A
man hoding a cardboard model runs through the city. He is first in
Barcelona, then Bucharest, brasilia and
Osaka. His urban journey is endless and seemingly without purpose. A solitary
figure, his conquest of the world consist only in this “grotesque” journey. A production of utopia.

In
the course of his urban pelegrinations, Idroj thus exhibits a maquette which, now and again, is fleetingly identifiable with the building in the backgound, schematically echoing its
formal characteristics. This convergence is not systematic, however, for the maquette may also function in a
dystopianregister, contrasting wuth the arquitecture and pointing to another reality, to
a precariousness that contaminates the official, public or
residencial buildings, The
maquette instils anarqui into both the order of the real
and that of fiction

Anarchitekton could thus be seen as a
kind of oxymoron, travestying various kinds of walks in
art history,
from the practices of the Surrealists to those of the Situationists, by drawing its narrative dimension from
the utopian discourse of the architectural avant-gardes. The
once trascendent order of arquitecture is now no
more than the wild
bricolage of space and
time. Instruments of measure are reduced to the rank of props in a
fiction. Thus, it would seem, there is no “unchanging
real,” but only reals. Everything is multiplicity, the coexistenceof intellegible and phantasmagoric fields.
Colomer makes sculptures, “sculptures dilated in
time.” His works embody the logic of
transfer that operates in
tales, the reversibility of
real and imaginary; they take us back
to the absence of origin and foundation, to the aporia of instruments of representation.