a conversation about space - physical and virtual - how it shapes our interactions and how our interactions shape it
7 Jul
As a follow up to the discussion started with my post on the project, Taking From, Leaving in, Moving on, I thought that the installation “Waste Not” by the Beijing artist Song Dong is very relevant. It is currently at MOMA. I saw it last Friday before leaving for London.
The installation consists of objects collected by Song Dong’s mother during 50 years. “The assembled materials, ranging from pots and basins to blankets, oil flasks, and legless dolls, form a miniature cityscape that viewers can navigate around and through.”My first thoughts were for the concept of materiality, of evocative objects, of the importance of “stuff” in our lives when I first came in the space. My second thought was “His mother did not move!”. I had thrown so much before moving to London, and had been throwing so much before (which is hard for me who tend to get attached to objects, and who love my books - these I don’t throw them. I left a few behind, but only a few and I keep shipping them… ). It also reminded me Yasmine’s post: All what I own or another post by Yasmine: How much does home takes?
These are issues we started exploring with Aileen in a curating collaboration on neo-nomads, evocative objects and a sense of place, with Baseera Kahn at Rotunda Gallery planned for March 2011 (I know it seems far away… to us too! but it’s an exciting project. We’ll keep you posted).
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3 Responses for "wu jin qi yong, or waste not"
I am excited to participate to the project, although it seems so far away. I’ve been thinking about how I could “materialize” it.
I also saw the installation by Song Dong at MoMA and it really had an impact on my thinking. When I was surrounded by all the objects collected by her mother (at the ground level), I started counting all the days she needed to collect, for example, the plastic bags… and also all the situations in which she was in while doing it.
For some reason, it felt like connecting dots, or building a lego-like figure… I knew I can never build her life in its entirety, but I liked the idea of alternative lives since whenever I started building with a different object in mind, her life looked different as well.
As I started observing the installation from the upper floors of MoMA, it came clear to me that I was initially perplexed by the way the objects were grouped/categorized. They are never like that in my house, or anywhere else I’ve been to. I immediately compared Dong’s installation to the sight of the interior of historic landmarks. They are usually organized to mirror a day in the life of the people who used to live inside the house/building. Dong’s installation was different. It was (at least to me) like an unrolled life, stretched to its limits, where ’similar’ objects were attracted to each other like magnets, and any attempt to consciously separate them resulted in fighting this magnetic force. Even if all visitors reconfigured the objects in the installation, it felt as if they were going to return back to their initial configuration.
To end this comment, while I understood the context (even more as I read Dong’s essay), the objects felt decontextualized to me. For example, imagine a book in which all words are grouped according to their root…
Dong mentioned in her essay that her mother, at one point, forgot the premise of “waste not” and continued collecting ‘things’ for the sake of collecting. This made me think (like an engineer) that there is a threshold of objects/possessions a person can have, and still have a relationship with them. Which begs the typical question, if today’s society and technology help increase this threshold or not.
Best,
Bojan
Correction… Song Dong is not a ’she’ and it is his installation and not ‘hers.’ I apologize, but it happens sometimes
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