It represents the possible construction of a bunker, any- where, just in case.
Faced with this wooden form- work for a miniature blockhaus that could have been used for its construction, the audience is invited to conduct an intru- sion that it assumes is impos- sible.
Bunker C.A.A.O.U., through which Nelson Pernisco relates the difficulty of self-production in an economy based on the principles of do-it-yourself and squatting, symbolizes a disci- plinary, hardly viable architec- ture.
Acting as a symptom of a so- ciety that no longer offers any spaces shielded from prying eyes and control, the work implicitly speaks in favor of the creation of a utopic indi- vidual refuge that remains to be invented, and which would reverse the inside/outside rela- tionship.
Born in 1993, in Saint-Ouen. He lives and works in Saint-Ouen.
From urban squats to industrial wastelands, the visual artist took it upon itself to discover the various means of occupying territories, of constructing housings and the way they act as a catalyst for political orders. His aesthetic is dry and in some way, brutalist. He relies on re- cycling poor and recovered materials, presented as touchstones of a world that may already be in ruins, and is at best under never-ending construction. Borrowed from the urban environment, from industrial properties or from the realm of technology, these figments are used in his work to reflect the precariousness of time and the urgency of rethinking forms.