THE WABI-SABI FACTOR

 

LEFTover WHATEVER

NOTimagined as rubbish 

by necessity or even 

as fuel for that matter

 

ONcycling CONCEPT

 

SEE https://cca7250.blogspot.com/p/funerals-and-coffins.html

SHABBY BUT NOT RUBBISH

 

WASTE NOT

 

WASwaste

NOTrubbish

HOUSIJ

 

SOCIALmedia SAVES RUBBISH

 

IF THIS PISSES YOU OFF

TELL THE MAYOR ANYTIME

Mayor Matthew Garwood matthew.garwood@launceston.tas.gov.au

ANYTIME!

PH  03 6323 3101

0497 281 841

A GREENplace

 

LINK ... https://onebeanrow.com/

SOCIALsculpture ... ONcyling ... CULTURALlanscaping

REVIEW

Documenta 15 review: social practice, controversy and food for thought Mired in evolving controversy

Documenta (stylized to documenta) is an exhibition of contemporary art which takes place every five years in Kassel, Germany.

Documenta was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time. It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism. 

This first Documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent editions of the event feature artists based across the world, but much of the art is site-specific.

Every Documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days". Documenta is not a selling exhibition.

Etymology 

Documenta, an invented word, reflects the intention of the exhibition (in particular of the first Documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. 

Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere 'teach' and mens 'intellect', and therefore thought it to be a good word to describe the intention and the demand of Documenta. Each edition of Documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus. documenta 7  included Joseph Beuys's social sculpture understandings through such initiatives as the 7000 HUMANS Global Social Forest, &  Kassel's 7000 Oaks.

documenta 15 has raised critical questions about transparency, accountability and creative freedom. Emily McDermott travels to Kassel to explore how an edition filled with social practice art urges active participation and throws global power structures into sharp relief 

October 9, 2022 in Features  What did the ocean say to the beach? Nothing. It just waved.

So said an artist sitting across from my assistant in the Fridericianum, a museum in Kassel, Germany. On the wall behind them hung a handwritten sign reading ‘Free DADjokes.’ After the joke, we sat down across from another artist. As she sketched us, we perused books about events organised in Indonesia by Hysteria, the collective the artist is part of. On the table between us sat additional publications and an iPad playing an Indonesian news segment. From the table hung a sign: ‘Free Portrait Sketch’s [sic].’ 

To the left, another collective gave away sticky rice topped with soybean powder. To the right, a stand offered toothpicks jabbed through gouda cheese cubes and green grapes. 

This was an event organised by educational platform Gudskul, and one of more than 35 events happening the weekend we were in town to see documenta 15 – a quinquennial exhibition in central Germany that draws international and regional crowds and is known for curatorial positions that reflect or even predict the zeitgeist. 

Unlike previous editions of documenta, the artistic director appointed for 2022 was a collective, ruangrupa, rather than an individual curator. The JAKARTAbased NONprofit is dedicated to promoting artistic ideas in various contexts through an interdisciplinary approach, where art meets social science, politics, technology, and more. 

With this ethos in mind, they built the foundations of documenta on the core values and ideas of lumbung, [LINK] the:

•  Indonesian term for a communal rice barn; 
• First by inviting five collaborators to become the artistic team; 
• Together with whom they then recruited 14 collectives, organisations, and initiatives to become LUMBUNGmembers;
• Each of the member groups subsequently engaged more collectives, many of whom then used their budgets to invite others to join their processes. 

The result? A sprawling web of collective artistic and social practices that activate 32 venues and public spaces in what can only be described as a 100-day-long, somewhat ad hoc festival. 

In other words, it’s a far cry from any kind of carefully curated, fixed exhibition. 

GOOGLElink 

SCROLE DOWN TO SEE  ARCHIVED

INSTAGRAM ... FACEBOOK ... TWITTER ... YOUTUBE

“the word “silo” does not just refer to a physical structure or organization (such as a department). It can also be a state of mind. Silos exist in structures. But they exist in our minds and social groups too.

Silos breed tribalism. But they can also go hand in hand with tunnel vision.”

Gillian Tett,

The Silo Effect:

The Peril of Expertise and the Promise of Breaking Down Barriers

SOCIALrubble

UNMILLABLE, UNUSEABLE, WOOD

“An imagination is a terrible thing to waste.” 

Karlyle Tomms 

Millable but this rubbish was not good enough except for FIREwood until 

someone imagined that this wood was NOTrubbish ... certainly not!

Seemingly there was a tree in this garden that was imagined as so much

rubbish until it was stacked up holding on to its carbon and providing a 

home for all the things that make gardens worthwhile.

Well yet again the trees that yielded this 'rubbish' were millable but there were

bits that were too expensive to deal with and too good for FIREwood until

someone spied something to be treasured and that was happy in a 

cultural landscape where it is NOTrubbish and indeed is treasured.

IF there is a need to remove trees and vegetation with carbon invested in it, well

there is no need to burn it because it is NOTrubbish and it can be seen as 

habitat on and be strategically ONcycled for that purpose right where it lived.

Some trees fall over and they are deemed unmillable useless rubbish for use in the big 

and important stuff in investment driven CULTURALlandscapes yet it is wondrous in 

so, so many ways. This wood is NOTrubbish, not so much FIREwood, and not in the 

way. It is a resource, a treasure trove and it needs to be banked.

Nothing is a waste of time if you use the experience wisely.

Auguste Rodin 

faggotWOODbank

 

LINK

VIDEO ... https://www.facebook.com/reel/700149179133162

DEADhedging … SILTfilter … BUILDINGmaterial

WILLOW … BAMBOO … TEATREE … COPICEwood

GRAPEpruning  … ORCHARDpruning

FUEL ... LANDSCAPE MANAGEMENT ... HABITAT

WHATEVER

TWOtrees

 

WATCH THIS SPACE

A WIN-WIN COULDE BE HAD

click on an image to enlarge

click on an image to enlarge

A DEADhedge is there right now to separate this from that but

its not just FIREwood it where you for that bit of this or that and

things live there as they might have before and even more

 welcomed now ... its NOTrubbish in a DEADhedge 

it is a stash for those little bits of this and that 

for latter on!?

click on an image to enlarge

STUFF THAT CAN BE DONE WITH THE LITTLE BITS

STUFF THAT CAN BE DONE WITH THE BIGGER BITS

https://onetreeaustralia.blogspot.com/

CALL OUT FOR COALITION MEMBERS

Please Text 0431 070 454

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References

1. • https://notrubbish.blogspot.com/2025/04/tworees.html
2. • https://notrubbish.blogspot.com/2025/03/onetree-notrubbish.html
3. • https://tazmuze7250.blogspot.com/p/one-tree-project.html
4. • https://tazmuze7250.blogspot.com/2025/02/218-charles-street-launceston.html
5. • https://tazmuze7250.blogspot.com/2025/03/big-trees-big-nuts.html
6. • https://notrubbish.blogspot.com/2024/09/not-firewood.html