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The British coastal huts and cottages serve as potent signs of spatial appropriation.  “BEDECKED” focuses on a series of arson attacks to problematize power structures that privilege people and groups of people in public areas. It took as its starting point a series of fires that destroyed huts and chalets on the British coast in 2019.  These criminal acts postulate a pre-COVID pandemic need to question processes of exclusion and exploitation of common spaces for private ends that the Pandemic will certainly exacerbate. How public is public space on a British Victorian seafront where cabins and cottages draw invisible boundaries between privilege and preciosity, precariousness and preclusion?

The word “Bedecked” in English means the embellishment of something, excessive ornamentation. The title creates a game with the English word for private areas (“decked area”) and how each owner can eventually decorate and decorate decked areas. BEDECKED was filmed in 2018 during a profound state of curiosity and unrest that arose during a walk on the Eastbourne beachfront.

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As cabanas e chalés da orla britânica se posicionam claramente entre territórios e materializam conflitos oriundos de apropriações espaciais. “BEDECKED” toma como ponto de partida uma série de incêndios que destruíram essas construções privadas em 2019. Não se sabe se uma consequência potencial do COVID-19 será de  gerar tanto uma aversão generalizada a grandes multidões em lugares como praias ou uma valorização desses grandes espaços ventilados justamente pelo seu uso flexível.

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