Inside Installations: Mapping the Studio II

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The making of the work

Although based on a particularly beautiful old cinema on the outskirts of Havana, the cinema is a fiction created from details taken from many different buildings. Carlos and his team converted their research into meticulously detailed architectural drawings from which the model makers could work.

Carlos employed a team of highly skilled people to make the work. He employed a master model maker and a team of assistants to make different parts of the model. He also employed a sculptor to make the figures and finally in the weeks before the show opened at Volume! in Rome, he and his wife worked night and day to finish the piece on time.

Architectural Drawing: Lateral axis of the stageArchitectural Drawing: Horizontal axis Level 1 Architectural Drawing: Longitudinal axis

Architectural Drawings
© Carlos Garaicoa

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The making of Letter to the Censors

The making of Letter to the Censors
© Carlos Garaicoa, Volume! and Rodolfo Fiorenza
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The making of Letter to the Censors

The making of Letter to the Censors
© Carlos Garaicoa, Volume! and Rodolfo Fiorenza
enlarge



The making of Letter to the Censors

The making of Letter to the Censors
© Carlos Garaicoa, Volume! and Rodolfo Fiorenza
enlarge

The making of Letter to the Censors

The making of Letter to the Censors
© Carlos Garaicoa, Volume! and Rodolfo Fiorenza
enlarge