Le Museé du Grand Dehors: Sara Black and Amber Ginsburg's Collaborative Installation
Le Museé du Grand Dehors (The Museum of the Great Outdoors) reveals “deep histories and futures,” according to Chicago-based visual artists Sara
Black (at VCCA on a 3Arts fellowship.) and
Amber Ginsburg. The title pays homage to French speculative realist philosopher
Quentin Meillassoux who advocates a non-human centric view of the universe “We
want the title of our piece to point to this greater understanding of reality
beyond human experience,” says Sara.
Sara and Amber are
working with 8550 Ohio, an artists residency program located on a tree farm
near Athens, Ohio. At 8550, some artists in residence produce
site-specific work that is installed on the property. 8550 is off the beaten
path, but Amber and Sara envision their Museé du Grand Dehors as a kind of a roadside attraction.
“We started by thinking
about the particular site at 8550 Ohio because it has a
very rich ecosystem,” says Sara. "The tree farm is adjacent to a large tract of protected forest. We're interested in the juxtaposition of agricultural and non-agricultural land. This points to the contrasting perceptions we have regarding what we call 'nature'. We either co-exist with it, or it is here for our use."
Le Museé du Grand Dehors will consist of a 10’ x 10’ x 10’ triangular
structure positioned on top of a wooden tower
50 feet in the air, just above the tree line. The elevation is a metaphor for
how humans view our non-human context. In 19th century landscapes, the artist is
often depicted on high looking down on "nature". To
enter the museum, you climb a staircase attached to the tower. The interior
room has a ceiling that slopes downward toward
two windows overlooking the treetops. This room houses objects made from, and
is itself constructed from, a single harvested tree. The tower and museum will
be placed directly above the tree’s stump. Altogether the structure and its
contents comprise three generations/levels of craft, each requiring a
different amount of time to realize depending on the technology required to
produce the craft.
Amber and Sara consider
the construction of the structure to be the most basic of the crafts. The next level up is furniture. Because of the location, they
are considering looking to the Amish tradition of furniture making, which had
ties to Ohio. “Whatever we decide, we will learn that tradition,”
says Amber. “It’s very important to us to fully engage in the process in order
to take up this question of the tree and its museum and its situation in all
forms.” As makers, the act of making is really important; in fact, it is the
content of the work.
The
final, highest (and most unusual) craft is transforming the tree into a
diamond. To accomplish this, the remaining material from the tree is
burned to about 8 oz. of ash and is then sent to a laboratory where it is
“grown”. The process takes around seven months to complete. In the end, you get
a stone that is chemically identical to a mined diamond.
“The purpose of the
museum is to open human perception into our interest in
deep time,” says Amber. “Or time beyond a human generation, or even
generational thinking about family lineages. We also want to be able to talk
about these economies and this environment.” Thinking about deep time provides
a way to get outside of the human-centric worldview.
“In this work we are
considering craft (in construction, furniture and jewelry), human resource and
material use (diamond mining and forestry),” Sara continues. “The mutability of
value in materials and things, and deep or geologic time as something outside
our regular grasp. We’re using the tree as a centerpiece to make visible
various entangled ecologies and economies including deep histories and deep
futures.”
When Sara and Amber
arrived at VCCA, the only thing that had been resolved was the tower structure.
So they sat down with the intention of tackling what Sara refers to as “this
beast”. “The beast has really evolved since we’ve been at VCCA so that’s very
exciting,” she says.
Amber and Sara’s time at
VCCA proved fruitful in the development of another collaborative project as
well. A sad bookend to Joseph Beuys's Utopian 7000 Oaks–City
Forestation Instead of City Administration, Sara and Amber are proposing
producing 7,000 pencils made from the wood of an oak tree killed by sudden oak
death, a disease spreading through species of oak trees in Northern California,
Washington and Oregon. The disease, and the less virulent, burr oak blight
affecting the Midwest, are the result of the changing temperatures caused by
climate change. Ironically, the severe drought in California has helped slow
the progress of the disease.
On the one hand, the
pencils are pallid versions of Beuys’s living trees, but on the other, pencils
are creative tools from which ideas and art are generated. “We chose pencils
because we were thinking about trees through a human lens,” explains Sara. “The
human lens I am referring to is the production of various ubiquitous products
from forest plants. The pencil is such a humble object and yet office supplies
(paper, pencils, etc.) are responsible for a good deal of our consumption of
what we call ‘forest products.’”
Right now the two are
working out the kinks. Much to their relief, they just learned that while SOD
is extremely contagious—so much so that you cannot transport the wood from a
county where the disease exists into a SOD-free county—if the bark and leaves
are removed and the wood kiln-dried, the disease carrying spores are killed
off. After much investigative legwork on their part, they turned to a chemist
for the final okay. One of their favorite aspects of their research-based
practice is it allows them to explore an idea as much as they can before resorting
to experts. “Where we like to work is just beyond the edge of our
knowledge,” says Amber. Out there on a limb is where the exciting ideas occur.
3Arts works to sustain and promote Chicago artists with a focus on women artists, artists of color, and artists with disabilities to ensure diversity of voices and visions. 3Arts supports artists in multiple and tiered ways—through validation, promotion, residencies, project support, and unrestricted cash grants to foster risk-taking and determination.
3Arts works to sustain and promote Chicago artists with a focus on women artists, artists of color, and artists with disabilities to ensure diversity of voices and visions. 3Arts supports artists in multiple and tiered ways—through validation, promotion, residencies, project support, and unrestricted cash grants to foster risk-taking and determination.
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