Waste Landscape #1
07-09 2011
Location: LE CENTQUATRE Cultural Center - Paris - France
Curating: José-Manuel Gonçalves
Medias : 60 000 unsold CD, unflatable.
Surface : 600m2
Collaboration : C.Eliard Architect
Partners : Universal Music, La Poste, Sofricel


Interview by Jovan Lip for viction, Hong Kong.

What was WasteLandscape produced for?

Waste Landscape is born of a desire to create an art installation that the production process would self-financing and an infinite number of formal proposals. I wanted a material that allows a global project with which each step would have same importance. The installation itself is not a goal in itself. Purpose, it will be recycled.

What was the first thought that immediately popped into your head when you were approached for the project?

My first thought when I pondered a representation possible of the contemporary landscape turned into a desert of plastic, a symbol of the vision of western society in the second part of the 20th century. In that way, the CD is a very symbolic creation of this vision of the economy and of this period. The planned obsolescence, short-term technology, entertainment and use of polycarbonate married for better or for worse. The other issue is to represent an invisible landscape: the buried landscapes that are hidden or are aestheticize today: monumental waste disposal for example.

Did you choose CDs as the core medium of expression? What kind of preliminary work was necessary before WasteLandscape started to take shape?

Weaving CD was a fundamental step to design the project. Each CD has been pierced by three points and flakes with woven wire to assemble large homogeneous layers without damaging the material. This technique has helped preserve the polycarbonate forecast total recycling facility.
Inflatable domes were designed to measure. The idea of ​​using the force of the wind as mounting element has been a great economy of materials and resources.
The CD is intended to be recycled can be back in the plastics industry in the form of primary secondary material.

The project invited the public to walk around, explore and enjoy the manmade landform like a real natural landscape. What kind of experience did you intend to bring to the public/space during the event?

Double or triple reading project is important: I sought to create a facination with the beauty or the poetic installation. The first emotion, aesthetic contrast with the cynicism that tells the CD object. Accumulation, weaving, traditional aspect of production can be another door. It took a lot of time and patience to weave by hand 65,000 CD. I like the idea that a large audience can apreciate this propostion and diversity of experiences shows its richness: Playground for children, puzzle economic questionnments ecological, aesthetic ...If the impact is purely aesthetic, it is not satisfactory. The role of the installation, it is also witness to his time, provide critical vision, not necessarily negative. Initiate discussions, out of the sphere of contemporary art that also is rooted in the social and economic reality. A game between art, reality, the desire for a great read public.

How do size and scale matter to your project/the event?

The scale is important to reinforce the double reading. By far this is something near and it is nothing. The illusion of a landscape massive, solid and precious is lost when the unity and simplicity of the CD revealed. The metallic works only when the mass of CD is important.
As a scultpure or landscape, the multiplicity of viewpoints is turning, walking to discover progressively. Some see a boiling sea of ​​mercury, other scales of a fish reptile. Under the canopy of the "CENTQUATRE", natural light is its effect on the CD. Sun or cloud, the installation is not the same.

What was it like creating and building such an extensive installation? What were the things that required special attention during the process?

We did not have the resources to conduct a technical study, to do a prototype or a test. CD woven could not bear the strain of the domes. It could break at any time during the first inflation. Thousands of CD now form an armor of scales. Dunes took shape the bet was won on the day of the opening. The whole process was extremely intuitive.

The exhibition locations were also key to the project's objective. How do you think art facilitate communication with the public?

The choice of locations must be consistent with the challenges of project. The "CENTQUATRE", art space housed in a former public morgue in Paris, located in the nineteenth arrondissement. It is the desire to be in a public space, popular and access free. People could see the installation by accident on their way. During the few days that preceded the show, we got out of our production studio. Walkers were able to see the weaving in the hall and it has raised many questions, many exchanges and volunteers spontaneously joined the project. I really apreciated this experience. The appropriation of the concept by the public is spent by a simple choice of production has allowed the participation and support of the public. If the work is born in a Parisian workshop streets between Aubervilliers and Curial, the goal is to see it grow, develop and even turn to other cities Her next exhibition will be held at the Hague (Holland) for the Todays Art festival.

Where did CDs go after the event?

A new form of landscape, a new Waste Landscape will take place in The Hague on 22 September 2012.
if Waste Landscape not traveling more CDs will be recycled by a factory.

Are you planning on or hoping to produce the likes of WasteLandscape in the near future?

"Water Carrier" is my new project. It is 8 "meteorites" giant floating on a river about 300 meters. Millers made ​​of test tubes containing food coloring, installation evolve with the weather. The exhibition will for the sleepless night of Kosice (Slovakia) on 06 October 2012.
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