E I N E F L A S C H E U R I N , D I E I M E I N F A L L V O N L I C H S T R A H L E N W I E G O L D A U F L E U C H T E T
series of 5 Objects
wood scraps, rests of panels, cardboard, glue
Friday Exit, Vienna
2008 / 2015
For the diploma exhibition in 2008 a view people of our class decided to make a group project in addition to our individual diploma works. We wanted to create an environment that would be so flexible as to allow the individual projects to integrate themselves within the common project. There for the group decided on building an architectural structure, that would be able to grow and adapt to the diploma works while they were developed. We used material found within the academy, some was sponsored by const- ruction companies, some additionally had to be bought. By dividing the space into several parts the structure enabled the individual positions to create their own environment. Yet every individual piece fed on the structure and refered to it, working on the structures character and nurturing it by incorporating itself in the coll- ective body. At this point an interdependency became visible, a moment where the border between the individual position and the context is blurred.
The method I used to react on the structure could in a wider sense be described as metabolism. All the material that could not be used for the construction, residual material (in a metaphorical sense the excrements of the metabolism from our context) I used, to create formally perfect shapes, which resembled the form of diamonds. The size and shapes were determined by the residual material. On a purely aesthetical basis the object are of high value, due to the technical refinement and the fact that they are symbolising the valuable par excellence. Within the context of the structure they are not supposed to exist, a waste product that is not considered of value to the construction. The finality and perfection of the objects opposed the procedural character of the structure, as no more development or mutation is intended. In the eyes of photographer Kate Steinitz simply the context of the Merzbau transforms a bottle of urine, which had been used in the composition, into gold. In much the same way is the meaning of the diamonds dependent on the context of the structure. The structure and the diamonds are like a coordinate system with marked points for the space in which they are exhibited in. In everyone of them the information chaos of the structure is depicted in the facettecut of the diamonds. Referring to Vilèm Flusser the objects are aesthetically visualised waste. In this case they do not run the risk of pretending to be nature, in order to disappear under the cover of vegetation; the smell of waste sticks to the diamonds despite the aesthetical value.