The portrait of architecture and the architecture of portraits are the two themes that dance and blend in the photographs of Francisca Riviero-Lake Cortina and Carla Verea, an artistic duo from Mexico City that, since 2005,have been translating into pictures the emotional interpretation of spaces. The two use formats and techniques that provide a personal and intimate perspective on the buildings they capture with a powerful eye; a modus operandi that found its higher expression in the recent show Paparazza Moderna at Vitra Design Museum between February and July 2019 – the first European exhibition of Lake Verea.
In a work that took 7 years from 2011 to 2018, the great modernist icons were portrayed in their everyday simplicity, without the “editorial make up – as they were doing last February while shooting Philip Johnson’s Glass House in full moon. So it is no surprise that also in their cinematographic tastes they have a special consideration for architectural voyeurism. Also in the following movies, the house is often a tool and a vehicle of indiscreet looks from neighbours, passers-by and lovers, as well as of obsessive habits fostered by owners, of unavowable desires and of collective utopias.