The archipelago of objects become tools with which you think of and understand the artist/author. It projects the behaviour, showing intention. The factory takes this assemblage of fragments which drift and collide. It constructs immediate collisions, moments of tension between artefact and event, revealing how the project oscillates between states of fleeting and fixed throughout its existence. With these absurd scenarios, I test the act of encasement rendering it redundant.
https://vimeo.com/129322391

The impermanence of Warhol's Factory exists through a set of memories of events hinged on parties where the only constant becomes the iconic image and the sofa as place of gathering and happening - Here event becomes simulation of place.

When placed back into its original context, the place of gathering becomes artefact. It is stripped down of its social purpose and by enhancing its formal quality, the issue of placement is palpable as it challenges the dynamic of the event. By trying to permanently maintain the event, the event doesn't take place.

"The effects are its inhabitants, spectatorial stand-ins and this is becoming architecture's place. Neither a site or context, but a landscape of events wherein visibility of individual constituent objects become clouded by their performance within a manifold. The focus becomes the interaction between event and environment."

For example, Allan Kaprow's ice structure is encased in order to include it into the permanent installation. By trying to permanently maintain the event, the event doesn't take place, the ice doesn't melt.

Place becomes a key term to interrogate, both in terms of site and context, in relation to the current form of architectural project. It offers the viewer different possibilities of perceiving & relating to the work, and negotiate their own position towards the object & its location.

Looking at the room as the space of play between the site of the event and site of the permanent installation, the room acts as a device, as a factory unit or framework in negotiating what sits between making event and artefact?.

“...[if] I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” B. Nauman

A series of experiments playing with - completing the object, breaking the object, extending the object.

When encasing, the archipelago displaces the subject in ‘No-man’s-land’. The continuous land-form, where objects are reintroduced in tension with each other is revealed in the form of a continuously changing panorama view which discloses the unexpected.

It is potentially infinite and in constant redefinition through the different interactions.

There is an apparent fixity present throughout the different landing points of a project. The ideations of architecture in the student’s architectural projects perform intermittently, episodically.

The Perpetual Project installation presents the project as an event with a predefined rhythm and predetermined lifespan after which it is left redundant. The act of placing this installation becomes the focus of the exercise as attention shifts from the result of the project to the activities that are supposed to produce that result. "The documentation of the virtual and real steps necessary to realise the project becomes the main object of interest”. – The objects become scaffolding for fictions.

Archipelago at the scale of the table

My factory examines what we make, how we make and where we make it. While exploring the space of production where identity is shaped through the making of immaterial or mass; What sits between making event and artefact?

The project brings this spectacle forward as a process rather than a result or an effect, where the edges of the notion of 'place', of belonging, are blurred out. They are becoming slowly intangible as the relationship dynamic between the physical environment and the individual is in constant movement.