tag:blogger.com,1999:blog-8749497428141395902024-02-18T23:01:53.584-08:00dan petermanUnknownnoreply@blogger.comBlogger32125tag:blogger.com,1999:blog-874949742814139590.post-69232812609362404472020-01-30T07:50:00.003-08:002020-11-02T13:08:24.250-08:00sulfur cycle<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_i7yPwu7R865v4EaONVbpAdV1UUE7tLDeDzoKFpgyxOBeaIKERI5XKhPxNqRQ0Dz4NoI9bXMPohooQphDmFzIKUzYfMjMm8qPVvvLU7YS2JHb12kDXuFWC7jRLQyZuYDSZCPqz_bJefw/s1600/032-sulfur+cycle+MCA+install+copy.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_i7yPwu7R865v4EaONVbpAdV1UUE7tLDeDzoKFpgyxOBeaIKERI5XKhPxNqRQ0Dz4NoI9bXMPohooQphDmFzIKUzYfMjMm8qPVvvLU7YS2JHb12kDXuFWC7jRLQyZuYDSZCPqz_bJefw/w320-h213/032-sulfur+cycle+MCA+install+copy.jpg" width="320" /></a></td></tr>
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<i>Sulfur Cycle</i> was realized as a solo project, Options: 48, at the MCA in 1994 and was among the last exhibitions at the museums former site on Ontario Avenue. The exhibition consisted of seven one-ton stacks of gypsum wallboard that collectively contained one ton of sulfur captured in a pollution control process related to burning coal for electrical production. Sulfur diverted from the atmosphere is thereby chemically bonded in a form of synthetic gypsum. A six page brochure (reproduced below) accompanied the exhibition along with a certificate confirming a “transaction” from the SO2 sulfur emission rights trading market at the Chicago board of Trade that authorized the museum to emit one ton of sulfur into the atmosphere. This one-ton emission right expired in 2001–meaning that this sulfur was “prevented” from being emitted into the atmosphere. This dynamic interconnection of industry, ecological interests, pollution trading markets innovation and end use as a building material are reflections of Chicago's bioregional complexity and interconnectedness.<br />
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The current status of the Sulfur Cycle project is that the single ton of sulfur that was exhibited in the former museum, now resides in the walls of the current museum. Although never formally acquired by the museum as an artwork the ton of sulfur is permanently, yet invisibly, on display.<br />
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Project curated by Lynne Warren. Brochure essays by Lynne Warren and Dan Peterman<br />
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<span id="docs-internal-guid-b121d926-7fff-41b5-c220-8467c8542282"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Upcoming:</span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> <b>Sulfur Cycl</b></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>e 2.0 </b> </span></span><br />
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<span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Twenty-five years after the original Sulfur Cycle project was realized, </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Sulfur Cycle 2.0 </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">aims at a second exhibition that revisits and “excavates” the original pollution by-product as part of a uniquely sustained long term environmental art inquiry. </span></span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"> Museum of Contemporary Art in Chicago in December 2020</span><br />
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<tr><td class="tr-caption" style="text-align: center;">High sulfur coal at Bailly Power station</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Bailly Power station, Chesterton Indiana</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">7 one-ton stacks of synthetic gypsum drywall</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Exhibited drywall containing one ton of diverted sulfur</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">model of new museum w/ sulfur location indicated</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">The <b><i>Ingot project</i></b> explores material scavenging and recycling networks in both Athens, Greece and Kassel, Germany including research visits to landfills, scrap dealers, buybacks, storage yards and regionally based manufacturers. <span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A recycled metal ingot–in the context of complex waste and recycling enterprises–functions as a complex object of transformation: an <i>in-between</i> object resting between a generation of obsolete, and disintegrating <i>things</i>; and a future generation of <i>things</i> not yet manufactured. An ingot is designed to await further processing. It is matter in a modular holding pattern–whether it is in storage, or circulating like a primitive form of currency. The moment of its manufacture—when molten metal is poured into the ingot mold—marks a transition from industrial waste processes, cash-only <i>grey market</i> scavenging enterprises, and other drifting currents within the waste stream; to global commodity markets and up-to-the-minute valuations.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Ingot project explores two material networks: copper and iron. Materials that have deeply impacted European history from earliest bronze age developments to developments in 19th and 20th century iron industry. Both materials continue to play important roles in contemporary manufacturing, scavenging, and recycling processes.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">copper ox-hide ingot 12th century BCE </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Athens Archeo. Museum</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">ATHENS (copper)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The <i>Athens Ingot Project (copper)</i> established a small-scale production of copper ingots utilizing a hand made circular “ingot casting” table that Peterman discovered in a local scrap yard and purchased from the owner.<span class="Apple-converted-space"> </span>With heavy steel construction and turn-table design, this simple device offered the possibility of endless ingot production, and opened an avenue for engaging in local material networks. The ingot-casting table is exhibited at D14 at the EMST venue in Athens, along with ingots produced with the table in a local foundry, and a stock of scrap copper wire and pipe. These elements, while static in the current exhibition, retain the potential to be<span class="Apple-converted-space"> </span>re-activated, and put into ingot production in other cities, and other scrap metal networks. One of the ingots produced in Athens is being displayed in the Numismatic Museum of Athens.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Athens has a dense urban landscape and material networks energized by active street scavengers, diverse recycling businesses, and the international trade through the port of Pireus. The severe stresses of enforced economic “austerity measures” have heavily impacted business owners and more isolated scavengers as they scramble to develop strategies for managing their material operations under increasing difficult economic conditions. Global economic pressures mount as the new harbormasters of Pireus–the chinese shipping conglomerate Cosco as of 2016–streamline the flow of cheap asian goods and commodities into Greece and the European market.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The specific focus on ingots and ingot production was triggered by the copper “oxhide” ingot on display in the National Archeological Museum of Athens—followed by researching the “Ingot God” from Enkomi, Cyprus; a bronze, spear-toting<span class="Apple-converted-space"> </span>“smiting figure” typical except that it had been uniquely retrofitted to a <i>surfing</i> stance atop a copper ingot; a deity locally adapted to the production and trade of copper ingots.<span class="Apple-converted-space"> </span>These historical objects and networks of circulation, and recycling, provided a counterpoint to contemporary copper recycling that includes scavenging of wire and pipe extracted from unsecured or abandoned buildings, wire stripped from from electric motors, and at times even copper elements removed from functioning city infrastructure. (The severity of an economic crisis in proportion to the intensity of localized scavenging activity).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=874949742814139590#editor/target=post;postID=8055018564793689815;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=27;src=link">Link to additional images and information</a> </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">KASSEL (iron)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In Kassel, The project followed consumer scrap networks into larger industrial recycling processes that link both consumers and industries; including local manufacture of vehicles and military equipment in Kassel, to the broader german economy.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For this project Peterman collaborated with DK in Duisberg Germany one of Europe’s oldest recycling companies that through a unique manufacturing process, recovers iron from the waste dusts produced by other european iron and steel factories. The dust–produced in large quantities and typically a disposal problem–is turned into high quality iron ingots.<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For Peterman this project is an extension of his diverse art making strategies tethered to waste processes and recycling that he has pursued since the mid 1980’s. His materially eclectic, and interdisciplinary work creates occasions for interaction in various industries, exchanges, and social networks, that deepen understanding of pre-existing conditions; opening new perspectives on the way things work, networks function or dysfunction, or seemingly scattered parts interconnect.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Central to this project is the recycled metal ingot itself–an <i>in-between</i> object;<span class="Apple-converted-space"> </span>an object that rests between a generation of obsolete, and now <i>disintegrated</i> things, and a future generation of things not yet manufactured. The ingot is matter in a holding pattern–static and in storage, or circulating like a primitive form of currency– its primary, and mostly unseen task is to await further processing.<span class="Apple-converted-space"> </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Brochure produced for Documenta 14 aimed at drawing parallels between the two ingot projects, both cities of Athens and Kassel, and the two material histories of iron and copper.</span></td></tr>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-48381087167648876362020-01-28T13:45:00.000-08:002020-06-14T09:51:00.486-07:00things that were are things again<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG7vHk5FEabX90hd5PogumdEUPcOpd3oyXQ_t-YT7OvKFtTtHJbKn89V2956B-z_phb4xn-Shf_hM-yBOh-4izihMBqxZXlvyuo1Ej7ZQAVg68NkzwQwS3hM8vgTjQxj8DR_74337XtrY/s1600/5-04370023.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG7vHk5FEabX90hd5PogumdEUPcOpd3oyXQ_t-YT7OvKFtTtHJbKn89V2956B-z_phb4xn-Shf_hM-yBOh-4izihMBqxZXlvyuo1Ej7ZQAVg68NkzwQwS3hM8vgTjQxj8DR_74337XtrY/s320/5-04370023.jpg" width="320" /></span></a></div>
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;"><i>Things that were are things again</i> is a project that was initiated in the mid 1980's and represents an early exploration of local economies of scrap materials, scavenging, and recycling networks. The process of production was simple and open-ended. It involved melting scrap aluminum objects and open-casting the metal in shallow molds made by pressing objects into soil. These shallow molds capture an imprecise, foot-print like a trace of the original object, the identity of which is sometimes clear and sometimes not. The cyclical, transformative nature of the process suggests an interconnected universe of objects captured or documented by this primitive, transformative, mode of production. The castings themselves find a new state of being--neither renovated nor renewed but part of a growing archive of ragged "things made from other things", each piece capturing the brief moments, and chance occurrences of cooling and solidification.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Things that were are things again </i>have been exhibited in variously configured installations, in New York, Berlin, and Paris.</span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-36622799127854638592020-01-27T11:27:00.000-08:002020-05-30T11:41:28.498-07:00villa deponie (house from the landfill)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ4VdsjP03VsUq9wIwgtSUpRTda57wHqB67dIpxMak7vhDeTixuZOmDTiMByax2Ur1aOC-6MU4GjN_Z7mzxwOxUsRto8Tc4oTUF-O-UaiS9z_-AGQCp0EBAzaegIhbgOxklB5-faBEEtM/s1600/1-vd1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ4VdsjP03VsUq9wIwgtSUpRTda57wHqB67dIpxMak7vhDeTixuZOmDTiMByax2Ur1aOC-6MU4GjN_Z7mzxwOxUsRto8Tc4oTUF-O-UaiS9z_-AGQCp0EBAzaegIhbgOxklB5-faBEEtM/s320/1-vd1.JPG" width="320" /></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvBpGmz1ZFA6dVgggaKd_AT_ewAHHoJV0Q2xcbLUDsyVfNAooVpOUFmp4-3k6j6w-UxQtWmEE02sI1EstbqvySPL3GcJYaGcH4uCMX-N2D_3jAFaZIBTfIAQzN0bOCwd5xmV93Dc2MBE/s1600/06-DSCF0166.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvBpGmz1ZFA6dVgggaKd_AT_ewAHHoJV0Q2xcbLUDsyVfNAooVpOUFmp4-3k6j6w-UxQtWmEE02sI1EstbqvySPL3GcJYaGcH4uCMX-N2D_3jAFaZIBTfIAQzN0bOCwd5xmV93Dc2MBE/s320/06-DSCF0166.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mountainside landfill structure with temporary roof near Brixen in N. Italy</td></tr>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"><span style="font-size: small;"> “Villa Deponie” was built by Chicago-based artist Dan Peterman in 2002 and publicly displayed during a three-day outdoor festival in the South Tyrolian city of Brixen, Italy. It appeared as a small, animated house, similar to mountain cabins used locally by hikers or alpine farmers, but with a Keaton-esque front wall which had seemingly fallen open. The structure was also covered, inside and out, with a visually dynamic, recycled material that Peterman had acquired from the regional waste handling association of South Tyrol. As with many of his projects, the specific material choice opened the door (or entire wall in this case) on a complex set of ecological, social, and technological issues related to human impact on the environment and the management of waste.</span> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY_p2mGO1hXaYfc0q-fwCVx9apSyxLHX0WQd3W8xZbV4wt_P7Sm_hRidyZXT-3S7lh98KHv6YH5tFHNHNKaZ4CUqLALvZ73zwgKCZ2Pe2pMtK_w54KLLEtd-b2mCHqhq7eTm2BJ__TXXw/s1600/07-DSCF0159.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY_p2mGO1hXaYfc0q-fwCVx9apSyxLHX0WQd3W8xZbV4wt_P7Sm_hRidyZXT-3S7lh98KHv6YH5tFHNHNKaZ4CUqLALvZ73zwgKCZ2Pe2pMtK_w54KLLEtd-b2mCHqhq7eTm2BJ__TXXw/s320/07-DSCF0159.JPG" width="320" /></a></div>
<span style="font-family: "arial";">The visually dynamic appearance of this material--recycled from shoes, ski boots and assorted recreational equipment--was incidental to its intended function. This material was, in fact, manufactured for use as a necessary technical component in the design of the local landfill (deponie): a tough, cushioning material that would prevent damage to the perimeter plastic liner while garbage was densely compacted into the site. Although recycled from the waste stream, this material was ironically doomed to be buried as part of the structure of the landfill itself. </span><br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: small; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">With “Villa Deponie,” Peterman reversed the usual flow of waste material from home to landfill, literally bringing the “house from the landfill” back into the city. In doing so, he playfully opened up issues of global concern related to the flow of waste materials, while simultaneously exploring a locally compelling connection between humble, vernacular structures and the unique architecture of a mountainside landfill (deponie) carefully engineered to minimize contaminating the highly sensitive mountain environment that surrounds it.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpPHiWJFOwV-QoEe_xCfZUms948p8Ral8KBrmLauoNxkAPaottvu1nNpzDX7WLRvJpYS0bYpEn0LsGXC1JleQLOy_5ZyJHCbkKGi1gGci4RCVvLdh1krhekpeZu-6E4-SArQNOBkl4mkQ/s1600/10-DSC02492.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpPHiWJFOwV-QoEe_xCfZUms948p8Ral8KBrmLauoNxkAPaottvu1nNpzDX7WLRvJpYS0bYpEn0LsGXC1JleQLOy_5ZyJHCbkKGi1gGci4RCVvLdh1krhekpeZu-6E4-SArQNOBkl4mkQ/s400/10-DSC02492.JPG" width="400" /></a></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: x-small; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">In addition to the </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: x-small; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Fest/Kunst</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: x-small; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> festival in Brixen Italy, </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: x-small; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Villa Deponie</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: x-small; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">,
has also been exhibited in Berlin, Germany; Miami, Florida; and now
resides in the permanent collection of the Museum of Contemporary Art in
Chicago, Illinois.</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuKN4jgaxN1KU_j7zv3ItH9UcFlennfhU_LCwEvkKvlpqnxj1sqMtkRTQ7umf6-7J-uClCCP2olUMfQH2mBU5g8gZpekgIZ09cAMusUdSoc9FHim9JnPwTFMbZWxF6S0lD8_mmD3Zuhb4/s1600/2-vd3.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuKN4jgaxN1KU_j7zv3ItH9UcFlennfhU_LCwEvkKvlpqnxj1sqMtkRTQ7umf6-7J-uClCCP2olUMfQH2mBU5g8gZpekgIZ09cAMusUdSoc9FHim9JnPwTFMbZWxF6S0lD8_mmD3Zuhb4/s400/2-vd3.JPG" width="400" /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-45183078288772300312020-01-26T21:13:00.000-08:002020-06-14T13:42:55.572-07:00finishing room<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFKL9BE4nIJ2l7SlKkhpfqabrXgmcbZ3yUTTZ_DnEKxPaqqFAe4og6-n4c-beu23LDs-9vOgLZxNfGOMMo7GNN5DbZN4sJDFV6WjDIKKGxG9SsZo6-H5XRGJ1zmHamWJ0oNNKl9R9g8Fw/s1600/eSeL_Struktur-Organismus12-0330.jpg"></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3kTTq6pSv4pDJe1X-px2Wm_pDP0i0quBv96_J7uyMdGhG2ubkdEJ5R5B8K4Tqd6NcWc6iTolK8o2GKbkrM21_wwwM7eQqyuw2apvr_NV2uw-Z1qB3DOPvTDOhiE1wv7KUG5Cn0oeLr-0/s1600/eSeL_Struktur-Organismus12-1424.jpg"><img alt="" border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3kTTq6pSv4pDJe1X-px2Wm_pDP0i0quBv96_J7uyMdGhG2ubkdEJ5R5B8K4Tqd6NcWc6iTolK8o2GKbkrM21_wwwM7eQqyuw2apvr_NV2uw-Z1qB3DOPvTDOhiE1wv7KUG5Cn0oeLr-0/s320/eSeL_Struktur-Organismus12-1424.jpg" style="clear: both; float: left; margin: 0px 10px 10px 0pt;" width="320" /></a><br />
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<i>Finishing room</i> is an ongoing project with an accumulating archive of organic goat cheeses. Each of these projects is initiated with the help of a local cheesemaker whose product provides a starting point; a unique artisanal expression of the region. Fresh, locally produced organic goat cheeses are brought to each installation where, over time, they age over the course of the exhibition. During this time they inevitably play host to diverse microbiological interactions that occur within the exhibition space. As the cheeses age and harden they create a surprisingly durable, microbiological document of the particular time and place of the exhibition--that includes the invisible microbiological culture that a living breathing art audience brings to the situation. The end product of the each exhibition is added to a growing <i>Finishing room</i> archive of ripened, desiccated cheeses--each absolutely unique in microbial make-up. Finishing room installations function in a manner similar to highly controlled "finishing" operations employed by cheesemakers, but here they open the door to random microbial interactions--contamination becoming the attraction and as it enlarges the pool of captured microbial data. These projects are an extended exploration of site-specificity, and the concept of <i>local</i>. Installations include a variety of adapted structures within gallery and museum, as well as various outdoor settings, that create enclosed hyper local micro-climates that activate the "finishing" process and create an intimate encounter with the complex nutrients on display. Past installations in Germany have taken place at Galerie Klosterfelde Berlin, Kokerei Essen, Muldorf Austria, Overbeck-gasellschaft Luebeck, ABC Art Berlin, and other sites.<br />
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<a href="https://vimeo.com/124747793">Link to video tour of Muldorf, Austria installation</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7W7HLjsigxnDQO3d5VlW8tsU1Ebo_MRxsRbbXhhx3ISOy5r4EbwY4g8PiOJdiLaEenym2jghkIwHXreSQ72aE2TWZCs9w6kcWEM0f2q-UfGSUBtKRCHdfsaDeZUAh4SI8iBTCXytqeac/s1600/eSeL_Struktur-Organismus12-0868.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7W7HLjsigxnDQO3d5VlW8tsU1Ebo_MRxsRbbXhhx3ISOy5r4EbwY4g8PiOJdiLaEenym2jghkIwHXreSQ72aE2TWZCs9w6kcWEM0f2q-UfGSUBtKRCHdfsaDeZUAh4SI8iBTCXytqeac/s400/eSeL_Struktur-Organismus12-0868.jpg" style="clear: both; float: left; margin: 0px 10px 10px 0pt;" width="266" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3kTTq6pSv4pDJe1X-px2Wm_pDP0i0quBv96_J7uyMdGhG2ubkdEJ5R5B8K4Tqd6NcWc6iTolK8o2GKbkrM21_wwwM7eQqyuw2apvr_NV2uw-Z1qB3DOPvTDOhiE1wv7KUG5Cn0oeLr-0/s1600/eSeL_Struktur-Organismus12-1424.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3kTTq6pSv4pDJe1X-px2Wm_pDP0i0quBv96_J7uyMdGhG2ubkdEJ5R5B8K4Tqd6NcWc6iTolK8o2GKbkrM21_wwwM7eQqyuw2apvr_NV2uw-Z1qB3DOPvTDOhiE1wv7KUG5Cn0oeLr-0/s320/eSeL_Struktur-Organismus12-1424.jpg" style="clear: both; float: left; margin: 0px 10px 10px 0pt;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_9vlKAHJwTKl_m2OQx_NrcgdxmHadxNHh0Xw1oVSqRUJ0JmPNJiWY0jBFIK3k_xAZJFs-y2NQ-52FpoDed1gmcRrSGDvV2htXz-O4wtqK6pNxyny2Bv-qyqvm5YFO3yihBS6KqVE7a0/s1600/eSeL_Struktur-Organismus12-0792.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_9vlKAHJwTKl_m2OQx_NrcgdxmHadxNHh0Xw1oVSqRUJ0JmPNJiWY0jBFIK3k_xAZJFs-y2NQ-52FpoDed1gmcRrSGDvV2htXz-O4wtqK6pNxyny2Bv-qyqvm5YFO3yihBS6KqVE7a0/s320/eSeL_Struktur-Organismus12-0792.jpg" style="clear: both; float: left; margin: 0px 10px 10px 0;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1LBc5FDgK3aqjnbfwxejpiFsDh4ggiyF6mui09Q0rBHHbh4zOS_HCAfOc2b7yVFxifdh04MPjxDHwh1tpHclG3nQ6MkDWq5QoqXlqTHNx4EalBI21F0J_W03zNtNEW2RJB-yyVGNYIIY/s1600/eSeL_Struktur-Organismus12-1394.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1LBc5FDgK3aqjnbfwxejpiFsDh4ggiyF6mui09Q0rBHHbh4zOS_HCAfOc2b7yVFxifdh04MPjxDHwh1tpHclG3nQ6MkDWq5QoqXlqTHNx4EalBI21F0J_W03zNtNEW2RJB-yyVGNYIIY/s320/eSeL_Struktur-Organismus12-1394.jpg" style="clear: both; float: left; margin: 0px 10px 10px 0pt;" /></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga2pRvjyRsIuDtGJ3d0KiPc0j13cuI0f92asBKhQXT3r_nCtGPK6btVL-nWCBqRMshITP2IZJSJSTkqVMVb7_JQk8jTIfeyt9pT0lhYq7AkTmFmtu26f15W5TiteBZii0od34nLwiyvlA/s1600/DSC01311.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga2pRvjyRsIuDtGJ3d0KiPc0j13cuI0f92asBKhQXT3r_nCtGPK6btVL-nWCBqRMshITP2IZJSJSTkqVMVb7_JQk8jTIfeyt9pT0lhYq7AkTmFmtu26f15W5TiteBZii0od34nLwiyvlA/s320/DSC01311.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sample from the Finishing Room archive, 1999, Berlin.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNvB_tPzGDGsuMEd-PslFZs4-ALMnE5jCg2REoFMioSfobGnpcBc6G1FDaxLvwbcgHO_1XjR-BxRdIQGoDfohzzyWDrMEAOsfVvnCq3M7MAOyAypc63RNy_RglCB0766KO6m7vry-b84M/s1600/DSC01418.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNvB_tPzGDGsuMEd-PslFZs4-ALMnE5jCg2REoFMioSfobGnpcBc6G1FDaxLvwbcgHO_1XjR-BxRdIQGoDfohzzyWDrMEAOsfVvnCq3M7MAOyAypc63RNy_RglCB0766KO6m7vry-b84M/s320/DSC01418.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> 2009 Lübeck, Germany<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_nY_WfwssdBX5p67p_V5fQSEt33CD77NWgTejqgBdf0oqd9TTvceKO3RUVsmxpscqJp6BBqeDcdD3SwDK8Qrk6WRj__APx5JY6i1ah8IKe7LlOdjnZMxDC4f_tWC7m9m_ra6f64C5O5s/s1600/DSC01421.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_nY_WfwssdBX5p67p_V5fQSEt33CD77NWgTejqgBdf0oqd9TTvceKO3RUVsmxpscqJp6BBqeDcdD3SwDK8Qrk6WRj__APx5JY6i1ah8IKe7LlOdjnZMxDC4f_tWC7m9m_ra6f64C5O5s/s320/DSC01421.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> 2009 Lübeck, Germany</td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-55491366377181443742020-01-25T16:11:00.000-08:002020-06-13T10:21:37.965-07:00store (cheese)<br />
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<span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Store (cheese)</span></h3>
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<span style="font-family: Arial; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This project stems from events described in the June 20 and June 27, 1991 editions of the Sentry- Enterprise newspaper in HIllsboro, Wisconsin regarding a local dairy farm owned by the Webber family. In brief, 51 of 84 cows in Weber’s herd accidentally ingested substantial doses of an insecticide, Aldrin, which had been stored in one of the farm buildings prior to the Weber’s purchase of the farm in 1975. Aldrin, banned in the early 1970’s, is similar to DDT and has been found to cause birth defects in animals. Like DDT, Aldrin seems to move easily through food chains in the environment, complicating any instances of its use. </span></div>
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<span style="font-family: Arial; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Some paradoxes have emerged which extend well beyond the boundaries of the single farm. One relates to the dumping of affected milk on the farm which threatens, over time, to contaminate the dump site as well as allow the chemical to enter more extensive plant and animal food chains. One must ask how can any such material be responsibly disposed of?</span></div>
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<a href="https://lh5.googleusercontent.com/MPybNzSu__leRKEm-xbwduQAQ-bHEtCjFq3piUhdO5GJHffx9q2YWcK6GhDfBpZ9HAJCxDf4clccUEmBv4xZKfHHesW-o8p_qIfB9NQlzXw0x7ILuB5CpV8FSEWnsX1iQbfFclCB" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="224" src="https://lh5.googleusercontent.com/MPybNzSu__leRKEm-xbwduQAQ-bHEtCjFq3piUhdO5GJHffx9q2YWcK6GhDfBpZ9HAJCxDf4clccUEmBv4xZKfHHesW-o8p_qIfB9NQlzXw0x7ILuB5CpV8FSEWnsX1iQbfFclCB" style="margin-top: 0px;" width="316" /></a><span style="font-family: Arial; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">At the core of the Store (cheese) project was the fabrication of cheese by Peterman from the contaminated Weber farm milk. Cheese is a way of preserving milk and therefore a means of embodying and “preserving” some of the previously mentioned issues. The blocks of cheese depicted one of two philosophies behind the disposal of toxic materials. The first, both legal and illegal, is to store the toxic materials as far away as possible by making use of dumps, ocean bottoms, mine shafts, etc. The second demonstrated here, is to put it in a place where it can be monitored in observable, accessible structures.</span></div>
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<span style="font-family: Arial; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The project as a whole consisted of the special production of cheese itself (several large “rounds” sealed in wax) along with related information presented in a portable display. A refrigerated display counter which could be moved from place to place was created and exhibited in the town of HIllsboro, Wisconsin for the Hirsch Farm Project in 1993.</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-39759293773416487672020-01-24T11:45:00.000-08:002020-06-02T08:22:54.261-07:0061st street bottle cap pasta<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia0HRwXVsx7YAXcYOvLqByJHHQ7C2OO6_OqugS3WFa3C7McjibeXuRJtI1Noq5YFDlTcNbs94iRkBZsImYpsGHAziVSk7bFvFYVhCmPeaFo5YZshz3PiW5pW4ZV7QpCy5aFw-dmRjK6ag/s1600/DPB+61st+street+bottle+cap+pasta.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="801" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia0HRwXVsx7YAXcYOvLqByJHHQ7C2OO6_OqugS3WFa3C7McjibeXuRJtI1Noq5YFDlTcNbs94iRkBZsImYpsGHAziVSk7bFvFYVhCmPeaFo5YZshz3PiW5pW4ZV7QpCy5aFw-dmRjK6ag/s320/DPB+61st+street+bottle+cap+pasta.jpg" width="256" /></a></div>
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-21294691945709719642020-01-24T11:20:00.000-08:002020-06-02T08:26:02.815-07:00civilian defense<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRSgQu1ejEiGDpdwBiS5h5QXbyYZk0Wn9R3a-Xv3RrdPzOLbbYImDvDWyozhttwhuUAW6od5w2FWI_gOBGeum6kWSXJYKUevPrH7WWZePGfVacGQqFGVsNYJWE6jgNC8T079VNf3hIjgY/s1600/DSCF0098-1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRSgQu1ejEiGDpdwBiS5h5QXbyYZk0Wn9R3a-Xv3RrdPzOLbbYImDvDWyozhttwhuUAW6od5w2FWI_gOBGeum6kWSXJYKUevPrH7WWZePGfVacGQqFGVsNYJWE6jgNC8T079VNf3hIjgY/s320/DSCF0098-1.JPG" width="320" /></a></div>
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<a name='more'></a>Peterman's <i>Civilian Defense</i> installation consists of 1000 sandbags
made from diversely patterned domestic fabrics configured in circular bunker-like form. This project
was originally developed for the Sharjah Biennial and is now part of the
permanent collection of the Van Abbe Museum in Eindhoven, NL. This highly functional and convivial sculpture has been exhibited at the Van Abbe Museum, and CAPC, Bordeaux France in <i>Strange and Close</i>
curated by museum director and curator Charles Esche. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXagoHm_jncz2gX6khz0V7qXpcyaMxIOUJWRHV-JgzX45X1i37u1LPqQ-JFbCvKXOX4Op4xvKcLPE9xm08iSFlsCte5-chMA3Bb7adccT_3sxoN4HH6q0thMKth6nV3XY7maVkDiSwugQ/s1600/bs_VanAbbe_Museumnacht_49I5973.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXagoHm_jncz2gX6khz0V7qXpcyaMxIOUJWRHV-JgzX45X1i37u1LPqQ-JFbCvKXOX4Op4xvKcLPE9xm08iSFlsCte5-chMA3Bb7adccT_3sxoN4HH6q0thMKth6nV3XY7maVkDiSwugQ/s320/bs_VanAbbe_Museumnacht_49I5973.JPG" width="320" /></a></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwZ8VE-54W8sQRjApXoiDBs5mHeu4vYcPUbi5wh8_L2dzSD7t1OHjXNqlhOXhbZmDp6-H5MO9s7hZNfjejlBdKh3GTgqFq_bSmTPRr1qsQjDuQtZEBytrwm2R6j823OZlW_6zQWIjbu4/s1600/_DSC5116.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwZ8VE-54W8sQRjApXoiDBs5mHeu4vYcPUbi5wh8_L2dzSD7t1OHjXNqlhOXhbZmDp6-H5MO9s7hZNfjejlBdKh3GTgqFq_bSmTPRr1qsQjDuQtZEBytrwm2R6j823OZlW_6zQWIjbu4/s320/_DSC5116.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Strange and Close Exhibition</i>, Van Abbe Museum, NL</td></tr>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-73757912081422474732020-01-23T07:44:00.000-08:002020-06-09T17:13:18.716-07:00peterman business miles<div class="separator" style="clear: both; text-align: center;">
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<a name='more'></a><span style="font-family: "arial" , "helvetica" , sans-serif;">This project, first exhibited in 1995, links a measured year of automobile use–and the corresponding carbon emitted into the atmosphere via engine emissios–with a century of carbon stockpiling that occurs naturally as a result of tree growth. An estimate was made of the carbon emitted into the atmosphere during the course of a year as a result of the artist's automobile use for art business purposes. Tree trunks with equivalent carbon content were then selected from a stock of harvested City of Chicago trees. Depicted here are tree trucks corresponding to 1994 carbon emissions, 1995 carbon emissions, and a third truck that was added later, in Basel Switzerland, to account for carbon emissions as the artwork traveled and was exhibited internationally. Additionally, the wood was heat treated to curtail transport of unintended organisms into the exhibition setting, although decay processes including mushrooms were evident as the project progresses through various travels and exhibitions. The work was exhibited in Chicago, Illinois; Basel Switzerland; Lüneburg, Germany; and currently resides in the Springhornhof Foundation sculpture park in Neuenkirchen in the north of Germany. The last image (below) shows one of the logs from this project after it was rolled into a lake in the Springhornhof sculpture park by playful vandals. The project is not intended to be permanently preserved, rather it depicts impermanent material conditions that continually vary over time, in the end giving their stored carbon back to the surrounding ecosystem.</span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-60611806918749356942020-01-22T06:35:00.000-08:002020-05-31T16:44:01.760-07:00fossil-pak<div class="separator" style="clear: both; text-align: center;">
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<b><i>Fossil-Pak</i></b> 1995, Shredded auto tires (108 million BTU's/ton on nestable (60% volume reduction) multiple life cycle, reprocessed plastic pallets.<br />
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In the spring of 1995 Peterman traveled to Malmö Sweden and visited different local industries relating to waste processing and recycling. This research resulted in the fabrication of the <b>Fossil-pak</b> unit that intertwines several material networks and energy expenditure pathways. These include the potential energy that still resides in the worn-out, shredded, automobile tires and the energy savings postulated by IKEA for changing their shipping practices in favor of plastic "nesting" pallets that were designed to be returned and reused thereby replacing disposable "one way" wood pallets. These material networks and energy pathways made specific reference to the history of the host institution, <b>the Rooseum</b>: a museum situated in a former energy power plant. The installation of Fossil-Paks occurred in the lower gallery that functioned in former times as a coal storage bay. Peterman's work touched on current and historical patterns of energy use--with significant global ecological implications--while entering a cultural conversation that re-animated issues of minimalist sculpture and the early tire installation/happenings of Allan Kaprow.<br />
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Fossil-Pak was presented at the Rooseum, in Malmö Sweden as part of the <b>Nutopi</b> exhibition curated by museum director <b>Lars Nittve</b>. Artists in the exhibition: Dan Peterman, Rirkrit Tiravanija, Andrea Zittel, Clay Ketter, Yutaka Sone, and Jeffrey Wisniewski. June 3 – August 27, 1995<br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline;">Universal Lab</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Text excerpted from Beyond Green: Toward a Sustainable Art, Curated by Stephanie Smith at the Smart Museum of Art, 2006 University of Chicago Catalog p.100-105 </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Simultaneously a utopian research model, a reservoir of scientific lab equipment, a waste handling/reuse/storage dilemma–and to varying degrees–an art project; the Universal Lab continues along its unique, hybrid trajectory. Since its inclusion in the Ecologies exhibition at the Smart Museum of Art in 2000, Excerpts from the Universal Lab has appeared in two museum exhibitions; spent a year trapped in a U.S. Customs storage facility, where it narrowly escaped destruction; been the subject of a threatened lawsuit by its former landlords; and spent two additional years in a semi-trailer. The art world has played gracious host to the sprawling, rambling collection of matter that is at the core of this project but has not yet entirely gotten its arms around it. It seems to fit in catalogs, and briefly in large exhibition spaces, but not the storage lockers of permanent art collections. The reluctance of art institutions and collectors to take that kind of plunge is understandable and speaks to the heart of the matter. It is the scale of the original collection that continues to energize Universal Lab. Within that enormity, a continual shift in polarities occurs between waste and resource, value and non-value, historical relevance and triviality, sublime attraction to the senses and grand–toxic–annoyance. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Universal Lab has always felt like something larger than life, something that never should have existed at all. Something utterly unregulated, that grew quietly in the shadow of extreme regulation. It is the unlikely convergence of three things: 1) the exaggerated, post–Manhattan Project, Cold War research budgets at the University of Chicago 2) human energy–measured in decades–dedicated to scavenging the remains of those research budgets–endlessly shuttling things from point A to point B; and 3) abundant, nearby, affordable, unsupervised warehouse space. The scale of each of these forces is what transformed the Universal Lab from a flawed, impoverished scientific research offshoot into something much more deeply compelling. But it is this scale that has also fed the urgency behind uprooting it, evicting it, and, in the end, regulating it. The Universal Lab, in its current state, has been brought down to size. </span><br />
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In 2002 the University of Chicago was coerced into handled all radioactive materials under the attentive supervision of the Illinois Nuclear Regulatory Commission, but after this brief period of cooperation it denied any obligation to address other hazardous materials. In 2003 the chemical inventory was at least partially identified and disposed of under professional supervision, at significant expense to the landlord. In early 2004, the 10,000 square feet of space that the lab had occupied since the 1960s was finally cleared, again at significant expense to the landlord. But this does not mark the end.A trailer load of materials selected from the Universal Lab for exhibition purposes had been drawn off from the main body. A rough estimate would place these excerpts at between one and two percent of the whole laboratory, and–other than the absent chemical stores–they are fairly representative of its contents. This roving, satellite collection, moving in and out of trucks, art museums, shipping containers, loading docks, and warehouses, has now become the mother ship. As it continues to drift, shrink, and adapt to its condition of permanent mobility, the excerpts may hopefully, once again find an anchor-point from which to grow. In the meantime, the logistics of travel and storage are increasingly influencing their scale and shape. In this return orbit through the Smart Museum (and other venues) as an excerpt of excerpts, the process of further compartmentalization and streamlining will be evident. Perhaps this is just a sign of fatigue. Hopefully, it’s a sign of something more. I’d like to think that a latent survival mechanism of the Universal Lab is kicking in. Maybe it’s here for good reason, once again knocking on museum door at the University of Chicago, seeking asylum, near the nurturing loading docks that first gave it life.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Dan Peterman–project statement, April 2005 </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">DAN PETERMAN</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Dan Peterman has intervened into the systems through which ideas and materials circulate in contemporary consumer culture. He often uses post-consumer reprocessed plastic or retooled</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">found materials in his sculptures and installations. For Beyond Green, Peterman has “recycled” an existing installation entitled Excerpts from the Universal Lab (plan b) This work originated as a site-specific commission for the Smart Museum’s 2000 exhibition Ecologies: Mark Dion, Peter Fend, Dan Peterman and has since been reconfigured into new projects for other exhibitions. All of these </span><span style="font-family: "arial" , "helvetica" , sans-serif;">versions of the project use objects from an actual place, a now-defunct scientific laboratory formerly housed in a warehouse on the south side of Chicago. At the Universal Lab, a group of amateur scientific researchers gathered discarded items that they had scavenged </span><span style="font-family: "arial" , "helvetica" , sans-serif;">from the University of Chicago’s laboratories and loading docks and used these materials for their own research. Eventually the space became clogged, the operation closed its doors, and in </span><span style="font-family: "arial" , "helvetica" , sans-serif;">2000 its contents were almost discarded by the building’s new owners. Peterman and others intervened and helped save and reuse many of these materials, some of which returned to the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">University of Chicago as artwork, went through the inventory process, and took on a new life as sculpture. In this latest iteration of the Universal Lab, created for Beyond Green, Peterman has sorted some of this detritus into new, much smaller groupings contained within a series of </span><span style="font-family: "arial" , "helvetica" , sans-serif;">elegant, rolling vitrines that evoke laboratory carts, globe stands, museum display cases, and sci-fi machines. The mobility of these carts echoes the nomadic nature of the objects they </span><span style="font-family: "arial" , "helvetica" , sans-serif;">contain, which have accrued new layers of meaning and value as they have traveled from an initial functional life through several cycles of use and reuse. In addition to reusing materials, this project calls into question the art world’s persistent demand for new work and the consumption of resources that this production requires.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Stephanie Smith, intro to Universal Lab in Beyond Green: Toward a Sustainable Art catalog.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Text excerpted from Beyond Green: Toward a Sustainable Art, Curated by Stephanie Smith at the Smart Museum of Art, 2006 University of Chicago Catalog p.100-105<br /> </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-44539908738772726322020-01-20T17:13:00.000-08:002020-05-31T16:42:54.195-07:00archive (one-ton)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvJs2h5iIFZq9U9vjK6NhjshncAoRlcnCJcwrXEDz-vVKSs9W1GjX_78gcokXZWFHEYrkebpAZkIkR6YujQj0YsmXBmPqXO3lTlZ6QSUE64B3aQIMgHmzEVAED0ut31_awhiIghfS0Go/s1600/DSC_0398.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvJs2h5iIFZq9U9vjK6NhjshncAoRlcnCJcwrXEDz-vVKSs9W1GjX_78gcokXZWFHEYrkebpAZkIkR6YujQj0YsmXBmPqXO3lTlZ6QSUE64B3aQIMgHmzEVAED0ut31_awhiIghfS0Go/s320/DSC_0398.JPG" width="320" /></a><br />
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<a name='more'></a>Garbage collection, in the field of computer science, is related to the process of memory management. Peterman’s site-specific installation, occupying the library of a historic Hyde Park mansion neighboring the University of Chicago, takes a lower-tech approach to this conjoining of waste and memory. One ton of multicolored, post-consumer plastic boards pose as surrogate books, filling the library shelves and simultaneously tiling the floor. The project establishes a seamless connection between the architectural repurposing of a former waste material and the contemplation of this same material as a type of stored data. In this modest southside archive, an endlessly varied post-consumer color palette and vast reserve of petroleum-derived polymer molecules is offered into our collective memory.<br />
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<span style="font-size: x-small;">2012. Supported by the artist, SHoP, and Hyde Park Kunstverein, Chicago</span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-9858327547988743722020-01-19T16:47:00.002-08:002021-02-24T06:41:49.041-08:00accessories to an event<div class="separator" style="clear: both; text-align: center;">
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<span face=""arial" , "helvetica" , sans-serif">Accessories to an event is a project title applied to several related series of objects that function as modular, expandable systems. These object series share some basic material and design considerations that allow them to function in a variety of settings and in varying scales from the living room or gallery, to the public plaza. The original designs involved simple folding table/bench units as well as small pellet-like objects that can be installed as a kind of low-rise floor covering or stacked in a variety of configurations.</span><br />
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">The basic premise of these projects is linked to the material from which they are made: post-consumer reprocessed plastics. An expansive material pathway in which we are all collaborators. The proposition related to the endless reproducibility of these modular forms offers a speculative strategy for holding or containing more and more material--not as an outright design solution per se, but as a pause in an otherwise unbroken chain of run-away production and material misuse. In this sense, they offer the simple functionality and containment of a stockpile, as a quiet form of resistance to ever-expanded systems of overproduction. Waste plastics have reached an almost unimaginable level of dispersal and detrimental environmental effect. The events being referred to here are entirely defined by the context in which these objects are being considered. The event can be seen as a dimension of Debord's spectacle, but it is also no more than these works, themselves, taking up space in storage as they anchor </span><span face=""arial" , "helvetica" , sans-serif">and hold in place–within each modular unit–their allotment of petro-chemical matter.</span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-83500671991392297482020-01-18T06:56:00.000-08:002020-06-14T10:47:22.726-07:00archive for 57 people<div class="separator" style="clear: both; text-align: center;">
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<span style="border: none; clear: right; display: inline-block; float: right; height: 156px; margin-bottom: 1em; margin-left: 1em; overflow: hidden; width: 234px;"><img src="https://lh3.googleusercontent.com/XJWF0dQ_x4fyptkhdHYAlSYlDo8pTskp6c1lMeHiUupKOi72rmn1JfOncH0J3HCsJc3bWJdtT5gL0tYq8IPv1da4PZNcxhqV5R3m_a9L0hY-o5WpcazqvtcumC1O69pjtaqzE0nm" style="margin-left: 0px; margin-top: 0px;" /></span><span style="border: none; clear: left; display: inline-block; float: left; height: 198px; margin-bottom: 1em; margin-right: 1em; overflow: hidden; width: 264px;"><a href="https://lh6.googleusercontent.com/a5fUaaYVXZ6tW5bcuNG-VBE3HEm13V-iw6H83KIaSdXwXV3jqE-mAoxcxALmk_OqKzohRwl7oAL2fgGBaT0WNxsVh5LwtfEj1H2h6tt4gEcqYyq9Pi4HbOEM0yrYYxL8zuPhkFI7" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="174" src="https://lh6.googleusercontent.com/a5fUaaYVXZ6tW5bcuNG-VBE3HEm13V-iw6H83KIaSdXwXV3jqE-mAoxcxALmk_OqKzohRwl7oAL2fgGBaT0WNxsVh5LwtfEj1H2h6tt4gEcqYyq9Pi4HbOEM0yrYYxL8zuPhkFI7" style="margin-top: 0px;" width="264" /></a></span><span style="background-color: transparent; color: black; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Archive for 57 People</i> is related to an ongoing series of projects that begin with a material interest in post-consumer recycled (reprocessed) plastics. This material is derived from a wide number of post-consumer sources and therefore is linked to collective patterns of over-consumption and general misuse of petrochemical resources. The project highlights a broadly communal sense of waste production. A viewer would be correct in speculating that some part of their own behavior as a consumer could have directly contributed to the polymer molecules embedded in this sculpture. Here, recycling is not looked at as a solution, but as a containment strategy–a response–to a system of material exploitation that is fundamentally flawed and destructive. The internal measure of the piece--annual average plastic consumption for 57 people--links the audience directly to the social, communal implications of this material exploitation. As a modular system, it suggests the possibility of infinite expansion, encasing, and holding more and more plastic material. Its ever-expanding design system includes a basic floor plank unit with “plug-in” designs for vertical shelving units and small benches and suggests that a world of improvised and adaptive utility goes hand in hand with waste management.</span></span></h4>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-20757203586827772982020-01-17T11:49:00.000-08:002020-06-13T10:11:35.204-07:00Z-form project<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: , "helvetica" , "arial" , sans-serif;">(Chicago, IL – September 21, 2017)</span> The Arts, Science + Culture Initiative at UChicago presents <em>Slipping and Jamming: Variable Installation of Z-Forms</em>, by Chicago-based artist Dan Peterman. Commissioned for the 2<span style="font-size: 13px; line-height: 0; position: relative; top: -0.5em; vertical-align: baseline;">nd</span> Chicago Architecture Biennial, <em>Slipping and Jamming </em>is a sculptural installation that explores the tension between structural stability and instability. The work is composed of thousands of "Z-Forms"—post-consumer reprocessed plastic elements each cut in the form of a Z. Assembled into large sculptural forms, they embody a highly counterintuitive idea: The possibility to create load-bearing, stable forms not by the orderly arrangement of the individual elements, but by random, disordered configurations that structurally resemble a potentially flowing liquid.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglFwxgtBmDAy1uLJRdqwgCvggi8dd2AgL3YD-6aprEKpSqAUW2IW5KQXUQI2fR2AfDvVGugZnX7tQZVwfU5ebWbVMZbRJZfgd46ICMNZJccdGDnIodUwvjQrJPCSXfOGP2ApM5IUMnOWE/s1600/25-Z-form+column+on+Z-waste+deck.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglFwxgtBmDAy1uLJRdqwgCvggi8dd2AgL3YD-6aprEKpSqAUW2IW5KQXUQI2fR2AfDvVGugZnX7tQZVwfU5ebWbVMZbRJZfgd46ICMNZJccdGDnIodUwvjQrJPCSXfOGP2ApM5IUMnOWE/s400/25-Z-form+column+on+Z-waste+deck.jpg" width="400" /></a>This new installation grew out of a 2016 Graham Foundation-funded collaborative project between Peterman and the laboratory of University of Chicago physicist Heinrich Jaeger. The work is based on radically new concepts at the intersection of contemporary sculptural practice and research related to the physics of granular materials. Conceptually original and forward-thinking, Peterman translates concepts from granular physics, typically researched at small scales, to a larger, essentially architectural scale through his artistic practice. </div>
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From a sculptural perspective, jamming is an evocative concept. It is applicable on both micro and macro scales; the behavior of a ball of shaving cream in the palm of your hand or that of polar ice sheets. In both cases, the jammed, effectively solid behavior has the possibility to deform like a liquid when forced strongly enough. "My work as an artist has an ecological focus, and this shifting range of scale is relevant to how I think about the world,” says Peterman. “For me, jamming behavior carries along with it the companion idea of slippage—a fine line between material conditions of either stability or flow, useful engagement or abandonment.” </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP4j2irjIwNxrIvJDdZPMVRQQnmQGTltUC1_sYKVWbE91i58fnucywgEG3ggIWA_nJuVasKaTbsh_0XsKsN1iW4zOp8-ROsIjWPipLJRnEKX4YMmvkMW944IFy6y_n9OS1Bd5m_8vN7qY/s1600/22-DSC_0587.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP4j2irjIwNxrIvJDdZPMVRQQnmQGTltUC1_sYKVWbE91i58fnucywgEG3ggIWA_nJuVasKaTbsh_0XsKsN1iW4zOp8-ROsIjWPipLJRnEKX4YMmvkMW944IFy6y_n9OS1Bd5m_8vN7qY/s320/22-DSC_0587.jpg" width="320" /></a>In <em>Slipping and Jamming</em>, these concepts assume an additional role for Peterman. Fabricating the elements themselves from post-consumer reprocessed plastic material reflects the cycle of jamming and unjamming, the changing forms and states of being, and the complete reconfigurability of the structure itself. The dual nature of the particles, both composed of a constituent material and also comprising a greater structure, points toward a cycle of “invention, production, and generation” with echoes in ecological responsibility and petrochemical dependency. In this way, Peterman’s sculpture is placed prominently into the larger context of a materials lifecycle that minimizes waste. </div>
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The sculpture will be installed in the William Eckhardt Research Center on the University of Chicago campus through November 30. <em>Slipping and Jamming</em><span style="font-family: , "helvetica" , "arial" , sans-serif;"> </span>is curated by Julie Marie Lemon, the Program Director & Curator of the University-wide <a href="https://arts.uchic/" style="color: maroon; font-family: ProximaNova-Semibold, Helvetica, Arial, sans-serif; text-decoration-line: none;">Arts, Science + Culture Initiative</a> and supported by the University of Chicago Public Arts Fund. </div>
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<span style="font-family: , "helvetica" , "arial" , sans-serif;">Exhibition: October 3 – November 30, 2017 </span></div>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-19284358152702069102020-01-16T11:55:00.000-08:002020-05-31T16:53:54.681-07:00running table<div class="separator" style="clear: both; text-align: center;">
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Running Table was originally installed in Chicago’s Grant park in 1997 and consists of a 100-foot picnic table made of recycled plastic and designed for public interaction. The piece was re-installed during the summer of 2009, this time in Millennium Park. Laurie Palmer, writing in Frieze Magazine, described the experience of Peterman’s table:<br />
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“Something both intimate and institutional is involved when sitting down here. Depending on one’s frame of reference, the experience evokes school lunches, church suppers, prison mess halls, or the generosity of the Seder table, at which there is always room for one more. Situated within the contradictions that damn and glorify public space, Peterman’s work takes on a class-crossing potential, in addition to its material ironies, that it could not achieve in a more circumscribed art space. “<br />
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Running Table is one of several sculptural projects by Peterman that occupy prominent locations in Millennium Park and Grant Park (The other being <a href="http://www.danpeterman.com/2012/05/ground-cover.html#more"><i>Ground Cover</i></a>). In these heavily frequented settings they quietly yet insistently provoke public interaction. These projects serve dual purposes as intensely used public art furnishings that also function as post-consumer material deposits. These projects invite longer term speculation on patterns of waste and material over-production as “stockpiles” of post-consumer, reprocessed plastics firmly locked into functional, modular, endlessly expandable forms.</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-64656755756997397102020-01-15T14:01:00.000-08:002020-06-15T08:53:15.075-07:00ground cover<div class="separator" style="clear: both; text-align: center;">
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<a name='more'></a>This project is aligned with a series of projects like <i>Accessories to an Event, </i>and <i>Archive (one ton)</i>, that begin with a material focus on reprocessed-post consumer plastics. In this case the colorful material that <i>Groundcover</i> is made of is from a unique source of first generation reprocessed plastics from the mid 1980's These materials predates the widely available recycled plastics that are now found in many consumer products. The colors here are entirely random as post-consumer plastic products were collected, granulated, heated, then endlessly extruded into plank-like form. <i>Groundcover </i>was conceived more as a storage strategy for a generally misused material than as a flooring design solution. The modular herringbone design in this case, suggests the possibility of endless expansion--waste plastics that can be incorporated into a system that can grow and grow, perhaps absurdly, as it fixes petrochemical material into a stable structure. This project began with a mindful attention to minimalist sculptural forms, perhaps most obviously Carl Andre's metal floor pieces, but the nature of this material source introduces a more open-ended level of ecological speculation and complicated relation to audience<br />
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As an archive of material, G<i>roundcover</i> quietly occupies public space, insistently reminding us of the massive flows of material that drift in and out of our consumer-based consciousness. Drift is a useful concept here not only in relation to the motion of waste materials and recycling processes but also in relation to audiences and public engagement. <i>Groundcover</i> was first installed in 1990 along Michigan Avenue as a temporary public sculpture installation. Coincidentally, the City Department of Cultural Affairs was launching a live music and dance program called Chicago Summer dance and explored with the artist, the possibility of using G<i>roundcover</i> as a temporary dancefloor. In years that followed the Summer dance program grew in popularity along with a desire to keep <i>Groundcover</i> as the primary dance floor. This meant growing the piece, shifting locations, maintaining it, as summer dance grew into what is frequently referred to as the largest annual outdoor live music and dancing series in the United States. Groundcover continues to function in this hybrid capacity as both backdrop to a major urban public dance event, and ecologically conceived sculptural proposal.<br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-73219133540474670482020-01-15T11:59:00.001-08:002022-06-28T02:20:09.548-07:00granary project<div class="tabs-outer" style="min-height: 0px; position: relative;">
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<a name='more'></a><span id="docs-internal-guid-c98e57f0-7fff-47b1-bf1c-2cb309b6466e"><br /><h3 dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 4pt; margin-top: 16pt;"><span style="color: black; font-family: Arial; font-size: 15pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Granary Project</span><span style="color: black; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Dan Peterman 2004</span></h3><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="border: none; clear: right; display: inline-block; float: right; height: 366px; margin-bottom: 1em; margin-left: 1em; overflow: hidden; width: 296px;"><img height="381" src="https://lh6.googleusercontent.com/wb3z3IMyiJAY_Iw9_J4JUicfM9LgksqJvRJvoATyS5tv9rj3p2bJoSbIp3-C1VqXiraNVKP-SgAkHwNm-9zS6LXoRrh57B84Qpfhnkd_gRsa5gb6MZr6vZYi1wkCVminO5FON123OFbBTmvLWQ=w296-h381" style="margin-left: 0px; margin-top: 0px;" width="296" /></span><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A 2000 year old ceramic granary sits on display at the Art Institute of Chicago while its contemporary twin–a recent commission by the Nathan Manilow Sculpture Park–placidly overlooks a 50 acre field on the outskirts of the city.</span></p><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This project explores ecological links between these two objects, their histories, and the two sites they now inhabit.</span></p><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="border: none; clear: right; display: inline-block; float: right; height: 332px; margin-bottom: 1em; margin-left: 1em; overflow: hidden; width: 279px;"><img height="363" src="https://lh3.googleusercontent.com/_rNimpMLaNMrBuB7_gdd2DmSxMCVQP1orzIYv45XUbxBmtADIL8JZpFj267LkS0oOlVbr_DEaehS4Bu5-LOGxgMf-XzMWhxQyqh-8DZ_vSIAz2YUE8b98aYp-W4KDo7HOVUnb9LoA-sWfEvv0g=w280-h363" style="margin-left: 0px; margin-top: 0px;" width="280" /></span><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The concept for the Granary project followed a decade-long fascination with a small grouping of Han Dynasty burial ceramics in the Asian collection of the Art Institute of Chicago. These objects caught my attention not just for their humble, rural elegance but as objects invested with ecological knowledge that felt familiar and legible to me across a two thousand year span of time. This small suite of ancient objects–a pigsty/latrine, a small grain milling shed, and a granary–spoke directly to ecological concerns that had occupied me in recent years: my garden; interests in waste, nutrient, and energy cycles; material considerations of my studio and art production; and issues related to land-use and food security. All activated by the energy and complexity of the surrounding cityscape of 8+ million. </span></p><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As funerary objects these modest models reminded me of my mortality; they made me ponder what (if anything) I would consider hauling with me into the afterlife–or leaving behind for others to reckon. A compelling temporal question emerged: what does it mean to view the present as a halfway point on the way to the year 4000? What changes will another 2000 year stretch of human history bring? In that distant future – what will a granary look like?</span></p><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The scaled-up replica granary that I built is made of post-consumer reprocessed plastic. A familiar material in my studio. It is a 21st century marker of petrochemical reliance, over-abundant waste, and material misuse. Like ceramics, plastics endure even if endless petrochemical extraction and combustion doesn’t. </span></p><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Granary project occupies two sites. The Art Institute of Chicago and the Nathan Manilow Sculpture Park – where the granary overlooks a 50 acre parcel of farmland. They are precisely linked by the University Park Metra Electric train line. This train runs from the urban center of Chicago (directly adjacent to the Art Institute) to the nearest fragments of prairie and agricultural landscape. It is precisely this trajectory that frames the fundamental questions of food security as defined across the globe by the proximity of dense population centers to agricultural resources. The train line thereby provides a meaningful platform for experiencing the Granary project. Visiting these two sites via train, rumbling along a trajectory through time and space from the museum at the center of the city to nearby farmland, is perhaps where one can most clearly witness the precarious balance and urgency of urban and rural coexistence–past, present and future. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><br /></span></span></p><br /><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; height: 494px; overflow: hidden; width: 659px;"><img height="494" src="https://lh3.googleusercontent.com/_HOtmmqxnrj-ClSUQaZfrJmzwt-CU60VeN_Yx5R7pyXWpv0ZycX5WQGV4tKlH_jsV2bX11cIElu_kZyEAEHNM8IhZEEovakVFNyjoEwkmmuO-u4xGC3HPDJ10C7h4lFtUEZfxI7bQVEN26PGpA" style="margin-left: 0px; margin-top: 0px;" width="659" /></span></span></p><br /><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="border: none; clear: left; display: inline-block; float: left; height: 180px; margin-bottom: 1em; margin-right: 1em; overflow: hidden; width: 135px;"><img height="180" src="https://lh3.googleusercontent.com/Xldpa9YO74ODLsAddVJ1hSdYWtC_VyfR86mFDoPF8bOk38ThSRuKLtno55IQuHgKyRhhEJlnwCViNw4Ez_HXQiXlzyPjbDY1h5vf8uxloN7amkWziEaOv0N32ODHcO7s3k_IZzpVvz2fIKesAQ" style="margin-left: 0px; margin-top: 0px;" width="135" /></span><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><div><span><br /></span></div>Notes:</span></div><div><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><br /></span></span><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Nathan Manilow Sculpture park is situated on a 750 acre site in University Park, Illinois, that includes the campus of Governors State University, several tracks of agriculture land and the Sculpture Park. </span></p><br /><p dir="ltr" style="font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Reference: </span><span style="font-family: Arial; font-size: 8pt; white-space: pre-wrap;">The mingqi Pottery buildings of Han Dynasty China 206 BC-AD 220, Quinghua Guo, Sussex Academic Press 2010</span><span style="color: black; font-family: Arial; font-size: 8pt; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 8pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><p dir="ltr" style="color: #666666; font-family: verdana, sans-serif; font-size: 12px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div style="color: #666666; font-family: verdana, sans-serif; font-size: 12px;"><span style="color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; height: 376px; overflow: hidden; width: 568px;"><span id="docs-internal-guid-41e3e5a1-7fff-f903-4996-d18d9e420918"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="border: none; display: inline-block; height: 376px; overflow: hidden; width: 568px;"><img height="376" src="https://lh6.googleusercontent.com/SbQralDmB6xYdqdQx_cPmR9-I2eit1SIolOArVF2PKAn-k4NnLLzITokgwWCzY3o6JS_W1RX7ifU1PrJiSL6ZNQgFCOrNlBZZA2iB3KVXaNnhn-oNgmkytpVA_I4P5kbGEHOPvSKcgUJHMZ4Xw" style="margin-left: 0px; 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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-12378222791853462722020-01-14T08:52:00.000-08:002020-05-31T16:56:30.817-07:00carbon bank<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-23026161423602738242020-01-13T16:13:00.000-08:002020-05-31T16:56:50.985-07:00waterways: chicago to utica <div class="separator" style="clear: both; text-align: center;">
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-25323359461929613642017-04-14T17:15:00.000-07:002020-06-14T10:56:20.797-07:00ingot project documenta 14 (background)<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/214172516">copper ingot release from mold (Athens)</a> from <a href="https://vimeo.com/user1132030">dp</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial" , "helvetica" , sans-serif; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">In a world of elaborate material trajectories, producing an ingot of recycled metal marks a complex transformation. In the seconds it takes for molten copper or iron to solidify in an ingot mold, diverse histories of material origin, valuation, production, obsolescence, labor, and scavenging converge and commingle.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_CpJpvgeSprEoOohIfUYrDFThboiOWFY5Ga9Ks3yPbUtF24eCBwkxlT30cnT9AEg9Z-f13Qr4JK7O4idhHQRVYzP6_7NSjMWVD__9AaqwvvZ0uULA-1o2DhhmzgXuMr49wGy4KPx1Muw/s1600/Scrap+Steel+w+Crane%252C+Kassel.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_CpJpvgeSprEoOohIfUYrDFThboiOWFY5Ga9Ks3yPbUtF24eCBwkxlT30cnT9AEg9Z-f13Qr4JK7O4idhHQRVYzP6_7NSjMWVD__9AaqwvvZ0uULA-1o2DhhmzgXuMr49wGy4KPx1Muw/s320/Scrap+Steel+w+Crane%252C+Kassel.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Ingot production, based on matter extracted from the entanglements of the waste stream, is one of a broad range of interim steps related to material reuse. </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Closing the loop</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">, in the parlance of recycling, involves sequences of accumulation, cleaning, reshaping, etc., that allow each reconditioned material to fit neatly back into economic networks, manufacturing processes, and contemporary material flows. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The compact form and modular efficiencies of an ingot align with the those of the crate, pallet, truck, railroad car, and ultimately with the efficiencies of mega ships that push enormous volumes of containerized cargo around the world. Ingots produced today are analogous to bronze-age copper ingots shipped around the Mediterranean in the 12 century (BCE) but are additionally energized by vast economies of scale, instantaneous pricing reports, and globally interlinked commodity exchanges.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">copper ox-hide ingot 12th century BCE </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Athens Archeo. Museum</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Beached ships in Bangladesh are mined for steel, iron, and bronze; abandoned houses in Chicago and Athens are scoured for copper pipe and wire. Every factory, recycling yard, landfill, neighborhood alleyway, submarine, automobile, computer, cell phone and bullet casing–virtually everything at every point in our spectacular processes of production and consumption–is increasingly scrutinized for available matter that can be shunted into recycling networks.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Clothing bales Kassel, German</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sorted, compressed, shredded, reshaped, and recast materials work their way up the scale of waste-to-resource. Each material stream has its own ideal form for transit, storage, handling, and access to next-stage processing. Cardboard and clothing is compressed into dense bales; sheet metal is shredded or pressed into blocks; glass is crushed; plastic is granulated. The efficiencies derived from these steps (themselves a form of “ingotting”) ensure access to higher markets. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/213505431">Athens compactor</a> from <a href="https://vimeo.com/user1132030">dp</a> on <a href="https://vimeo.com/">Vimeo</a>.</span><br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">This upward commodity mobility interconnects diverse economic networks. Local recyclers, and other material collection enterprises, bridge informal and regulated economies. It is not difficult, for example, to find simple compacting machines that function with material from a cash-only informal economy going in one side, and the same material–metamorphosed into modular units of trade at home in the global economy–coming out the other. Cast metal ingots, similarly, embody this kind of radical economic transformation. A snarl of old wire becomes a sought after commodity in the time it takes to pour a glass of water.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/213240901">Athens landfill–end of day</a> from <a href="https://vimeo.com/user1132030">dp</a> on <a href="https://vimeo.com/">Vimeo</a>.</span><br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Social and labor histories are deeply entangled in these machinations of the scavenging and recycling industry. The efficiencies of global shipping, while energizing an international flow of goods and resources, simultaneously lure flows of waste materials. Side-streams of problematic or hazardous materials, are easily “containerized” and dispatched to less regulated destinations in the world. There are human consequences at every step. Each material stream is attended to by its labor force, sometimes fairly compensated and well-managed, but frequently poorly compensated, with work occurring in improvised, unstable, and sometimes overtly unsafe conditions. Unregistered workers occupy the fringes of the scavenging industry in virtually all urban zones and make-shift communities are tethered to landfills and dumpsites worldwide. In more extreme conditions of upheaval–when disaster strikes or the rule of law breaks down–scavenging becomes </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">the</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> dominant economy: take what you can as you leave; scour the abandoned territory for whatever was left behind by others; and seek, in your condition of homelessness, anything of value.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHq9sjNbYbuALNh6fNTZ_Y7FSyfniQqi1m2vXe7UguecYN87DUbvDTxBOt8ZJY2FVIDT-ENpMDTO_sXr8wCV01-hYuT3-2aQ4qAmgqvq0iBoicSPq92WHoJWclfw-xtY3xjXcx5F8UEB0/s1600/Aluminum+ingots+stacked+Germany.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHq9sjNbYbuALNh6fNTZ_Y7FSyfniQqi1m2vXe7UguecYN87DUbvDTxBOt8ZJY2FVIDT-ENpMDTO_sXr8wCV01-hYuT3-2aQ4qAmgqvq0iBoicSPq92WHoJWclfw-xtY3xjXcx5F8UEB0/s200/Aluminum+ingots+stacked+Germany.JPG" width="150" /></a></div>
<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Market value of metal ingots is based on continually adjusted “spot” prices–the price at which an asset is bought or sold for immediate payment or delivery–but the concept of value has other dimensions. Ingots are</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> signifiers</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> of value. A small accumulation of ingots, regardless of metal type or spot price, signifies wealth. Holding a copper ingot or even an iron one–both metals classified as </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">non-precious</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">–easily evokes the thought of gold or treasure. Gold and silver ingots fulfill dual roles as metal reserves and forms of currency. They are primary hedges against economic calamity; the world’s default currency in times of extreme crisis. The US Gold Standard backed dollars fully with gold ingot reserves until 1933 and the US treasury still guards its gold today. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Ingots carry meaning in other ways as well, that are linked to an intuitive sense of what metals are and how our tools of perception receive them. Few material objects resonate in the hand like an ingot of metal (if it is small enough to hold). The </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">weight</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> of an ingot, is mysteriously convincing of inherent qualities within; the epitome of density. Feeling something in the hand to be heavier than expected is quietly impressive. And few objects activate–with such fundamental clarity–a questioning of: </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">where did this come from?</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">what can be made from it?</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">and what is it worth?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Iron ingots, Duisberg Germany</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">The simple modular design of an ingot can be either crude or highly engineered, but it exists in a world seemingly beyond design question. It is an exclusive integration of the efficiencies of its own making and the pragmatic requirements of its primary assigned task, namely:</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> awaiting further processing</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">. In this odd manner of being, an ingot is not quite a </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">thing</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> itself; it slips into a slightly more fundamental category of objectness. A category of </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">in-between</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> things; in-between things that were, and things that will be. This is how the copper ingot in the National Archeological Museum of Athens appears amidst the Bronze-age </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">things</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"> that surround it. And this is how an iron ingot tumbling off the conveyor line in a contemporary German factory appears in the world of super-abundant things that surround </span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">it</span><span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">. An enigmatic object of transformation, carrying both past and future. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">Lastly, no matter how a single ingot feels or looks; no matter its specific weight, composition, or value, no matter whether it is stockpiled like money in the bank, or en route to further processing, an ingot doesn’t exist as a singular object. It is part of a continuum–a fluid totality–with loosely defined margins. The ingot is shaped not so much by the specific mold that metal flowed into, as by the diverse life cycle of the material itself, its economic drift, and the spiraling, interconnected networks of production, use, and scavenging that propel it.</span><br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;">dp 2017 </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/213499357">German steel compactor</a> from <a href="https://vimeo.com/user1132030">dp</a> on <a href="https://vimeo.com/">Vimeo</a>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">iron ingot casting/conveyor, Duisberg, Germany</span></div>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-80550185647936898152017-04-10T07:46:00.000-07:002017-04-25T13:04:25.558-07:00athens ingot project (copper)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzget0ElMyZ05E0nqXVgN7DXrO1jwLwxU6NmodB4xF_gkasAQ9SVo7WHq0W6n6bi_pD71KZO5jPxcym_ovd0WG9mYG-LHZbet8HpD-vUz2y4oZnClLdFeXTquLi2DwdZ3GdysR8S7K004/s1600/Cu+ingot+pour+w+ladle+and+mold+2.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzget0ElMyZ05E0nqXVgN7DXrO1jwLwxU6NmodB4xF_gkasAQ9SVo7WHq0W6n6bi_pD71KZO5jPxcym_ovd0WG9mYG-LHZbet8HpD-vUz2y4oZnClLdFeXTquLi2DwdZ3GdysR8S7K004/s320/Cu+ingot+pour+w+ladle+and+mold+2.JPG" width="320" /></a></div>
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<b><i>Athens</i></b> <b><i>Ingot project (copper)</i></b> <br />
<span style="font-size: small;">A two-part project for Documenta 14</span><br />
<span style="font-size: small;">Athens, Greece/Kassel, Germany</span><br />
<span style="font-size: small;">Spring/Summer 2017</span><br />
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<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/214173200" webkitallowfullscreen="" width="640"></iframe> <br />
<a href="https://vimeo.com/214173200">copper ingot casting (Athens)</a> from <a href="https://vimeo.com/user1132030">dp</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0yBEG2X6AQVqkUsLJpqRWwyN8YSjFRPdD-W6tkiHRedM8pCyy8eMY8_BatiiZImscTYf6uMhgXNIfhuiIvzJeMpl-EwBtxiqTUPztQrHwc7I-hSJygMj9QrO1VFjmZCQlG-Vc3qZzWUU/s1600/Ingot+table+in+scrapyard.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0yBEG2X6AQVqkUsLJpqRWwyN8YSjFRPdD-W6tkiHRedM8pCyy8eMY8_BatiiZImscTYf6uMhgXNIfhuiIvzJeMpl-EwBtxiqTUPztQrHwc7I-hSJygMj9QrO1VFjmZCQlG-Vc3qZzWUU/s320/Ingot+table+in+scrapyard.jpg" width="320" /></a><br />
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<i>Athens Ingot Project (copper)</i> began with visits to landfills,
scrap dealers,
buybacks, storage yards and regionally based industries in and around Athens. This eventually lead to
the purchase and recommissioning of a hand-made circular “ingot
casting” table discovered in the chicken coop of a local scrap yard. The heavy steel construction and simple turn-table design of the ingot
table offered the possibility of initiating a modest, but potentially endless production of ingots. This opened an
avenue for directly engaging in local material networks and, with the assistance of a local foundry, begin a production of ingots from scrap copper.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwNnZYidjTsEMzNr6uNPTlFqrzKWo1cADgv7pXJN3LnXc1CVIEAKzULFs1CjCjgtlZkzkAwgVGEv6__xmZWPzAHJzlntpTaCPNFYml4PV_h7Tq-wKj0xtl8pJL0ebxCy42XzFpf3zyBI/s1600/11-EMST+install+table%252C+scrap+2.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwNnZYidjTsEMzNr6uNPTlFqrzKWo1cADgv7pXJN3LnXc1CVIEAKzULFs1CjCjgtlZkzkAwgVGEv6__xmZWPzAHJzlntpTaCPNFYml4PV_h7Tq-wKj0xtl8pJL0ebxCy42XzFpf3zyBI/s400/11-EMST+install+table%252C+scrap+2.JPG" width="400" /></a></div>
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The
ingot-casting table,
ingots, and a stock of scrap copper
wire and pipe are now installed at the National Museum of Contemporary Art (EMST) venue of documenta 14 in Athens. These elements, while statically installed in the exhibition,
retain the potential to be re-activated in the future, and put into ingot production
in other cities, and other scrap metal networks.<br />
Additionally, one of
the copper ingots is simultaneously being displayed in the Numismatic Museum
of Athens.<br />
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A recycled metal ingot–in the context of the complex waste and
recycling enterprises of Athens–is a marker of transformation. An ingot exists
between a past generation of
obsolete, and disintegrated things; and a future generation of not-yet-made
things. It is metal cast into a holding pattern. The
moment of its manufacture—when molten metal is poured into the ingot
mold– marks a transformation from industrial waste
processes, grey market scavenging networks, and other drifting
currents within the waste stream. The ingot gains entry into a new world of manufacturing processes and international commodity
markets. In this moment of ingot production a link is made between local and global economies.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE0m7LNTEVYnxEbYln2Z-exxExSXAtCqY5VzyGDe8BvWJOcd7QWJX4AQjQgkUQ-GslFAqYBr5v-eJFhj27L0_LaW1fKh9yNZjNiivqEHGCUjAIyftfWZFU0S2sxyVBuI-51FrC_FZJRHw/s1600/Cu+ingot+remove+from+mold+1.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE0m7LNTEVYnxEbYln2Z-exxExSXAtCqY5VzyGDe8BvWJOcd7QWJX4AQjQgkUQ-GslFAqYBr5v-eJFhj27L0_LaW1fKh9yNZjNiivqEHGCUjAIyftfWZFU0S2sxyVBuI-51FrC_FZJRHw/s400/Cu+ingot+remove+from+mold+1.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Copper ingots produced from scrap copper are tipped from mold</td></tr>
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Athen's dense urban landscape and material recycling networks are energized by active and highly visible street scavenging, diverse recycling businesses, as well as international trade through the port of Pireus. The severe stresses of enforced economic “austerity measures” have heavily impacted business owners and independent scavengers alike as they scramble to develop strategies for managing their material operations under increasingly difficult economic conditions. Global economic pressures mount as the new harbormasters of Pireus–the Chinese shipping conglomerate Cosco–streamline the flow of cheap Asian goods and commodities into Greece and the European market.<br />
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<tr><td class="tr-caption" style="text-align: center;">National Archeological Museum of Athens, copper “oxhide” ingot </td></tr>
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The specific focus on ingots and ingot production followed a visit to the National Archeological Museum of Athens and a copper “oxhide” ingot on display—and was later reinforced by learning of the “Ingot God” from Enkomi, now in a museum in Nicosia, Cyprus; a bronze, spear-toting “smiting figure.” This figurine was typical except that it had been retrofitted to a surfing stance atop a copper ingot; a deity locally adapted to the production and trade of copper ingots. These historical objects directly link centuries of Mediterranean copper technology and trade–to contemporary networks of copper manufacturing and recycling.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8BJyEosnfGbEnTrLmJcnkrJJXsVtV2EwpUW_K_JodywNfYtG_SkKdY343vGWDx-Hnh3-QWH6f2FH4B1QLrVMDa65F6Gt_73DHQ84hf63RBZNWmGVUGg1zsZERibyilGishqLWQ3vfWPw/s1600/Archeologist+carrying+oxhide+ingot+from+1200BCE.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8BJyEosnfGbEnTrLmJcnkrJJXsVtV2EwpUW_K_JodywNfYtG_SkKdY343vGWDx-Hnh3-QWH6f2FH4B1QLrVMDa65F6Gt_73DHQ84hf63RBZNWmGVUGg1zsZERibyilGishqLWQ3vfWPw/s320/Archeologist+carrying+oxhide+ingot+from+1200BCE.png" width="167" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Archeologist with copper ingot</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVftGHrjqPCVxETK3EqigK-94eTkDOh6R73Ux9EO1VnfhyphenhyphenjglnhvFqNzOfq9cH1Wz_vGYczbGX8wgIIobTM4IldiSJWtf-uxPrf-C1qkUO30vcw5Zd_sjjjXo0kWySg1BiLuaMAUpgyug/s1600/Ingot+God+1200BCE+Enkomi%252C+Cyprus.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVftGHrjqPCVxETK3EqigK-94eTkDOh6R73Ux9EO1VnfhyphenhyphenjglnhvFqNzOfq9cH1Wz_vGYczbGX8wgIIobTM4IldiSJWtf-uxPrf-C1qkUO30vcw5Zd_sjjjXo0kWySg1BiLuaMAUpgyug/s640/Ingot+God+1200BCE+Enkomi%252C+Cyprus.png" width="416" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ingot God of Enkomi, Cyprus Museum, Nicosia, Cyprus</td></tr>
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In the midst of financial crisis, copper sources include wire and
pipe extracted from unsecured or abandoned buildings, and at times even
copper elements removed from functioning city infrastructure. At every
turn, material recovery networks and economies are interwoven with
specific labor histories, and adaptation to local circumstances. The the
visible intensity of localized scavenging activity is a direct
reflection of the severity of an economic, or other crisis.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkL1-9AXdaUKYa_XTqzYwsrjwijM_vOrrMZBf0M9WXrs3T_aj8vEc3qhH2lZ9xprDYsB3kWErJBTddRteQyyJQ0aNURuvQTyy7XmH_rrlOHZf7KC-UxLEIQH25BK-7Hv3OnAcecphC4L0/s1600/02-EMST+install+2.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkL1-9AXdaUKYa_XTqzYwsrjwijM_vOrrMZBf0M9WXrs3T_aj8vEc3qhH2lZ9xprDYsB3kWErJBTddRteQyyJQ0aNURuvQTyy7XmH_rrlOHZf7KC-UxLEIQH25BK-7Hv3OnAcecphC4L0/s400/02-EMST+install+2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ingot Project installation: EMST </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">close up of copper ingots from scrap copper and bronze</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">privately operated scrap recycling vehicle, Athens<br />
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<iframe allowfullscreen="" frameborder="0" height="700" mozallowfullscreen="" src="https://player.vimeo.com/video/214172516" webkitallowfullscreen="" width="400"></iframe> <br />
<a href="https://vimeo.com/214172516">copper ingot–removing from mold (Athens)</a> from <a href="https://vimeo.com/user1132030">dp</a> on <a href="https://vimeo.com/">Vimeo</a>.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-17757332903498921372017-04-10T04:43:00.000-07:002020-02-18T16:14:56.369-08:00kassel ingot project (iron)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJs5FojCt_FSw31yODuBgH9ScW8EgJiRfHHJKmKhfBtqkJ7iginvaxZ8XgKWK89t7KXhQd00Z1jZzsoeiWsLFH9E3031WAKpH9swyiZNx5yh0DVel-6thlX5nwRtyfDKmvc2d5eEyKhQE/s1600/IMG_5795.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJs5FojCt_FSw31yODuBgH9ScW8EgJiRfHHJKmKhfBtqkJ7iginvaxZ8XgKWK89t7KXhQd00Z1jZzsoeiWsLFH9E3031WAKpH9swyiZNx5yh0DVel-6thlX5nwRtyfDKmvc2d5eEyKhQE/s320/IMG_5795.JPG" width="320" /></a><br />
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<span style="color: grey;"><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-61590347696432066322016-03-10T13:38:00.000-08:002020-05-30T11:47:30.405-07:00granary (series)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_KA4CG5vxThRQAFmY0WJ7UjGVKcjgW0jpFb87uBw1MNrPTmfOe8mGD3l8P_mpvkSUtQu7PN5FN8qabgWhjU41aEhPqkq3w9OoyeWZgn0iZC-H9MX8fRRHXJJGlpo0bWcZOCGzZOLpVIH8/s1600/DSC02743.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_KA4CG5vxThRQAFmY0WJ7UjGVKcjgW0jpFb87uBw1MNrPTmfOe8mGD3l8P_mpvkSUtQu7PN5FN8qabgWhjU41aEhPqkq3w9OoyeWZgn0iZC-H9MX8fRRHXJJGlpo0bWcZOCGzZOLpVIH8/s320/DSC02743.jpg" width="320" /></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"><span style="background-color: white; color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13.2px;">The Granary (series) is a contemporary production of model grain storage structures that replicate ceramic granaries produced during the Han Dynasty in China (206BC–220AD). These Han ceramics known as mingqi were originally produced as funerary items intended for the dead to use in the afterlife. Mingqi translates roughly into "spirit objects". They depicted objects used in daily life like stoves, latrines, houses and agricultural buildings. Granaries in various forms were common since they "guaranteed continued affluence for the deceased in the afterlife." 1</span><br style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: start;" /><br style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: start;" /><span style="background-color: white; color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13.2px;">Now, two thousand years later, these mingqi ceramic granaries resonate culturally as they point toward contemporary food production systems and questions related to food security. We live at a time of increased ecological instability and severe challenges to our ability to sustainably feed a human population of nearly 7 billion. We also live in an age defined by our dependence on petroleum and at a historically significant moment of "peak oil", where diminishing discoveries of new petroleum sources and severe consequences of excessive carbon emissions pressure us toward new technologies and new strategies for meeting basic needs. We are living in a compelling moment to contemplate our transition to post-petroleum living and a compelling moment to consider our strategies for feeding everyone who continues to show up at the dinner table.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj06T3G-MJNhmdftllZ3-KxiJUGUZ9p6eRVIZ7aZ93fDcCiLdS9-WS4DjPMCUFCaPdYjjo9sxHHyukAGorTxaEDdOJqOw9jfuFNrHz-_ckosDBgpc6U1QJnQtdnsTsRzF_uoq-isyIRPbwr/s1600/GranarySculpture+Park.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1044" data-original-width="1600" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj06T3G-MJNhmdftllZ3-KxiJUGUZ9p6eRVIZ7aZ93fDcCiLdS9-WS4DjPMCUFCaPdYjjo9sxHHyukAGorTxaEDdOJqOw9jfuFNrHz-_ckosDBgpc6U1QJnQtdnsTsRzF_uoq-isyIRPbwr/s320/GranarySculpture+Park.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times"; font-size: 12.8px;">Peterman's <a href="https://www.govst.edu/NMSP-Collection/" target="_blank"><i>Granary</i> at the Nathan Manilow Sculpture Park</a></span></td></tr>
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</span><br style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: start;" /><br style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: start;" /><span style="background-color: white; color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13.2px;">The Han period is known for innovative modular ceramic production, this granary series, however, is made of post-consumer plastics. The color variation comes from the accidental mixing of plastics during re-manufacture. In addition, much of this plastic is twice recycled having been previously used in a public sculpture "ground cover," also by Peterman, that continues to function as an open-air public dance floor in Chicago. Replaced plastic floorboards showing signs of excessive wear, many having been dance upon for 15 years, serve as primary material stock for granary production. This material, recognizable in many of Peterman's projects, is a petro-chemical marker of the peak oil moment we are living in and of our consumer habits. As with all plastics these granaries are capable of spanning centuries, and being unearthed, like ceramic, bronze and stone artifacts, thousands of years in future. Hopefully, these granaries will carry with them some useful resonance between a long gone agrarian culture and our current ecological dilemma.</span><br style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: start;" /><br style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: start;" /><span style="background-color: white; color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 11.22px;">1)The mingqi Pottery buildings of Han Dynasty China 206 BC-AD 220, Quinghua Guo, Sussex Academic Press 2010.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"><span style="background-color: white; color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 11.22px;"><a href="http://petermangranary.blogspot.com/" target="_blank">More about the Granary</a></span></span>akhttp://www.blogger.com/profile/11361794460335868295noreply@blogger.comtag:blogger.com,1999:blog-874949742814139590.post-31577926762451141942016-01-30T15:23:00.000-08:002017-02-20T11:42:30.824-08:00plastic bones<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWJsW_uVBJ4ghkXj6O5uTcbmjUD1uy2CeXaBwBGvBomdxQM44CuiUm4AJ2ZD-vNg5V_I1odeKkWvOncxcTYrhG60AnUJf6IbUG-0MputM6Y26eJsegVz4grEvFaNtPb92y1Fv4OVoyNRQ/s1600/DSC04131.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWJsW_uVBJ4ghkXj6O5uTcbmjUD1uy2CeXaBwBGvBomdxQM44CuiUm4AJ2ZD-vNg5V_I1odeKkWvOncxcTYrhG60AnUJf6IbUG-0MputM6Y26eJsegVz4grEvFaNtPb92y1Fv4OVoyNRQ/s320/DSC04131.JPG" width="320" /></a><br />
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Companion text to installation of <i>Plastic Bones</i> at Galerie Klosterfelde, Berlin:<br />
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<i>If one member does not fit perfectly the adverse effect will multiply. If, however, every part fits well, the precarious construction will enjoy an astonishing resilience. Life is tight in modular systems.</i><br /><br /><span style="font-size: x-small;">Lothar Ledderrose, Ten Thousand Things: Module and Mass Production in Chinese Art. Princeton University Press 2000</span><br /><br /><br /><b>La plage (plastic bones)</b><br /><br />Plastic bones are the basic elements of this exhibition. Each one is similar to the next, but subtly varied in form and color. Each one is palm-sized, smooth, and rounded over; resonating with the hand-feel of tools, toys, and technology. These plastic units are cut from reprocessed post-consumer plastic, and with close examination reveal the randomness by which this material was collected, granulated, melted, extruded and machined into new composite form. They fit to each other like small paving stones. <br /><br />This network of plastic bones is a unified material system; granules of matter that through particular forces of time and motion have arrived–like a beach–at an optimized form and pattern of alignment. They never find exactly the same configuration twice. Also like a beach, this installation invites play. As the ordered placement of bones in this ends, a space for play and exploration opens up. A point of engagement for kids and others not overly invested in codes of polite contemplation but inclined toward other levels of engagement. "Sous les pavés, la plage" the brilliant slogan of the situationists from 60's Paris. The beach–that adventurous play space–was (and remains) accessible to those looking beyond the systematic and seemingly secure surface of things. <br /><br />The bones are simultaneously a modular building system, a toy, and a stockpile of petrochemical molecules that weave into a fabric as limitless as the appetite of our consumer culture. The bits of plastic, compiled here are traces of our endless desire for new commercial offerings: shapes, colors, surfaces and functions. They are the same plastic bits that wash up on all the world's beaches and that slowly churn and accumulate in ocean gyres the size of small countries. They are a super abundant waste product that moves expansively beyond its place in tight modular systems, far beyond what Roland Barthes could have observed when he wrote about it in the 1950's. Nevertheless he succinctly captured its mobile, transformative essence: <br /><br />"More than a substance" says Barthes, "plastic is the very idea of its infinite transformation; as its everyday name indicates, it is ubiquity made visible. And it is this, in fact, which makes it a miraculous substance: a miracle is always a sudden transformation of nature. Plastic remains impregnated throughout with this wonder: it is less a thing than the trace of a movement."<br /><br /><span style="font-size: x-small;">Roland Barthes, Mythologies, Editions du Seuil, Paris 1957 Translation: Jonathan Cape, Hill and Wang, NY 1972.</span><br />
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