hypnotic in their sculptural approach. Presence/absence is fundamental in the relationship established between two consecutive shots that converge in the same scene and having as the only eyewitness a clay satellite that observes us from afar more effectively than the Fisher Prices of Yankee capitalism.
