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CARTON
CARTON
Avenue Mohamed V, Kénitra, Morocco
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CARTON
Avenue Mohamed V, Kénitra, Morocco
Firm
YEAR
2004
The working
with "people off the street" project" aims to put me in touch
with the general public in the Moroccan city of Kenitra. The point of this project is to
build some coherence between different forms of artistic presentations. It also
depends, equally on creating interpersonal, intercultural and interdisciplinary
links. In the absence of all official commissions and public needs, the
objective is to invite oneself to create public art, which could be termed
"self commission" and only by relying more and more on artists
working in the realm of public art. These artists accept the risk of
dialogue and coming face to face with the general public, hoping to initiate
new schools of thought and new ideas in public opinion. During this
project my aim was to meet the passer-by and to lead him/her towards these
sophisticated debates on art and architecture. Through "people off the
street" I was looking to reinvent new communication and creation methods
by using art.
The Moving
Urban Sculpture is a sculpture that lives and grows in the urban space within
the city of Kenitra by impregnating/filling itself with its
qualities and by revealing at the same time its flaws. It livens up noticeable
parts of the city. For its inhabitants, this is a sign of them showing an
interest in their public space, the M.U.S makes people take part in its
development, it is inspired by people, its development /growth is influenced by
how they operate. It takes away a part of their designated cultural space to
make them participate in the installation.
What is
most important is for people to see it as their own object and work. As far as
I am concerned, what matters the most is not the outcome of these operations or
the form taken by Urban Sculpture in Movement at the end of each operation but
what it produces during the move, how it engages people in its wake and above
all what it produces in terms of animation while it is being
displayed. How do people experience it and what do they do with it? Does
it offer them answers to the urban dilemmas they have lived through or, just
visual urban animated pleasure? The mounting and constructing stage is as
important as the result or people's contribution. The performance involves
getting as many people as possible involved and making them interested in their
public space. The role of the body in movement, understanding the work, the
aesthetics of the footpath, the relationship between strolling and memory,
walking sparks off all sorts of sensations, stimulating the senses. Instead of
presenting itself as a series of sparse objects and individuals, the sculpture
is presented to the walker as a complex system in which the traveller is
an integral part of it. We now have access to details that were
microscopic and peripheral before. Yet, reintroducing the body into sculpture
is not worthless.
with "people off the street" project" aims to put me in touch
with the general public in the Moroccan city of Kenitra. The point of this project is to
build some coherence between different forms of artistic presentations. It also
depends, equally on creating interpersonal, intercultural and interdisciplinary
links. In the absence of all official commissions and public needs, the
objective is to invite oneself to create public art, which could be termed
"self commission" and only by relying more and more on artists
working in the realm of public art. These artists accept the risk of
dialogue and coming face to face with the general public, hoping to initiate
new schools of thought and new ideas in public opinion. During this
project my aim was to meet the passer-by and to lead him/her towards these
sophisticated debates on art and architecture. Through "people off the
street" I was looking to reinvent new communication and creation methods
by using art.
The Moving
Urban Sculpture is a sculpture that lives and grows in the urban space within
the city of Kenitra by impregnating/filling itself with its
qualities and by revealing at the same time its flaws. It livens up noticeable
parts of the city. For its inhabitants, this is a sign of them showing an
interest in their public space, the M.U.S makes people take part in its
development, it is inspired by people, its development /growth is influenced by
how they operate. It takes away a part of their designated cultural space to
make them participate in the installation.
What is
most important is for people to see it as their own object and work. As far as
I am concerned, what matters the most is not the outcome of these operations or
the form taken by Urban Sculpture in Movement at the end of each operation but
what it produces during the move, how it engages people in its wake and above
all what it produces in terms of animation while it is being
displayed. How do people experience it and what do they do with it? Does
it offer them answers to the urban dilemmas they have lived through or, just
visual urban animated pleasure? The mounting and constructing stage is as
important as the result or people's contribution. The performance involves
getting as many people as possible involved and making them interested in their
public space. The role of the body in movement, understanding the work, the
aesthetics of the footpath, the relationship between strolling and memory,
walking sparks off all sorts of sensations, stimulating the senses. Instead of
presenting itself as a series of sparse objects and individuals, the sculpture
is presented to the walker as a complex system in which the traveller is
an integral part of it. We now have access to details that were
microscopic and peripheral before. Yet, reintroducing the body into sculpture
is not worthless.
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