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KEG APARTMENTS
KEG APARTMENTS
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KEG APARTMENTS
KEG APARTMENTSAn important aspect of what we could
name "civilization of today"
lies on the possibility of rearrangement
of existing things. We detect this
civilization of rearrangement when we
think about a growing dj culture or the
culture of curating. These 'post
production' instances mark the will to
elaborate a plethora of a heterogeneous
set of existing elements through a
single move of selecting: this selecting
act determines the character of each
particular choice. These post-production
works are analogue to works of a
particular collage. We can think about
the civilization of today as a multitude
of desperate moves to reorder a huge
storehouse of juxtaposed elements. This
particular rearrangement is in the same
time a move that determines unifications
of the multiple and in the same time it
requires the handling of an existing
material in a way that this material
gets a new meaning. In this new
aesthetics of quantity, the idea of
rearrangement can be considered as a
type of creation. I remember Walter
Benjamin's idea about what an essay
could be: a series of fragments: the
essayist was called to put in a line
those fragments and to take care and
handle the junctions between them. Then
the whole work was not an accumulation
but something different, a passage
between fragments. Today this exact line
and the junction are no longer needed.
We seek for interesting
re-appropriations provoking approaches
of different elements, transformations
of the given. This aesthetic orientation
brings a new meaning of simple collage
techniques. Collage is not now just a
creative act of putting together
different elements in a Max Ernst
rationale. We are forced to put together
old existing things in order to act as
creators. The existing things are
destinated to be the creative material
of tomorrow. Collage is rather an
intellectual attitude and a way of
conceptual condensation than a simple
technique. It requires our comprehensive
action in order to re appropriate the
given. An appropriation is a type of
inhabitation.
The series of my 'real fake' works and
my 'stable vehicle' works are proposing
such inhabitations. In the 'stable
vehicle' series I use existing
transportation wagons of different types
in order to think about this particular
garbage as a system of 'abandoned
spaces'. They form rooms that can still
move or can function again as movable.
They can be used as holiday rooms or as
small office places, if we think of them
as places equipped with network
collections.
What is exactly a design in such a
procedure, as could be the keg
apartment, for instance? I could answer:
a particular naming. Or: a deformation
of a find. In this archeology of the
given we are called to discover, crop,
cut, paste, distort and transform. This
intellectual act is ruled by some
commands of photoshop. Images have a
strange role in this particular
archeology of the excess. We share its
items as if we share concepts. I
remember Sol Lewitt's sentences on
conceptual art that may take a different
meaning here: 'Ideas can be works of
art'. 'If words are used, and they
proceed from ideas about art, then they
are art and not literature; numbers are
not mathematics'. 'All ideas are art if
they are concerned with art and fall
within the conventions of art'. A
constructive naïveté is under
preparation, where naming and defining
is in the same time identified to the
artistic character and to the 'work of
art' 'itself'. We detach fragments from
their background and rediscover new
possible promises that they could give
us. An ironic post digital culture will
investigate the depth of this present
civilization of the plethora.
The keg apartment is proposed as a
program. One can also recognize
different strata of architectural
solutions in this work. They are grouped
here in two versions. The keg wagons can
be detached from their cars and can form
more stable units for a certain period.
A big circular window can be introduced
in the vehicle's cylinder towards the
car's side with the use of an enforced
circular frame. This will give the form
of a window open to the driver's section
or to any chosen view if the keg stops
in a particular way. The circular window
can also serve as a projection screen
surface if a special tissue is unfolded.
name "civilization of today"
lies on the possibility of rearrangement
of existing things. We detect this
civilization of rearrangement when we
think about a growing dj culture or the
culture of curating. These 'post
production' instances mark the will to
elaborate a plethora of a heterogeneous
set of existing elements through a
single move of selecting: this selecting
act determines the character of each
particular choice. These post-production
works are analogue to works of a
particular collage. We can think about
the civilization of today as a multitude
of desperate moves to reorder a huge
storehouse of juxtaposed elements. This
particular rearrangement is in the same
time a move that determines unifications
of the multiple and in the same time it
requires the handling of an existing
material in a way that this material
gets a new meaning. In this new
aesthetics of quantity, the idea of
rearrangement can be considered as a
type of creation. I remember Walter
Benjamin's idea about what an essay
could be: a series of fragments: the
essayist was called to put in a line
those fragments and to take care and
handle the junctions between them. Then
the whole work was not an accumulation
but something different, a passage
between fragments. Today this exact line
and the junction are no longer needed.
We seek for interesting
re-appropriations provoking approaches
of different elements, transformations
of the given. This aesthetic orientation
brings a new meaning of simple collage
techniques. Collage is not now just a
creative act of putting together
different elements in a Max Ernst
rationale. We are forced to put together
old existing things in order to act as
creators. The existing things are
destinated to be the creative material
of tomorrow. Collage is rather an
intellectual attitude and a way of
conceptual condensation than a simple
technique. It requires our comprehensive
action in order to re appropriate the
given. An appropriation is a type of
inhabitation.
The series of my 'real fake' works and
my 'stable vehicle' works are proposing
such inhabitations. In the 'stable
vehicle' series I use existing
transportation wagons of different types
in order to think about this particular
garbage as a system of 'abandoned
spaces'. They form rooms that can still
move or can function again as movable.
They can be used as holiday rooms or as
small office places, if we think of them
as places equipped with network
collections.
What is exactly a design in such a
procedure, as could be the keg
apartment, for instance? I could answer:
a particular naming. Or: a deformation
of a find. In this archeology of the
given we are called to discover, crop,
cut, paste, distort and transform. This
intellectual act is ruled by some
commands of photoshop. Images have a
strange role in this particular
archeology of the excess. We share its
items as if we share concepts. I
remember Sol Lewitt's sentences on
conceptual art that may take a different
meaning here: 'Ideas can be works of
art'. 'If words are used, and they
proceed from ideas about art, then they
are art and not literature; numbers are
not mathematics'. 'All ideas are art if
they are concerned with art and fall
within the conventions of art'. A
constructive naïveté is under
preparation, where naming and defining
is in the same time identified to the
artistic character and to the 'work of
art' 'itself'. We detach fragments from
their background and rediscover new
possible promises that they could give
us. An ironic post digital culture will
investigate the depth of this present
civilization of the plethora.
The keg apartment is proposed as a
program. One can also recognize
different strata of architectural
solutions in this work. They are grouped
here in two versions. The keg wagons can
be detached from their cars and can form
more stable units for a certain period.
A big circular window can be introduced
in the vehicle's cylinder towards the
car's side with the use of an enforced
circular frame. This will give the form
of a window open to the driver's section
or to any chosen view if the keg stops
in a particular way. The circular window
can also serve as a projection screen
surface if a special tissue is unfolded.
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