Rafael Escardó - Scaffolder
Rafael Escardó’s exhibition Scaffolder at MOCA London is a material exploration in which the body becomes a vessel for constructed identity. Walking through the streets of London, or any expanding city, concrete and steel structures continuously grow into buildings that support hybrid urban lives. Steel bars, textiles, and bolts become the joints, veins, and skeletons of new constructions.
Escardó observes these forms and materials while always positioning them in relation to points of the body and the constructions that surround us. Through this approach, he creates a dialogue between subjective, moving human experience and the objective, functional built environment.
His sculptures become costumes for his performances, at times acting as symbolic exoskeletons in which the body merges with the sculpture. Through repetitive performative movements, the body undergoes processes of transformation and reconstruction, re-imagining both physical form and human relations.
At the center of MOCA London stands a scaffold construction with stacked sculptures whose shapes reminisce about shields or biomorphic forms, as if grown out of scientific research. Suspended and secured by the scaffolding, the repetition of the three sculptures suggests the beginning of a continuous vertical stacking.
The role of the scaffolder is to erect, modify, and dismantle temporary structures that provide safe access for workers. Here, the sculptures and scaffolding appear suspended in time, where mass production is momentarily on hold. The steel structure of the scaffolding safely carries the sculptures like a temporary support system.
Escardó merges the aesthetics of rough concrete with the curving silhouettes of the sculptures. Like stacked bodies, an erotic tension emerges between the contrasting materials.
During the opening event, Escardó and two dancers will perform on the stairs of MOCA London. Through repetition, bodily adjustments, and choreographed performative gestures, their actions draw attention to subtle, mundane movements. They embody passersby or workers navigating their bodies between concrete structures and human connections.
Three cast concrete sculptures interlink the performers’ bodies across their shoulders. They become connected bridges, mirroring the scaffolding and the shape of the gallery stairs. The performers themselves become part of the building materials, echoing the scaffolding, as their socks match the colour of the foam and cable ties that protect the stacked sculptures.
For Escardó, the use of three performers and three sculptures shifts the experience from a polarized standpoint to a collective one. The sculptures act both as bodily protection and as exoskeletons that enhance the body while reconstructing identities.
Often in Escardó’s work he establishes playful, yet critical connections between material and the human body. In Scaffolder, a performative dialogue unfolds between the stacked sculptures—functioning as vertebrae of the rising structure—and the interlinked performers, whose bodies morph into steps and bridges. Human forms become constructed building blocks, while architectural materials take on bodily presence
Roberto Ekholm
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