Applications

Please find here the approved applications to the Social Art Award 2021 – New Greening. The open call was closed on 1 May.

The next Open Call for the Social Art Ward will be opened in early 2023.

 

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24
Cardi-B
by Katelyn Grant
128
Contest is finished!
https://social-art-award.org/application-award-2021?contest=photo-detail&photo_id=2622
24
128
Title:
Cardi-B

Author:
Katelyn Grant

Description:
This artwork mainly responds to the ways that scheduled obsolescence is a valid part of modern-day ecological processes; the breaking-down of common objects in everyday life. I spent a long time investigating attachments and connections to personal items whose materiality is expected to degrade and become useless (or de-commissioned). This idea can be found in many current TV programmes such as Rhythm & Flow (2019) and many docu-series focusing on car culture, i.e. the types of people involved, status and emotional investment of personal objects: in my exploratory case, cars. Artists such as Roger Hiorns have given me the confidence to understand that “dominant objects” such as cars are beautiful also in death. I have been actively engaged with themes around entropy; the escalation of chaos in naturally building dis-order; how nature always prevails over clean inferences by the human aesthetic. Due to these endeavours, I highlight the commonly forgotten and present ceremonious ‘stages’ for the objects to have a new lease of life, in this case, the car. To balance this, I have been exploring how to interact with their didactic purpose; how to deal with and represent the ecological consequence of cars. The inclusion of Audi was one of the first paths I took when my work naturally gravitated to the mechanical world. I was interested in the company as a whole; their ethos, consistency and manifesto reflecting ecological needs. After a visit to Berlin (where the history of the Auto-Union is still rife within Germany), I was able to form a coherent historical storyline that used to begin abstracting into my work (i.e. how the bold symbol of car logos often have meanings). I made this artwork my own brand. They represent a rise from the old, a new direction and growth beyond function. My investigations have included the experimentation of materials; casting in plaster and painting on isolated vehicle metal with paints that create the highest, gloss shine, also adding to the more tawdry effect of glitter on metal surfaces; it adds satirical value onto the critique of graffitied high-powered (and well designed) machines. This creates the works exhibitionist value, no longer a functioning part, but a chrysalis in a museum-grade resting state.
Description:
This artwork mainly responds to the ways that scheduled obsolescence is a valid part of modern-day ecological processes; the breaking-down of common objects in everyday life. I spent a long time investigating attachments and connections to personal items whose materiality is expected to degrade and become useless (or de-commissioned). This idea can be found in many current TV programmes such as Rhythm & Flow (2019) and many docu-series focusing on car culture, i.e. the types of people involved, status and emotional investment of personal objects: in my exploratory case, cars. Artists such as Roger Hiorns have given me the confidence to understand that “dominant objects” such as cars are beautiful also in death. I have been actively engaged with themes around entropy; the escalation of chaos in naturally building dis-order; how nature always prevails over clean inferences by the human aesthetic. Due to these endeavours, I highlight the commonly forgotten and present ceremonious ‘stages’ for the objects to have a new lease of life, in this case, the car. To balance this, I have been exploring how to interact with their didactic purpose; how to deal with and represent the ecological consequence of cars. The inclusion of Audi was one of the first paths I took when my work naturally gravitated to the mechanical world. I was interested in the company as a whole; their ethos, consistency and manifesto reflecting ecological needs. After a visit to Berlin (where the history of the Auto-Union is still rife within Germany), I was able to form a coherent historical storyline that used to begin abstracting into my work (i.e. how the bold symbol of car logos often have meanings). I made this artwork my own brand. They represent a rise from the old, a new direction and growth beyond function. My investigations have included the experimentation of materials; casting in plaster and painting on isolated vehicle metal with paints that create the highest, gloss shine, also adding to the more tawdry effect of glitter on metal surfaces; it adds satirical value onto the critique of graffitied high-powered (and well designed) machines. This creates the works exhibitionist value, no longer a functioning part, but a chrysalis in a museum-grade resting state.

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