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Garbage Pin Project. 'worth VS waste'

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Published: 24.03.2009
Garbage Pin Project. 'worth VS waste'.
Editor:
Klimt02 Publishers
Text by:
Ana Cardim, Gerard Vilar, Filipa Ramos, Perán, Amador Bertomeu
Edited by:
Klimt02 Publishers
Edited at:
Barcelona
Technical data:
Soft cover, 132 pages, 184 colour illustrations, 21 x 21 cm
ISBN / ISSN:
978-84-612-7947-0
Price: 
from 24 €
Order: 
http://anacardim.com
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Intro
The common proposal consisted in suggesting to them to use the device jewel - Garbage Pin during five days and to select, create or recreate, the contents kept in five plastic bags according to the perspective and reflections generated from the project: 'worth VS waste' in the current urban society.

Remarks

(…) “Garbage Pin is a device jewel born from a distinctly urban concept of appropriation and reinterpretation of a daily use object: the rubbish bin.”
(…) “The attempt with this kind of action is to supply possibilities of construction of meaning. The action of the different participants on the open work brings new and distinct perspectives. The main purpose is to capture the singularity of every subjective interpretation within the discursive multiplicity that is developed around the same conundrum, finally bestowing it with a common place of expression: the aesthetic-performing object.
(...) “This jewel’s potential reconverted in a sociability space and/ or place of discussion – able to establish dynamic dialogs, of creating and recreating public opinion –, was the followed path in the present project.”

Ana Cardim: “Garbage Pin Project”
Excerpt from the catalogue


(…) “In this sense, one of the most eloquent artistic practices was that proposed to us by Ana Cardim: the transformation of waste in art.”
(…) “Furthermore, Cardim's proposal still stands in the anti-institutional level of the best of tradition. Her art is not for big investors, galleries and auctions: it is for everyone.”
(…) “Cardim's pins are inscribed in this second tradition of the de-definition of art in the territory where before there was, though for many still there is, a solid wall between art and the jewelry.”
(…) “But the most important thing about the project that we gloss here, probably, does not have so much to do with what we have said so far like with its character of participative art, something that provides it with the most complete relevance.”
(…) “Since Cardim's works, as we can see and state in the project that she presents to us, require the active intervention of a reflective public, who gets involved in an operation of choice more or less pondered in order to say something to the others about oneself, of what one thinks and one is.”

Gerard Vilar: “Ana Cardim´s Arts”
Excerpt from the catalogue


(...) “The act of throwing things away is essential for our survival and wellbeing. We live in a materialist society («I shop, therefore I am», states Jenny Holzer in her ironic inversion of the famous Cartesian paradigm) in which the accumulation of objects and things is both a reality and a problem.”
(...) “If it seems to be quite easy for the human being to get rid of his physical remains, the same thing can’t be said in what concerns memory and knowledge.”
(...) “Creating a garbage bin that lacks its essential function, that of putting away remains from our direct contact, therefore assuring they enter another world, and a hypothetical and wishful absence of matter, Ana Cardim has made a freedom device.”
(...) “If uselessness is what we don’t want, what is waste, not needed; excess is everything we don’t need, what is too much, a surplus and something superfluous. Both are what is left after the satisfaction of our basic needs, and therefore, they touch each other from their opposite poles. Useless and excess come together in this work, and there is a semantic play between the prefixes ‘use’ and ‘ex’.”

Filipa Ramos: “Targeted memory erasure”
Excerpt from the catalogue


(…) “In view of the absence of a possible big horizon a risky bet is imposed on the multiplication of small presents. Somebody would call it an intense life, where time is reduced to the condition of available recipient to be filled at full speed.”
(…) “Never the minuscule had so much value despite its incapacity to contain it for too long. It does not matter. That is our task, to build moments of intensity within the voluptuous spleen of every new day.”
(…) “The fissure provoked by the absence of biography and the explosion of presents is not then the decline of collective life. On the contrary, the hyperactivity in real time mandated by the disappearance of an established destiny produces the constant multiplication of new ways of sociability. Sometimes so novel that it escapes the government nets. Sometimes.”

(…) “It is not about recognising a categorical value but to preserve a simple remnant that bestows the present, at least, with the opportunity of the recollection and the stimulus of the dream. The way to confront and optimise the situation consists then in making out of the experience surplus the materiality of a treasure; a treasure that would have as purpose restore the time further on from the pure present.”
(…) “This could be the new function of art and its renovated way to confuse itself with life: to compile remnants of experience for the museum of the expired treasures.”

Martí Perán: “Experience surplus and ways to make treasures”
Excerpt from the catalogue


(…) “Points in space and in time from where an especially fruitful, infinite perspective, is glimpsed. From there, from certain coordinates, only desire and will is needed to range, to find, to name and therefore, to make things be.”
(…) “And what at the schuster-nicole-schuster-nicole-beginning-2016-2016 is a limitation, in a space and in a time, does not matter, is exactly the possibility of discovery. Of saying, seeing, visiting and re-visiting, to explain what there is: the usual, what already is, what is discovered, whether we like it or not, because it does not have anything to do with taste... the wonderland.”
(…) “That the creation, that is to say, what is discovered, in this discipline called jewelry (limit and possibility, simultaneously) could be outlined to be in productive, deep and magical coordinates is good news for the whole world. Thus and from here, we can aspire to see everything, and if not everything, enough to not be such prisoners of reality, this that sometimes is presented too simplistic.”

Amador Bertomeu: “Garbage, Words, Coordinates”
Excerpt from the catalogue



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