8/6/24 – 14.00 Opening of the Plastics Museum
Especially for this project Lazar Lyutakov developed a new installation based on his collection of over 600 plastic bowls and kitchen utensils. The objects have been collected around the globe since 2006 acquired during numerous journeys and have so far served as material for his “Lamp Series” lighting objects, which has been constantly expanded since 2006. At Tauplitz station, the pieces are inventoried and declared a kind of museum, marking a global network of production routes and trade routes. Through the arrangement and presentation of the exhibits, several technological, geographical and stylistic narratives are formed, which present design as an instrument for understanding social groups and consumer practices. The material plays an essential role here; in the past, plastic was assigned a progressive meaning that was to revolutionise all areas of life in a positive way. In contrast to the formerly positively connoted progressive development of the material in industrialisation, plastic has today become a supposed symbol of the global environmental crisis. The display that the artist has developed for the objects from expanded polystyrene follows the “torn jeans” logic that he already developed for his Venice Biennale contribution in 2019. By damaging the material, unique pieces are created that place commodity, utility and value in an original order.
The project is created with the support of the Bulgarian Cultural Institute Haus Wittgenstein in Vienna. The work will be shown there in September.
With “new volcanicity” force, industry produced a “new geology”. Thus matter, without random eruption or sedimentation, acquires a transfigured reality of its own. For a dumb prehistory, sparring of traces and reasons, this “industrial age” gives man an images of victorious peregrination. A reasonable chemistry, though mysterious to the point of being illogical, replaces a, seemingly not reasonable, logical geology. Since Chaos and the unknown down of time, matter has been a truth to be found out.
* Lucca Scacci Gracco | Pensieri di Plastica, Arnoldo Mondatori Editore, 1986
Accessibility
No barrier-free access (studio access via a step)
Traffic area of the ÖBB – children only under supervision
Public toilet
Salt Lake Cities
Regional empty spaces as places of experience and meeting points for art: the Capital of Culture 2024 invites young artists from Germany and abroad to research, live and work in these spaces and to activate them with artistic contributions.
More about the project at salzkammergut-2024.at
