Based on a modular structure, this site-specific work was installed in the public space of Glorieta de Insurgentes to offer an almost impossible sense of isolation, activated through performances by Anaïs Bouts and Tania Solomonoff.

Pavilion was a site-specific public sculpture conceived by Mateo López for Glorieta de Insurgentes, one of the busiest pedestrian hubs in Mexico City. Built from a modular structure composed of tubes, connecting nodes, and fabric, the work proposed an inhabitable, demountable space open to multiple configurations.

Inspired by Abitacolo (1971) by Bruno Munari, the piece revisited the idea of minimal architecture: a functional, lightweight, and adaptable object that can be assembled, disassembled, and transformed according to its context. In López's practice, drawing expands into sculpture, architecture, and movement; in Pavilion, this relationship was translated into the public realm as a series of three-dimensional lines that defined a space without completely enclosing it.

Caption: The artist draws inspiration from Bruno Munari's work, particularly his landmark 1971 piece Abitacolo, which proposes a living unit that functions not only as a bed but also as a desk, bookshelf, table, light source, and a space for play, recreation, and imagination.

Installed in a highly trafficked public square, the work generated a tension between stillness and movement, intimacy and exposure. Rather than isolating itself from its surroundings, its presence subtly altered the everyday experience of the site, creating a space for attention, play, and encounter within the urban flow.

The sculpture was activated through performances by Anaïs Bouts and Tania Solomonoff, who explored the relationship between the body and the sculptural structure. Through movement, Pavilion ceased to be merely an object and became a living device shaped by gestures, movement, and interactions with the public.

As a public art project, Pavilion brought the artwork into contact with a wide range of audiences—passersby, public transit users, visitors to Mexico City's Art Week, and the communities who live in or move through the area—shifting the artistic experience beyond the traditional exhibition space and into the shared public realm.

Both works are objects that can be easily assembled and disassembled with minimal use of screws. The connecting nodes that join their components allow for simple assembly, while their compact design facilitates transportation and storage. They are works reduced to their essentials.

Both pieces seek to create a sense of personal space, separated from the surrounding environment—a place of individual retreat.