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Jorge Otero-Pailos was born in Madrid in 1971. Collection of the Museion: Museum of Modern and Contemporary Art, Bolzano, Italy Image: Courtesy of Jorge Otero-Pailos The Ethics of Dust: Alumix, Bolzano, 2008, Detail of pollution. It was this project that transformed the preservationist into an artist.

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The experiment resulted in a 12 x 12 metre installation made of 175 pieces, each 1.5 metres by half a metre (at the time he did not know how to make one big piece). The curators asked him to clean a large wall and to document the process as (…) an art project. In the disused aluminium factory where the biennial took place, and from which the curators, Raqs Media Collective out of New Delhi, India, expected artists to take inspiration, he was given a chance to put his theories into practice. Svetlana Boym famously diagnosed this trend when she quipped, “The 20 th century began with a futuristic utopia and ended with nostalgia.” Perhaps it was not at all a coincidence when during those turbulent times the work of a preservation architect Jorge Otero-Pailos took an unexpected turn.īased on his writings in which he described how to clean and preserve buildings-by using latex casts to remove dust and dirt-Otero-Pailos was invited to create a work of conservation/art for the European Biennial of Contemporary Art or Manifesta in Bolzano, Italy. Traces of time, whether ancient, old, recent, or even imitated, became critical and even desirable. That’s when the focus firmly shifted to the idea of finding comfort, even if in just the visual cosiness and safety of the past. The profession that before that moment generally headed toward pursuing the idealist future-oriented modernisation project, reached a point when it suddenly lost interest in anything that was created from scratch. At some point, not that long ago, already in our current century, and most likely in the midst of the 2008 world financial crisis, preservation became a hot topic for architects.