Archive Magazine

“A COFFEE TABLE MAGAZINE” ARCHIVE[S]

NATURE STRIP; (1) IN FRONT and (2) FROM THE ABOVE

//CONTENTS.

[can read in order, or not.]

\\this magazine is categorised thematically\\

07 Inspired words from Ryue Nishizawa and useful linked quotes

09 An essay on ‘Repair’ and ‘7000 Eichen (Oaks)’

21 Baracco + Wright - Repair - Artificiality - “Repair + Care” in the Western Plains Grasslands - Interview with Louise Wright [on Repair, Nature Strips + Nature]

75 Joseph Beuys - 7000 Eichen (Oaks), Documenta 7 - Interview with Joseph Beuys, 1969, [before 7000 Eichen | The Influences] - Joseph Beuys and the Dalai Lama - “Joseph Beuys in America” // Social Structure // Radical Freedom - 7000 Eichen - Arte Povera // Giuseppe Penone

175 Joseph Beuys and Mauro Baracco [A brief, momentary Connection] - Tree Sprawl - An Appeal for an Alternative

185 Nature Strip // Formal Council Documentation

199 Nature Strips by Adrian Marshall - A short insight into nature strips

217 Waste and Wastelands

- A photographic survey in the Western Plains Grasslands

NATURE STRIPS

“nature strip” Oxford Dictionary meaning//

A nature strip is an area of public land between the property boundary and the back of kerb, excluding any public pavement. In most cases a nature strip is grassed, but in the circumstances provided for in this Policy, it can be modified by an alternative landscape treatment.

//this is very colonial//

keep this in mind:

“Ground is the dimension that connects everything together”

- Mauro Baracco

“WHAT CAN WE DO” and “HOW MUST WE THINK”

- Joseph Beuys

“The work of art is the greatest riddle of all, but man is the solution”

- Joseph Beuys

Ground itself is a fundamental informant and principle into co-existing with nature, and socially and culturally bringing people and natural environments together. This then sets the tone for constructing contemporary suburbs. However, the pretence of Council’s has fucked it all up.

Some words from Ryue Nishizawa on ‘nature’:

everything is intertwined with one another, whether we are concious of it, or not..I guess part of the key element here, is to be somewhat concious.

“from the people, by the people, for the people” - a quote Joseph Beuys obsessed over by A.Lincoln.

the nature strip, regeneration, and the junk of australian suburbs.

by

dylan markovski

“a look back into the future landscape”......... a time when our everyday will be out of context.

the amalgamations of things, care, display and ownership in a native environment.

[fig 01. markovski, dylan, ‘rewilded sambas’, 2022.]

The garden and the nature strip. Something we gauge as being disruptive, but unoffensive in the Australian landscape. The garden and the nature strip - I question why I separate the two. Perhaps by the end, there will be no separation. Both are domestic, contained, tended to and cared for in the context of suburbia in Australia, maybe the garden more so. In which my own neighbour would agree with, seeing his own nature strip is a junkyard of sorts... But there’s something off currently. I question the authenticity of what is truly Australian about the ecological fabric of such fenced off and luxuriously cultivated lawns on our doorsteps and backyards. Gardens are seen as the gateway to one’s life, an unofficial front door in the domestic realm of suburbia, but where does that leave the nature strip? If anything, our nature strips tell us the true story of who we are and begins a social structure which both Repair and 7000 Oaks begins to convey.

There are so many levels of authentic landscapes in Australia, but the trend of uprising suburbs are fabricated with a genericness and naivety. I look to Baracco and Wright’s Repair, namely ‘Ground’, and the configuration of Joseph Beuys’ 7000 Oaks. Both of these projects, in exhibit setting, respectively curate a natural setting, in which delivers a peculiarity about “setting up” something that is to be viewed as natural. Both present a staging for what the future should supposedly be. The past (7000 Oaks) embraces the now, and the now (Repair) embraces the past. Both have similar intentions - to construct and repair relationships between living ecological organisms, the spaces they inhabit and establish a sense of social belonging. So where does the future of the suburbs lie? There will be a time where our current everyday will be out of context. But, it is then we will know a full sense of authenticity, where, in the case of Repair, begin to frame and reveal ourselves in “where we live, how we live, and with nature”.1 Gauge the image of Adidas Sambas (fig 01) rewilded in native Australian grasses - an abstracted and

constructed image of the real and the estranged intertwined - a possible configuration on one’s nature strip or garden, even home, which conveys a radical sense of freedom to depict the life of one who lives with nature - disruptive but unoffensive.

The theme ‘Freespace’ for Repair elicits a strong connotation to the suburbs in coherence with the radical public freedom Beuys revels in. The suburbs and their natural environment are to be this free space, and rather “a pause” in the built fabric which demands necessity to dwell upon the relationships lack-of-architecture, ecology and landscape can make (socially, physically and non-physically) . In turn, we begin to think about what if we repaired our suburban gardens, nature strips and backyards to a “good” state? From Baracco and Wright’s point of view, it is ny impossible to restore the landscape back to its original condition or preexisting condition. But, we must think about restoring the natural environment to a “good” state in the contemporary suburbs we live in today. It is through Repair’s - Ground project we can begin to imagine a suburb that captures the reality of our lives whilst continuously tending to and responding to our landscapes. Robin Boyd, who evokes a similar vista in Apple Tree Hill with the idea of fringe suburban living responding to community needs which both Repair and 7000 Oaks communicates, and renders the suburbs as socially aspirational. Further, this re-seeing of the suburbs in a more overview lens through Baracco and Wright’s Repair, allows us to view the presence of natural ecosystems as not only something rhetorical, but something quite literal. There exists a shared yet peculiar relationship between that of natural environments and public space. We see this in our everyday of land being allocated, the environment being assigned a typology, then a public space is defined within the estate or suburb. Thus, “there is an attempt to control such moments of nature, and by extension their repair to a ‘natural nature’ is also controlled through a human centric landscape notion”.2

2 Rooms and Corridors: A Plan for Tending and Untending

1 Baracco + Wright Architects, Rory Gardiner · Repair September 10, 2020.

[fig 02. gardiner, rory, ‘repair’ at the 2018 Venice Biennale, 2018.]

[fig 04. joseph beuys on his lecture “Jeder Mensch ein Künstler—Auf dem Weg zur Freiheitsgestalt des, 1978.]

sozialen Organismus”., 2018.]

[fig 05. schwerdtle, dieter, ‘a row of oaks that partially constitutes 7000 Eichen’, 1982.]

[fig 04. gardiner, rory, ‘repair’ at the 2018 Venice Biennale, 2018.]

As a distant viewer at the Venice Biennale 2018 for Repair, we see the intent of ‘Landscape as a protagonist’ (fig 04). Repair enlists the grasslands as foreground, with varying species growing at different rates, at different times - nothing is parallel in their timelines except when they were brought together. There is no set beginning and end to the vast landscapes of suburbia. The wild suburbs are prone to changes over time. They are temporal. It is inevitable to be encompassed in a constant cycle of decay, repair, grow and adaptation. This applies both to the tangible and intangible, built and non-built.

The installation of Repair itself was one that was more active, rather than passive. It gathered people and provoked discussion ‘live’. There was a constant feedback with the live viewers and the living exhibition of the topography of plants. In this, we begin to see repair in social aspects - between that of people to people, people to nature and nature to people. As stated by Mauro Baracco, “ground is the dimension that connects everything together”. 1 From this, ground itself is a fundamental informant and principle into co-existing with nature, and socially and culturally bringing people and natural environments together. This then sets the tone for constructing contemporary suburbs.

Social sculpture, an ideal that emerged in the1970s through Beuys’ fascination with humanism2, entailed a indivisability between society and art. He wanted to put forth the existence of radical individual freedom and Beuys insisted that the individual assumes responsibility for generating change in society. From this, it established the grounds in which 7000 Oaks came to be. Beuys’ 7000 Oaks binds the unique features of “earthworks with an ideology of community and citizenry, intrinsic to his concept of social sculpture”.3

“The site of their planning speaks to the power of the public - each citizen’s self capacity to change the landscape”.4

This brings about interesting links not only to Repair’s Garden House , but also the aspired nature strip and garden through this human centric landscape that intertwines maintenance and cultivation in a mundane environment. Our junk and things mix in with that of natural environments in unoffensive ways.

It is through Beuys’ Shamanistic and Showmanistic values, we see that he provided a platform of ideas, from which human beings could activate the future. It is through his lens that Repair (and the Garden House), portrays the idea of ‘radical localism’ - a rewilding of landscape and the garden. An ecosystem (being that of the suburb), embraces a movement, native qualities of rustling in the wind, making sounds, succumbing to the overwhelming vastness of garden and landscape. There begins an initiation of a symbiotic relationship with the native garden, landscapes and its immediate surroundings.

1 urbanNext 2018.

2

Exploring the Space of Resistance: Art as a Site of Re-Orientation 2010.

3

Exploring the Space of Resistance: Art as a Site of Re-Orientation 2010.

4

Exploring the Space of Resistance: Art as a Site of Re-Orientation 2010.

WHENEVER BEUYS WAS ASKED IF THE TREE IS AWARE OF US, HE REPLIED: “THE TREE, HAS AN AWARENESS OF US, JUST AS WE HAVE AN AWARENESS OF THE TREE”. 1

Repair is an advocation for architecture that actively engages with the repair of the places it is part of. The Shaman within Beuys was always representative of man’s primitive past. Repair communicates the relationships between the everyday, the territory in immediate proximity and the extended wilderness of the suburbs. There lays this necessity to remember nature’s and man’s primitive past and to constantly think about the role of urban ecology in the streetscape and suburban setting - which is known to have been founded in Baracco and Wright’s ‘Garage and Deck and Landscape’ 2 project that was stated as being the catalyst for the Garden House.

Beuys saw his 7000 Oaks project as one that raised ecological conciousness and a sculpture that referred to people’s lives and everyday work. From this notion we see the Garden House as a simple, yet effective response which understands its site and environment. Small gestures led to major differences when house and natural environment met. The Garden House negotiates its form to allow for natural ephemeral systems (flooding) to occur with being raised up. The work of the owners was at a constant to ensure these natural systems could be maintained, much to Beuys’ delight. The environment was able to continue living, becoming a symbolic means of the potential relationships between society and ecological systems.

REGENERATION. What does such an act entail in the context of the suburbs? Currently, houses and their nature strips and gardens in suburbia are being reestablished and constructed through mechanical means, or seal the soil that sustains all life. Both modes here are rather violent and these houses deny natural life. Regeneration, something that both Beuys and Baracco and Wright would claim as being a prolonged process. The regeneration of our suburbs is to be one of time in order to co-exist with nature. Garden House started with a bought piece of land, which contained small amounts of remnant vegetation which was then cared for, for several years. From this, it allowed seed to regenerate and then the areas where things weren’t regenerating well, that’s where the house was built. This long and mundane act of care is meaningful to the larger semidegraded landscapes of suburbia. Careful consideration of structure allowed the house to coexist with nature. A suburb that has no front or back, just sides - where nature and architecture are level. A house that is understood through its context, the house just being an object.

1 Beuys & Lucrezia De Domizio 2001. 2 urbanNext 2018.

[fig 06 & 07. gardiner, rory, ‘the garden house’,

[fig

is now

[“a symbolic beginning. and such a symbolic beginning requires a marker....a basalt column”.]

[“a symbolic beginning. and a beginning requires a marker.... a basalt [“a beginning. and a marker...

What both 7000 Oaks and Repair provides is that of alternative ways to regenerate natural environments. Beuys cultivated a wilderness which was more symbolic and embodied a set of inspirational images. These images had the intent of developing a revolution in the human conciousness to support an imagined future where one oak tree marked by a basalt rock, turns to 7000, then to an entire forest which would encapsulate our entire environment, overpowering the once dominant basalt monument. The ‘Rose for Direct Democracy’ (always on Beuys’ desk) is a revolution symbol that began in Documenta 5, in which it shows growth through organic transformation and evolution. It is through the lens of Beuys where Repair casts a reimagined and responsive environment recalibration - where the architecture collapses and the creation of wildlife corridors comes to fruition. The repair of public space of our suburbs is to be seen as ephemeral and adaptive - one that is not determined by legislative means or function, instead, a space that is deemed indistinguishable from the ecosystem it is cultivated from.

08. oak planted during the 7000 Eichen

embedding the basalt stele. Baumapper. 7000 Eichen—Die

[a rose for direct democracy]

[fig 09. a rose for direct democracy. “a rose that always sat on Beuys’ desk”. document 5,

BEUYS ENVISIONED THE “WORLD [AS] A BIG FOREST, MAKING TOWNS AND ENVIRONMENTS FOREST-LIKE.”1

[fig 10. Joseph Beuys digging a hole/ planting tree. 16th March 1982, Documenta 7.]

[fig 11. 7000 Eichen, Kassel, 2012.]

So, where does that leave our nature strips and gardens? Perhaps now we see them as one entity - an extension of one another, something that derives from its core natural environment - unrestricted, unimpeded and uninterrupted by violent means and free from legislative tags. They become the front, the back, the side entries - the nature strip and garden allows repair through ordinary acts of tending and untending, and what is ultimately Australian is the displacement of our things that communicates where we live, how we live, and with nature. They are our own forms of sculpture, a symbol for our suburbs. Whether junkyard items displaced from our home’s with no purpose left or perhaps items to be taken for free - these modes of displacement are unoffensive, and inevitable in the reality of suburbia. Estranging the junk of the everyday to contribute to regeneration and identity. There is always a constant polite feedback with society, ecology and the nature strip. This is how each citizen starts to change the landscape of the suburb. Beuys’ basalt rock is our displaced couch on the nature strip

[fig 12. gardiner, rory, ‘the garden house’, 2021.] [fig 14. n.a, ‘estranged junk and the identity of our suburbs’, n.d.]

[fig 14. Showcase of the 7000 Oak Foundation on Friedrichsplatz, Kassel on the 7000 Oak Project, photo: Baummapper, CC BY-SA 3.0 DE]

[beuys ‘propaganda’]

[BREAK]

[PAGE]

BARACCO + WRIGHT

ARTIFICIAL ‘NATURE’

REPAIR // VENICE BIENNALE 2018 [AN

ARTIFICIAL NATURE]

[information provided in this catalogue should not be photographed]

Wright, L. ‘Email with Dylan Markovski’. 2022.

REPAIR // VENICE BIENNALE 2018 [AN ARTIFICIAL NATURE]

‘Designing for Repair’ - such a title gives hope, yet also gives FALSE REALITIES , in which Baracco and Wright explains of ‘ Repair ’ being the total concept of repairing [“something”] to a ‘good enough’ state. The Land that encompasses us in Australia is constantly in a state of manipulation, as stated in the article (Fig 02). Though we go through these regenerative processes to repair land, all we are doing is creating an artificial landscape of a landscape that was once authentic many many years ago - it’s a constant cycle that we are trapped within.

It’s quite humorous how the living installation of Repair at the Venice Biennale was itself an authentic landscape made artificially in Italy. I highly question the line, “We embraced the artificiality” - what kind of tone and precedent does this set for the wider implications of Repair? Touchy, yes, but I think “embracing” the artificial is a risk, especially considering the suburbs. What “artificial-ness” is there in suburbia?

The nature strip , of course! Such perfectly mown lush green lawns, even pebbled-scapes, that provides a perfect ‘landscape’ for us to dump our shit before it gets transported to a grand artificial landscape of landfill.

REPAIR // VENICE BIENNALE 2018 [AN

ARTIFICIAL NATURE]

“We are negotiating the dilemmas of this work; taking seed to another country (where it was propagated at an agricultural school in Sanremo, Italy) seems a perverse act of colonialism; growing plants that can’t return back to Australia worried us [Mauro and Louise]”

Baracco, M + Wright, L. ‘Designing for Repair’. 2018. p59.

REPAIR // VENICE BIENNALE 2018

[AN ARTIFICIAL NATURE]

“We embraced the artificiality, keen to show how difficult it is to ‘remake’ a grassland through the component use of grow bags and the light installation skylight, which replicates the sun that a building denies”

Baracco, M + Wright, L. ‘Designing for Repair’. 2018. p59.

REPAIR // VENICE BIENNALE 2018 [AN

ARTIFICIAL NATURE]

“The plants will be rehomed, including to a horticultural research body in Sanremo.”

............adding fuel to the fire of artificiality. Australian Native Plants “rehomed” in Italy. - comment from Dylan Markovski

Baracco, M + Wright, L. ‘Designing for Repair’. 2018. p59.

REPAIR // VENICE BIENNALE 2018 [AN

ARTIFICIAL NATURE]

REPAIR // VENICE BIENNALE 2018 [AN ARTIFICIAL NATURE]

“The grass is dying.

Yes, the western grassland plants in the exhibit are dying, and no one really knows what this means. Were they intended to die or not? Nonetheless, this is the great sorrow of this exhibit.”

Raisbeck, P. ‘Always a bit crap: The Repair exhibit in the Australian Pavilion at the 2018 Venice Biennale. August 3, 2018.

“The thing is, the area of plants or ground that we exhibit is smaller than the average Australian house, whose vegetation is being bulldozed as you read.”

............and this exhibition gets ridiculed, when we are curating thousands of discarded objects on our nature strips daily without any concerns.

- comment from Dylan Markovski

Baracco, M + Wright, L. ‘Designing for Repair’. 2018. p59.

REPAIR // VENICE BIENNALE 2018 [AN ARTIFICIAL NATURE]

REPAIR // VENICE BIENNALE 2018

[AN ARTIFICIAL NATURE - SOURCES]

1. Email Clip from Louise Wright. November 1, 2022. ‘Background Information, not available to the public’.

2. Wright, L + Baracco, M. “Designing for Repair”, Landscape Architecture Australia. 2018. page 58-59.

3. ‘Repair - PLANT Arrival 01’. Louise Wright, April 24, 2018.

4. ‘Plant Test - Phase 2’. Louise Wright in collaboration with Linda Tegg, 2018.

5. ‘Linda and Louise - Sanremo Nursery’. Louise Wright and Linda Tegg, 2018.

6. ‘Sowing the Seeds’. Louise Wright, 2018.

7. ‘Grasslands Repair growing in Sanremo - DAVID FOX’. David Fox and Louise Wright, 2018.

8. ‘The grass is dying’. Always a bit crap: The Repair exhibit in the Australian Pavilion at the 2018 Ven ice Biennale, August 3, 2018. https://peterraisbeck.com/2018/08/03/always-a-bit-crap-the-repair-ex hibit-in-the-australian-pavilion-at-the-2018-venice-biennale/

9. ‘First Floor Plan’. Baracco + Wright Architects, March 30, 2018.

10. ‘Australian Pavilion Specifications’. Baracco + Wright Architects with Linda Tegg, April 8, 2018, page 06.

11. ‘Australian Pavilion Specifications’. Baracco + Wright Architects with Linda Tegg, April 8, 2018, page 07.

BARACCO + WRIGHT

REPAIR + CARE IN THE WESTERN PLAINS GRASSLANDS

REPAIR // VENICE BIENNALE 2018 [REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

1.

“Recent urban expansion projects in Melbourne’s northern growth corridor have resulted in the clearing of extensive areas of native grasslands despite temperate grasslands being the most threatened ecosystem in Australia”

Baracco, M + Wright, L. ‘Architecture’s role in the repair of the natural environment’. February 2019. p4.

REPAIR

// VENICE

BIENNALE

2018 [REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“Development is often seen as incompatible with the natural environment which is usually cleared, flattened and destroyed during the development process.”

“Typically, we are seeing construction being concentrated along arterial and existing arterial roads for such developments.”

Baracco, M + Wright, L. ‘Architecture’s role in the repair of the natural environment’. February 2019. p4 and p5.

REPAIR // VENICE BIENNALE 2018

[REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“Urban Waste”

“In South-West Victoria, less than 1% of the largest grassland, the natural temperate grassland of the volcanic plains of the Western district, remains, having been destroyed through agriculture and urbanisation.”

Baracco, M + Wright, L. ‘REPAIR Catalogue’. June 26, 2018. p20 and p21.

REPAIR // VENICE BIENNALE 2018 [REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“Repair centres around the micro/macro relationships and the role of the small in the large. There are two broad but connected scales of action of repair that we are advocating architects can engage with: one is the larger scale of the environment, much of which is degraded through agricultural practices, industry, mining and urbanisation; the other is the scale of the building and its more immediate site.”

Baracco, M + Wright, L. ‘REPAIR Catalogue’. June 26, 2018. p21.

REPAIR // VENICE BIENNALE 2018 [REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“Land repair needs to move from the innovative margins of Australia’s public and private investment to the mainstream if scale is to be achieved. Australia is very good at investing in built infrastructure, public and private......What is missing is a commensurate level of investment in green infrastructure that underpins human well-being.”

Baracco, M + Wright, L. ‘REPAIR Catalogue’. June 26, 2018. p36.

REPAIR // VENICE BIENNALE 2018 [REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“In Australia, we see neglect of the natural environment constantly. Often these sites of neglect were places of destruction first. Australia’s colonial history has largely been one of the rapid destructions of the natural environment and culture of the First Nations People.”

Fitz, A. ‘Critical Care. Archietcture and Urbanism for a broken planet’. April 30, 2019. p64.

“Where do we see neglect?”

REPAIR // VENICE BIENNALE 2018 [REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

REPAIR // VENICE BIENNALE 2018

[REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“Scale matters”

“All Australians need to be involved in learning to live more lightly and care more deeply. Australia is highly urbanised; 70% of us live in major cities. Thus most of us impact on the land through our lifestyles; on what we consume and on the nature of our community relationships.”

Baracco, M + Wright, L. ‘REPAIR Catalogue’. June 26, 2018. p36.

REPAIR // VENICE BIENNALE 2018

[REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS]

“Urban [and suburban] - (Louise Wright in Interview with Dylan Markovski, 2022) green spaces do not have to be just high maintenance turf lawns requiring irrigation and fertiliser.”

Baracco, M + Wright, L. ‘REPAIR Catalogue’. June 26, 2018. p37.

(1)

“We need to learn to more fully embrace death because it supports life.”

“Embracing death includes recycling of organic waste material back in the soil of farms and cities”

(2)

“But why stop there. Look at Europe - Rotordc are a cooperative that organise the reuse of everyday and construction materials, and salvage building components.”

(1) Baracco, M + Wright, L. ‘REPAIR Catalogue’. June 26, 2018. p37.

(2) Interview with Louise Wright by Dylan Markovski, September 15, 2022.

REPAIR // VENICE BIENNALE 2018

[REPAIR+ CARE IN THE WESTERN PLAINS GRASSLANDS - SOURCES]

1. Wright, L + Baracco, M. “Architecture’s role in the repair of the natural environment”, Australian In stitute of Architects. February 2019. page 4.

2. Wright, L + Baracco, M. “Architecture’s role in the repair of the natural environment”, Australian Institute of Architects. February 2019. page 5.

3. Baracco, M + Wright, L in collaboration with Tegg, L. “REPAIR”, Australian Institute of Architects June 26, 2018. page 20.

4. Baracco, M + Wright, L in collaboration with Tegg, L. “REPAIR”, Australian Institute of Architects June 26, 2018. page 36.

5. Baracco, M + Wright, L in collaboration with Tegg, L. “REPAIR”, Australian Institute of Architects June 26, 2018. page 36.

6. Fitz, A. ‘Critical Care. Archietcture and Urbanism for a broken planet’. April 30, 2019. Cover page.

7. Fitz, A. ‘Critical Care. Archietcture and Urbanism for a broken planet’. April 30, 2019. p70.

8. Fitz, A. ‘Critical Care. Archietcture and Urbanism for a broken planet’. April 30, 2019. p70.

9. ‘STAGE 1 SPECIES LIST’. Baracco + Wright and Linda Tegg, August 1, 2017.

BARACCO + WRIGHT

INTERVIEW WITH LOUISE WRIGHT

REPAIR // VENICE BIENNALE 2018 [INTERVIEW WITH LOUISE WRIGHT]

\\interview conducted on September 15, 2022\\

Dylan Markovski:When considering the notion of‘Repair’and the suburbs - does this sense of reclaiming and repairing native systems and ecology apply to the modern day suburbs?

Louise Wright: Repair as we proposed had a broad application. Broadley speaking it proposed that the damage to the natural environment has been substantial since colonisation in Australia, and that this stems from an attitude to nature that it is for human use – this plays out mostly through land use (grazing, agriculture, industry, urbanisation etc), and more recently architects are involved in taking up land and, displacing the life there. (although we also acknowledged that architects are not in control of the majority of this activity). It proposed that as a first step the repair of the environment in Australia can initiate other types of repair – say social, cultural, and economic (this all unpacked elsewhere/catalogue but I would point out that the repair of the environment/Country is an obvious wound to heal in cultural repair and reconcillation) - there were 15 projects that demonstrated these different types of repair, some more directly environmental, some more as catalytic, some by default (reuse). It did not specifically talk of the suburbs (in their most typical example), but more generally urbanisation – and so land clearing happens whether it is a great piece of architecture or a suburban house. In both ways the ‘place’ of other life is displaced. Only to say that a denser form of housing and urban form would benefit the overall displacement, ideally. Repair was specific to acknowledge native/indigenous plant communities, bringing specificity to the term ‘nature’, and giving it form and a ‘knowing’ so to speak, by showing audiences what had been displaced – by presenting the actual plants inside the pavilion that grew were Melbourne is now, and in fact – this plant community grows on the flat areas of the north and west of Melbourne and is still being cleared today for low density housing estates. By placing it inside a premier culutural institution we were giving value to something that has been undervalued (western plains grasslands) almost to extinction, and putting forward the concept that this amount of life is equivalent to what would be removed in an hour or so on a typical house block (In terms of dimension).

Dylan Markovski: And if you believe so, would there be a need to tend to these native ecological environments or to let them thrive in the ‘wilderness’ so to speak - what is more beneficial for the ‘authenticity’of this landscape that is Australian? Such an example could be if one were to adopt a mode of repair on a nature strip in a typical Australian suburb - could this be an avenue of appropriate repair?

Louise Wright: I think both native ecological environments and nature strips are relevant. Firstly they do not occur independent from each other. They are connected in many ways. Also the health of the former is effected by the health of the latter. All kinds of things (animals, insects, birds, water, weeds, etc) move across the landscape and are fragmented by urbanisation. One might say that part of the problem is the nature strip so to speak – nature isolated to a strip…There are worthwhile arguments for more integrated nature/built form as well as areas that are densely urbanised without the nature strip so that‘nature’can be more connected and infact not integrated at all. Your question prompts me to highlight that to repair something you have to care about it, to care about something you have to know about it, and know it well. This can come from an attitude to something, so if you’re ok to isolate nature to a strip, as an attitude, then perhaps you don’t really care about it on its terms, but rather just as an object of your gaze (it’s pretty), and so you see what I mean (the notion of care is documented in an interview with Mauro, Linda Tegg and I in a book called Critical Care). The issue is a bigger disconnection and lack of care rather than whether to repair a nature strip. On the other hand, any vegetation that has more complexity, rather than say mown lawn, can increase habitat, soil health, heat island effect, water filtering and so on.putting forward the concept that this amount of life is equivalent to what would be removed in an hour or so on a typical house block (In terms of dimension).

Dylan Markovski: In your mind, what would be an appropriate way to create this repair‘sprawl’?What would a‘future model’look like if you were to design a movement for a suburb that utilised these ideas of repair?

Louise Wright: I would act on behalf of the health of surrounding or underlying natural systems, including vegetation (which is a direct consequence of geology, soil profile, aquifers and hydrological processes all invisible except for how they present in vegetation) and remove houses that interfere with the health and connectivity of these systems, and densify other areas less problematic to its functioning – this mostly plays out around waterways/waterbodies as they are very important as corridors and systems that link across macro areas and should have room to move as highly ephemeral. Many would find the concept of removing houses heavy handed, but the same consideration was not afforded the nature that was removed. And, anyway, in time we will need to do this because we will have to (what is happening in Lismore will continue to play out). Ideally our footprint, and especially sealing of soil – most heavily carried out through roads, would be reduced and condensed in a way that was driven and shaped by natural system repair. The idea of repair sprawl was the topic of teaching by Mauro and I for many years at RMIT and was captured in the mini book Treesprawl where the health of the Merri Creek was addressed by the strengthening of vegetation along the creek and back into the surrounding areas, urban form/buildings were then rethought on these terms.

Dylan Markovski: In your experience at the Venice Biennale, how did Repair itself seem to sit within the context of other exhibits/ projects? How was Repair viewed/appreciated/perceived?

Louise Wright: It has been, I believe, generally well received. At the Biennale it was a powerful installation and understood on different levels from just the experience of the plant community and films to others who engaged more deeply through the catalogue and a free newspaper (which were in the space) and the 14 films, the series of which was called ‘Ground’ which documented the architectural projects and played on rotation in the pavilion, on the wall were the species names and their indigenous name, with missing names were that knowledge had been lost. We worked with Wurundjeri elders on this as well as the translation of the term Freespace into Woi wurring. The Venice Biennale is always a mixed bag, some nations/pavilions respond more directly to the Curator’s overall theme and others less. I think it was a powerful concept, highly relevant to Australia, and a moment of maturity for our architectural culture as Australians where we acknowledged a need to change perspective (as many others have done over the years). I think perhaps, it has been meaningful for at least some of the profession, even just as a word, and if you think that now its 4 years ago and things have changed quite a bit over that time it seems to have been part of a feeling. It was called ‘Landmark’ by one critic last year (David Neutstein). Others were more critical, thinking it naïve to believe in a notion of repair and that it’s all too late, I find this a problematic position, for obvious reasons. I would add that, as a concept, it is particularly relevant to Australia, in that we still have vegetation/natural systems that are extremely ancient and remnant (i.e. un cleared for a very very long time) but are being cleared still for the first time – many of the plants and insects/ animal there are not fully known, and for example, we do not know how to propagate many of the plants that are removed. The scientific knowledge of Australian environment is relatively young, yet of course indigenous/Traditional Knowledge knows, but this too is highly compromised/lost.

[BREAK]

JOSEPH BEUYS

AN INTERVIEW BEFORE 7000 EICHEN [THE INFLUENCES]

JOSEPH BEUYS // 7000 EICHEN

[AN INTERVIEW WITH JOSEPH BEUYS, 1969]

The following interview is the result of a long conversation with the artist in his Düsseldorf studio on August 28, 1969. The taped German-English discussion was translated by Marianne Landré and edited with the assistance of Liza Béar.

Most of your catalog biographies state that you were born in Kleve, but you were actually born in Krefeld, weren’t you?

Yes, I was born in a hospital in Krefeld, but that was purely accidental. My mother was making a short visit to Krefeld and I was born in the middle of it. But at most I spent three days there. I have no relationship to Krefeld, or more precisely to the landscape, but I do have a relationship to Kleve. That is where my parents always lived and where I grew up.

How long did you live in Kleve?

Until 1961, when I was invited to be Professor at the Düsseldorf Art Academy.

Then you attended school in Kleve?

Yes, all my schooling . . .

Is there an art academy in Kleve?

No, I studied art in Düsseldorf. But I went to high school in Kleve until I became a soldier. At the end of 1947 I went to the Düsseldorf Art Academy and studied there until 1951. Then, after working for a while outside of Düsseldorf, I returned to Kleve.

You worked in a studio?

Yes, I rented a small loft in an old bakery and I worked under the roof.

Who did you study with at the Düsseldorf Art Academy?

Enseling and Mataré. Enseling was very academic, but Mataré was better. Mataré was very dogmatic but he raised issues that had to be considered. He thought that sculpture was basically ornamentation. This was a view to be contended with and of course we had great arguments. I had to reject his ideas but nevertheless it was necessary for me to confront them. That’s the way you learn as a student, and some of his ideas weren’t totally uninteresting.

That period must have been quite crazy. In 1951 much of Düsseldorf was still rubble and food was quite scarce. Was there any art then?

There was none at all.

What about Lehmbruck?

Oh, Lehmbruck. He was a decisive figure during the war and I was very enthusiastic about some of his work. I once saw some Lehmbrucks in Kleve just before the war and they gave me my first real feeling for sculpture. But this was the only sculpture I was aware of at the time. Don’t forget that I grew up in a small village during the Hitler period and I never saw any modern art.

What about medieval or Renaissance sculpture?

Yes of course. I saw photographs of these things. But I didn’t travel. I never got out of Kleve.

You must have traveled as a soldier.

Yes, I took part in the whole war, from 1941 until 1946. I was in Russia.

What did you see there?

Certainly not art! (laughs) What can I say? I was a fighter pilot. I cannot talk about the war. There were dead people lying around, everywhere.

Were you in Stalingrad?

No, I was more to the South, in Ukraine, the Caucasus, Black Sea . . .

And when the war ended?

During the last year of the war I was stranded on the Western front. There were no more planes, no more fuel. When peace was declared I became a British prisoner of war.

Did the war influence your decision to become an artist?

Yes. Before the war I was a student of biology and mathematics, but this simply didn’t satisfy me. You could say it was an emotional decision, but when you examine it a few years later you can begin to analyze it.

JOSEPH BEUYS // 7000 EICHEN

[AN INTERVIEW WITH JOSEPH BEUYS, 1969]

Could you tell me more about what you did in the early fifties? When I set up my own studio in Heerdt, a suburb of Düsseldorf, I was very friendly with the poet Adam Rainer Lynen. And I worked in that room until 1961 when I went back to Kleve.

When did you become aware of Marcel Duchamp’s work?

In 1955, I think.

I feel the presence of Duchamp in one of your earliest pieces of sculpture, Untitled, of 1954. Do you see any influence?

No, I don’t think Duchamp influenced it at all. It was influenced by life. The open form is like a barracks window, or ones you can see in old industrial cellars.

So there’s an architectural reference.What is the cylinder in front of the open chamber?

It’s a steel gas container covered with plaster. None of your works have bases?

Bases used to annoy me, even when I was in the Academy. They are only an auxiliary means to help things stand up. They are like an artificial lawn. Just after I finished my first figures, I removed them from their bases because they disturbed me so much. It was only later that I recognized the base as an important sculptural element, perhaps the most important element. There are some sculptures that consist of nothing but a base.

A work in which the base is irrelevant is your The Needles of a Christmas Tree, of 1962.

That’s true. This is a Christmas tree that stood around here for two years. Eventually it lost all its needles and they lie all around it.

You moved to the Drakeplatz studio in March 1961, so this was your first Christmas tree here. Did you always see it as a sculpture?

Yes, I saw its beauty. But it’s not only beautiful, it’s also ugly. You may say a Christmas tree with needles is beautiful and one without needles is ugly. No. I wanted to have it, and we did, for a long time, until the worms destroyed it.

Oh . . . .

Two years ago I created a political party for animals.

Do you have a lot of animals in the party?

It’s the largest party in the world. And you are the leader?

I am the leader.

You’re crazy. (Laughter.)

And therefore I am a very mighty man. Mightier than Nixon. (More laughter.)

But he has all the insects.

I have all the insects. They are not animals.

Insects are animals.

Where does the fat come in? To attract the flies into the party?

The fat is in the room, the party’s meeting room (laughter). To make things clearer, let me give you this statement concerning The Art Pill (1963): Vehicle Art:

The Chief of the Stags could plug anywhere into the environment, whether on the inside of a room with flat, curved or chaotic surfaces. Yes, even amorphous rooms gave him the energy to bake his cakes. He didn’t despair when at first he succeeded in producing only flat, unseemly pancakes which shriveled up in the pan. On the contrary, he was encouraged in his determination since he had not lost faith in the effectiveness of The Art Pill. Nevertheless, some salutory byproducts resulted from his activity, namely art to be rubbed in, art taking the form of a salve, art in the form of a sausage, art to he cut into slices.

I assume, then, that you are the Chief of the animals and that this can be seen in your work, The Chief, of 1963–4, which you performed rolled up in a felt rug with a dead hare at each end and fat works in the corners of the room.

Yes, I speak for the hares that cannot speak for themselves.

JOSEPH BEUYS // 7000 EICHEN

[AN INTERVIEW WITH JOSEPH BEUYS, 1969]

Which you do literally by making noises which are amplified in the room and in the street.

The human responsibility to all living things . . .

I remember that you met Bob Morris in Düsseldorf before his Schmela Gallery show in the fall of 1964.

Morris visited me. I showed him all my works. I wanted to do The Chief with him. We arranged to do the work simultaneously. We wanted to start at the same second and then work for nine hours, me in Berlin, he in New York.

Did you do it?

Yes, I did it in Berlin, but he didn’t do it.

Why not?

I don’t know, but he didn’t do it. He left Düsseldorf after his show. I wrote everything down for him. I drew a sketch with the dimensions, gave him all the instructions with regard to space and all the elements involved.

There seems to be some similarity in sensibility betweenThe Chief and some of Morris’ theatrical works, but I can understand why he might not have wanted to do it. (At this point Beuys drew my attention to some photos of his Fettecke, or fat pieces.)There must be a lot of action in these works for you. (Beuys called these works “aktione.”)You did some Fetteckes as part ofThe Chief, didn’t you?

Yes. (Points to the photo of The Chief, 1964.) Here is one. It is a transmitter, and I am also a transmitter. Both are sculptural elements. That is a very important concept for me. If I produce something, I transmit a message to someone else. The origin of the flow of information comes not from matter, but from the ‘I,’ from an idea. Here is the borderline between physics and metaphysics: this is what interests me about this theory of sculpture. Take a hare running from one corner of a room to another. I think this hare can achieve more for the political development of the world than a human being. By that I mean that some of the elementary strength of animals should be added to the positivist thinking which is prevalent today. I would like to elevate the status of animals to that of humans.

Your Iron Coffer containing 100 Kilos of Fat and 100 Dismantled Air Pumps, 1968, is a part of the Fettecke series.

It is the final stage of the action. One that incorporates a very complex array of concepts. The iron coffer in the form of one half of a cross stands in the center of a cellar. It is a piece of sculpture which contains both fat and air pumps. The fat embodies mass, the positive principle, and the air pumps represent a vacuum, a negative principle. All the air pumps are broken. A letter is nailed outside the box indicating its contents: 100 kilos of fat, 100 air pumps. (Then Beuys pointed abruptly to another photograph.) Set III is composed of nine equal elements made of layers of felt topped by a rectangular plate of copper of the same size. They have a relationship to the room which is hard to define. They fill the space, but I am not interested in the physical aspect of filling. I want the work to become an energy center, like an atomic station. It’s the same principle again: transmitter and receiver. The receiver is the same as the transmitter, only in felt. It is a totalization. The spectator becomes the program. The spectator, represented by the felt, equals the program. An identification of transmitter and receiver. Actually two elements, fat and felt, are closely related. Both have a homogeneous character in that they have no inner structure. Felt is a material pressed together, an amorphous material, with an uneven structure. The same is true of the nature of fat, and that interested me. But there is also the element of the filter— and I worked with gauze filters before I worked with fat—and there is an element of isolation in it.

There also is a Minimal element in your work, especially Set III and Felt Corner, 1963.

Yes, the idea of minimal is expressed in these works, but they are not Minimal art. It’s different. It overlaps. It’s minimal, but in the sense of something very reduced. But there is no direct connection in my work to Minimal art.

Has your teaching at the Düsseldorf Art Academy for the last eight years been an important function for you?

It’s my most important function. To be a teacher is my greatest work of art. The rest is the waste product, a demonstration. If you want to explain yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren’t very important for Me anymore. I want to get to the origin of matter, to the thought behind it. Thought, speech, communication—and not only in the socialist sense of the word—are all expressions of the free human being

JOSEPH

BEUYS // 7000 EICHEN

[AN INTERVIEW WITH JOSEPH BEUYS, 1969]

Would you say then that your goal is to make man freer and stimulate him to think more freely?

Yes. I am aware that my art cannot be understood primarily by thinking. My art touches people who are in tune with my mode of thinking. But it is clear that people cannot understand my art by intellectual processes alone, because no- art can be experienced in this way. I say to experience, because this is not equivalent to thinking: it’s a great deal more complex; it involves being moved subconsciously. Either they say, “yes, I’m interested,” or they react angrily and destroy my work and curse it. In any event I feel I am successful, because people have been affected by my art. I touch people, and this is important. In our times, thinking has become so positivist that people only appreciate what can be controlled by reason, what can be used, what furthers your career. The need for questions that go beyond that has pretty much died out of our culture. Because most people think in materialistic terms they cannot understand my work. This is why I feel it’s necessary to present something more than mere objects. By doing that people may begin to understand man is not only a rational being.

What can a sculptor do in this situation?

Sculpture must always obstinately question the basic premises of the prevailing culture. This is the function of all art, which society is always trying to suppress. But it’s impossible to suppress it. Now, even politicians are becoming aware of that. Art—its new concepts, schools, even revolutionary groups—now has a strong vitality throughout the world. Slowly people are beginning to realize that the creative spirit cannot be subdued.

Then you see the artist as a provocateur?

Provocateur—that’s it exactly. To provoke means to evoke something. By making a sculpture with fat or a piece of clay I evoke something. I ignite a thought within me—a totally original, totally new thought that has never yet existed in history, even if I deal with a historical fact or with Leonardo or Rembrandt. I myself determine history—it is not history that determines me. Economic circumstances do not determine me, I determine them. Every man is a potential provocateur.

How does art improve life?

Art alone makes life possible—this is how radically I should like to formulate it. I would say that without art man is inconceivable in physiological terms. There is a certain materialist doctrine which claims that we can dispense with mind and with art because man is just a more or less highly developed mechanism governed by chemical processes. I would say man does not consist only of chemical processes, but also of metaphysical occurrences. The provocateur of the chemical processes is located outside the world. Man is only truly alive when he realizes he is a creative, artistic being. I demand an artistic involvement in all realms of life. At the moment art is taught as a special field which demands the production of documents in the form of art works. Whereas I advocate an esthetic involvement from science, from economics, from politics, from religion—every sphere of human activity. Even the act of peeling a potato can be a work of art if it is a conscious act.

Which artists do you feel close to?

John Cage. These concepts are not alien to him.

What about the new Italian sculptors like Mario Merz, or American sculptors like Richard Serra?

Yes, I feel close to them, because they are contemporaries. But not that close, because I have a feeling that these things have already been done. Perhaps the reason I love Cage and Nam June Paik more is because they are at the point of origin. Things have a certain reach. Beyond that everything is derivative. From that point of view most of the works at Bern (When Attitudes Become Form) were late works. I have been doing these things for a long time, and now I am questioning their value.

What do you think of the work of Mike Heizer, Dennis Oppenheim, Robert Smithson, and Keith Sonnier?

I don’t know their work that well, but I spoke to Bruce Nauman at Bern.

Nauman’s work shares a similar sensibility.

Yes, but I find it hard to define because I don’t know Nauman’s inner intentions. I place great importance on inner intentions. I don’t know anything about Nauman’s thought processes, but I can say that his works look closer to my art than any other works do.

JOSEPH BEUYS // 7000 EICHEN

[AN INTERVIEW WITH JOSEPH BEUYS, 1969]

Then you don’t often come into contact with the works of other artists?

I rarely go to exhibitions, and I hardly ever read art journals. If I happen to see one, I look at it, but my interest is not so great that I follow these things daily. I am more interested in the development of thoughts . . . I am not at all interested in whether other people use elements of my work.

Do you feel the same about Morris?

Yes, but I was a bit surprised when Morris started working with felt. But I couldn’t say more. Last year Morris invited me to participate in an exhibition he was arranging. But I couldn’t do it.

The Castelli warehouse exhibition in New York?

Yes. Why didn’t you participate?

I didn’t think it was necessary. Didn’t you have any work?

No, I didn’t have anything at the time that I could have given away. Karl Ströher had just bought all my works (about 300), but I guess I could have made something for it. I just didn’t feel like it. Later some people told me it was a good thing I didn’t participate, because the exhibition wasn’t really all that good.

That’s not true. It was one of the best shows of the year.

All right. Then it was a mistake that I didn’t send anything, but one cannot do everything.

I see you have a great reluctance to do exhibitions.

Yes, I was always extremely reluctant, because for me an exhibition is something that is already dead. It is something I only allow myself to be forced to do. I will only do an exhibition when there is absolutely no way out. . . .

That explains why you have only shown two or three times during your ten-year association with Alfred Schmela.

Yes, I keep on refusing to exhibit until someone like Schmela convinces me that it’s an absolute necessity.

Is this a reaction against materialism in general, or is it due to the fact that there are more demands on you today than there were in 1967?

Both. People are becoming more demanding. They are getting sharper. I was glad when Ströher took everything away. Things have to be some place, and I have never wanted to collect my own things. I like empty walls best.

You’ve been working for twenty years, and it’s only recently that people have begun to appreciate what you have accomplished.

This is a fairly recent development. For ten or fifteen years people mocked me and said “Beuys is crazy.”

Yes. I remember when I first visited Düsseldorf in 1957 no one except one or two artists defended you.Things have changed now. What do you think about your present situation within the context of art?

I think the crux of the matter is that my work is permeated with thoughts that do not originate in the official development of art but in scientific concepts. You know, to begin with I wanted to be a scientist. But I found that the theoretical structure of the natural sciences was too Positivist for me, so I tried to do something new for both science and art. I wanted to widen both areas. So as a sculptor I tried to broaden the concept of art. The logic of my art depends on the fact that

I have had one idea which I have obstinately worked with. Actually it’s a problem of perception.

Perception?

(After a long hesitation.) In the simplest terms, I am trying to reaffirm the concept of art and creativity in the face of Marxist doctrine The Socialist movements in Europe which are now strongly supported by the young constantly provoke this question. They define man exclusively as a social being. I wasn’t surprised by this development, which led to the confused political conditions, not only in Germany but also in America. Man really is not free in many respects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture. Of course, language is sculpture. I move my larynx, I move my mouth and the sound is an elementary form of sculpture. Man hasn’t thought much until now about sculpture. We ask: “What is sculpture?” And reply: “Sculpture.” The fact that sculpture is a very complex creation has been neglected. What interests me is the fact that sculpture supplies a definition of man.

[AN INTERVIEW WITH JOSEPH BEUYS, 1969]

Isn’t this rather abstract?

My theory depends on the fact that every human being is an artist. I have to encounter him when he is free, when he is thinking. Of course, thinking is an abstract way of putting it. But these concepts—thinking, feeling, wanting—are concerned with sculpture. Thought is represented by form. Feeling by motion or rhythm. Will by chaotic force. This explains the underlying principle of my “Fettecke.” Fat in liquid form distributes itself chaotically in an undifferentiated fashion until it collects in a differentiated form in a corner. Then it goes from the chaotic principle to the form principle, from will to thinking. These are parallel concepts which correspond to the emotions, to what could be called soul.

Is it difficult to decide to execute a work now?

Humm . . . The question is if it is important to make sculpture now. I often question the necessity of doing it. The more I consider the problem, the more I think that there are only a few things that I need to make. I want to try to only do those that have some importance. I have no interest in production as such. I am neither interested in making works for commerce nor for the pure pleasure of seeing them. It is getting much harder to make things. But one is forced to translate thought into action and action into object. The physicist can think about the theory of atoms or about physical theory in general. But to advance his theories he has to build models, tangible systems. He too has to transfer his thought into action, and the action into an object. I am not a teacher who tells his students only to think. I say act; do something; I ask for a result. It may take different forms. It can have the form of sound, or someone can do a book, make a drawing or a sculpture, I don’t care. Although I am a Professor of Sculpture at the Düsseldorf Art Academy, I accept all forms of creativity.

How do you think future historians will judge your contribution to art?

I am not at all interested in being placed on a value scale— almost as good as Rembrandt, as good as Rubens or Goya. After I am dead I would like people to say, “Beuys understood the historical situation. He altered the course of events.” I hope in the right direction.

Willoughby, S. ‘An interview with Joseph Beuys’. Artforum. 1969.

JOSEPH BEUYS

EARLY SCULPTURES AND DRAWING

“Beuys had been drawing since boyhood. Landscape near Rindern, 1936, one of the few surviving watercolors he made during high school, faithfully portrays the flat, spare landscape of the Lower Rhine area.”

Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993. p30.

“Beuys continued to draw during the war, and as a student at the Diisseldorf Academy, he adapted his work to the idiom of his professor, Ewald Matare. Matare’s artistic language reconciled abstract form and naturalistic figure, and his students followed his example in sketches of plants and animals structured in geometric sections. The small wooden and bronze animal sculptures made in class share the simply articulated forms of these studies. Matare’s sensitivity to any material’s inherent qualities was one of his more important lessons for Beuys, as can be seen in remarkably textural drawings such as 14 Sheep Skeleton, of 1949.”

Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993. p30.

JOSEPH BEUYS // 7000 EICHEN [WATERCOLOURS AND DRAWINGS]

JOSEPH BEUYS

“JOSEPH BEUYS IN AMERICA”

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA]

FIRST TOUR OF THE USA, 1974

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA]

“I wanted to isolate myself, insulate myself, see nothing of America other than the coyote. First of all, there was felt which I brought in. Then there was the coyote’s straw. These elements were immediately exchanged between us: he lay in my area and I in his. He used the felt and I used the straw.....I really made good contact with him.”

“Coyote, I like America, and America likes me”. Action piece, 1974, Rene Block Gallery, New York City.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA]

“My intention was firstly to hold together and retain in the West powers, and then to appear as a being representing the group soul area. I wanted to show the coyote a parallel power, but I also wished to remind him that it was now a human being who was speaking with him.”

“What I tried to do was to set up a really oscillating rhythm. First of all to remind the coyote of what you could call the geniality of his particular species, and then to demonstrate that he too has possibilities in the direction of freedom, and that we need him as an important cooperator in the production of freedom.”

“Coyote, I like America, and America likes me”. Action piece, 1974, Rene Block Gallery, New York City.

[a symbiotic relationship with nature, more than human]

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA]

“Did he [Beuys] bring the message of a politicized art to America when he arrived in 1974 during the energy crisis? Or did his ideas simply coincide with and reinforce the anti-formal, anti-establishment, postconceptual concerns already here?..............”

“In his work the issue of survival coexists with the optimistic fiction of progress”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p5.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA]

“On his first tour of the U.S.A in 1974, Beuys himself was preceded by newspaper accounts describing him as the “Picasso of the avantgarde.” Since Picasso at that time was out of favour and the avantgarde was loudly said to be dead.....Beuys and his work were greeted with in America with derision, suspicion and distaste, as well as fascination and awe.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p3.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA]

“In Chicago.....he found an audience whose response to philosopical problems was certainly more engaged than in New York......Of all lectures I heard.......this was the one in which the relationship in Beuys’ thinking between the spiritual, social and natural worlds was clearest.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p10.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

“That is why the nature of my sculpture is not fixed and finished. Processes continue in most of them: chemical reactions, fermentations, colour changes, decay, drying up. Everything is in a STATE OF CHANGE.”

“Shape the world in which we live.”

- Comment from Dylan Markovski: “Seems familiar.... Baracco + Wright? Where we live, how we live?....Maybe also the plants dying was somewhat intentional? To highlight the nature of decay - this idea of everything is in a state of change.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p20.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

“This modern art discipline - Social Sculpture/Social Architecturewill only reach fruition when every living person becomes a creator, a sculptor, or architect of the social organism...... only then would democracy be fully realized. Only a conception of art revolutionized to this degree can turn into a politically productive force, coursing through each person, and shaping history.”

“But all this, and much that is as yet unexplored, has first to form part of our consciouness: insight is needed into objective connections.”

- Comment from Dylan Markovski: “There needs to be an attitude of caring for something. Very similar to the key values and principles of Baracco + Wright’s ‘Repair’.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p21.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

“EVERY HUMAN BEING IS AN ARTIST who - from his state of freedom - the position of freedom that he experiences at first-hand - learns to determine the other positions in the TOTAL ARTWORK OF THE FUTURE SOCIAL ORDER.”

- Comment from Dylan Markovski: “Beuys viewed the artistic process as a means to empower the individual, to promote ‘self-determination and participation in the cultural sphere.’”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p22.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

“....Social sculpture, [it] can realise the future of humankind. It could be a guarantee for the evolution of the earth as a planet, establish conditions for other planetarians too, and you can control it with your own thinking.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p22.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

“....art is the only possibility for evolution, the only possibility to change the situation in the world.”

“...every living being is an artist - an artist in the sense that he can develop his own capacity. And therefore it’s necessary at first that society cares about the education system, that equality of opportunity for self-realization is guaranteed.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p26.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

Interview excerpt from “I am searching for field character”, 1973.

Question from the Audience:You talk a little bit like Nietzsche, but you’re favorable to socialism, whereas he hated it. Your idea of art freeing people.....

Beuys: I hate Socialism too when it’s only mentioned in a vacuum. The results of socialism you can see in special places. What does it mean? Socialism means nothing, unless all the powers you find in human nature for freedom, equality, and brotherhood are included in the context of socialism.

Kuoni, C. ‘Joseph Beuys In America’. 1993. p27.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

Interview excerpt from “I am searching for field character”, 1973.

Question from the Audience: How would you describe your new aesthetic?

Beuys: I describe it radically. I say aesthetics = human being. That is a radical formula. I set the idea of aesthetics directly in the context of human existence

Kuoni, C. ‘Joseph Beuys In America’. 1993. p34.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

Hey, are you still there? .... ...........

Joseph Beuys argues that expanded notions of art can have tangible impacts on politics and society.

Speech upon receiving an honorary doctorate degree from the Nova Scotia College of Art and Design, Halifax, 1976.

“I stress being present with the self-concious “I”.

“When he observes and when he comes to a clear observation of facts he can work through these means. Now he stands in the culture and looks at other fields in the society and then he can see what is contained in the theory of an enlarged understanding of art growing and working all power fields of the society.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p54.

JOSEPH BEUYS // 7000 EICHEN [JOSEPH BEUYS IN AMERICA // SOCIAL SCULPTURE]

“The idea of creativity is now flowing in this field, and one sees that creativity, these signs of freedom, and this declaration of art, which are related to a principle: the possibility to mold the world, to design the world, to sculpture the world, are not restricted to the problems of the artist. There is an anthropological determination of everybody’s existence to be an artist in the society.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p55.

JOSEPH BEUYS // 7000 EICHEN

BEUYS IN AMERICA // SOCIAL SCULPTURE]

Interview excerpt between Joseph Beuys and Kate Horsefield

Question:Youmentionedearlier,beforewestarteddiscussingyoureducationasanartist, about being called into the war, during which period you were a pilot. I’d like to ask you about that time, and what were some of the incidents that happened to you, how they affected your concept of art as a social tool, and how it began to manifest in works of art?

Beuys: Sometimes those things are looked at in a false way; these physical experiences during the war - accidents, damages on my body, wounds and such things - are overrated in regard to my later work.

Question: How were they overrated?

Beuys: People look at it in too simplistic a way. They say that because I was in the war with Tataric tribes, for instance, and came in contact with these familieswhich took me in as a kind of family member to give me perhaps the possibility to desert the army, or when I was badly wounded such tribes found me and covered my body with a kind of fat, milky stuff - and even felt, that this would be the reason why I used such materials later in my work.

Question: Is that true?

Beuys: True is this event during the war, but not true that that was the reason to take this stuff later for my sculpture. If this were true, then I ask why did I come so late to use such materials? The proof of why this cannot be true, and is not true, is that before I did these things, I built up a theory to which these materials seemed the most appropriate, to make clear a theory of sculpture, a theory of social order, a theory of action as a living sculpture and so on.

Kuoni, C. ‘Joseph Beuys In America’. 1993. p69 & p70.

JOSEPH BEUYS

DOCUMENTA 7, 7000 EICHEN.

Interview excerpt from “I put me on this train!”, interview with Art Papier, 1979.

Question from Art Papier: Joseph Beuys, do you have a mission?

Beuys: Yes, perhaps I have a mission...to change the social order. To change the money system mostly, that’s the most important thing, the money system. Money and the state are the only oppressive powers in the present time.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p39.

“Documenta 7, in 1982, provided the occasion for the inauguration of the project 7000 Oaks, with a goal of planting seven thousand trees, each coupled with a column of basalt, around the city. The aim was a symbolic beginning to re forest a German 59 landscape turned over to industry. Although the oak had been made notorious by the Nazis as a nationalist symbol, its tradition as a sacred tree 60 dated back to the Druids and ancient Germans. Again, Beuys resuscitated a symbol that had been ruined both literally and figuratively. 7000 Oaks transcended the usual spatial boundaries of art and also its temporal ones: the tree-planting was to take place during the years following Documenta 7, removing the concept of “art” from specific, staged moments. The last tree was planted by Beuys’s son Wenzel at the opening of Documenta 8 in 1987.”

Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993. p21.

“I think the tree is an element of regeneration, which in itself is a concept of time.”

Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993.

“7000 Oaks is a sculpture referring to people’s lives, to their everyday work. That is my concept of art, which I call the extended concept of art or art of the social sculpture.”

Joseph Beuys, quoted in Norbert Scholz, “Joseph Beuys-7000 Oaks in Kassel,’ Anthos (Switzerland), no. 3 (1986), p. 32.

“.....in this title, the words “last space” appears, in relation to time. It puts a kind of line under my so-called spatial doings in so-called environments. I wish to go more and more outside to be among the problems of nature and problems of human beings. This will be a regenerative activity; it will be a therapy for all of the problems we are standing before.....I wished to go completely outside and to make a symbolic start for my enterprise of regenerating life of humankind within the body of society and to prepare a positive future in this context.”

Kuoni, C. ‘Joseph Beuys In America’. 1993. p110.

Interview with Richard Demarco, 1982.

Demarco: You can see hillsides around Belfast beginning to be covered (in trees).

Beuys: Everywhere, everywhere in the world.....also in Russia.....there are too few trees....Let us not speak about the United States which is a completely destroyed country...

Demarco: It is a sadness isn’t in our time that it is the United States which is growing rockets, and nuclear weaponry, rather than trees. Now you will make this statement to counterbalance this, in the middle of Kassel...”

Kuoni, C. ‘Joseph Beuys In America’. 1993. 112.

JOSEPH BEUYS // 7000 EICHEN [7000 EICHEN | DOCUMENTA 7 - IMAGE SOURCES]

1. ‘Landscape near Rindern, 1936. Watercolor and pencil on paper, 16 x 12.2 cm. Stiftung Museum Schloss Moy land, Collection van der Grinten, Kranenburg.’ Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993.

2. ‘Joseph Beuys, Sheep, 1949. Bronze, 12 cm. Private Collection’. Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993.

3. ‘Herb Robert, 1941, Dried and pressed flowers with pencil on paper.’ Temkin, A. ‘Thinking is form : the draw ings of Joseph Beuys’. 1993.

4. ‘Lucko (Croatia), 1943, Pencil on graph paper, 14.8 x 20.9 cm. Stiftung Museum Schloss Moyland, Collection van der Grinten, Kranenburg.’ Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993.

5. ‘Ronald Feldman Fine Arts, Joseph Beuys, Invitation, 1974.’ https://gallery.98bowery.com/2017/meet-josephbeuys-1974/

6. ‘Joseph Beuys, I Like America and America Likes Me, 1974.’ When Joseph Beuys Locked Himself in a Room with a Live Coyote, https://www.artsy.net/article/artsy-editorial-joseph-beuys-locked-room-live-coyote

7. ‘7000 Oaks, Documenta 7, Free International University.’ https://geoarchitecture.wordpress. com/2021/07/18/7000-oaks-x-2/

8. ‘Joseph Beuys: 7000 oaks - StadtRaumZeit; Cabinet exhibition in Kassel.’ German Daily News, https://www. germandailynews.com/alben-462/joseph-beuys-7000-eichen-stadtraumzeit-kabinettausstellung-in-kassel. html

9. ‘Joseph Beuys’s lecture at SAIC in 1974.’ Joseph Beuys: Untitled (Sun State), 1974. E-Flux, https://www.e-flux. com/announcements/30554/joseph-beuys-untitled-sun-state-1974/

10. ‘Joseph Beuys’s lecture at SAIC in 1974.’ Joseph Beuys: Untitled (Sun State), 1974. E-Flux, https://www.e-flux. com/announcements/30554/joseph-beuys-untitled-sun-state-1974/

11. ‘Joseph Beuys’s lecture at SAIC in 1974.’ Joseph Beuys: Untitled (Sun State), 1974. E-Flux, https://www.e-flux. com/announcements/30554/joseph-beuys-untitled-sun-state-1974/

12. ‘Scan of page 19.’ Kuoni, C. ‘Joseph Beuys In America’. 1993. p19

13. ‘Joseph Beuys Lecture in Chicago.’ The Body of The Artist, https://www.artforum.com/print/199106/josephbeuys-the-body-of-the-artist-33779

14. ‘Visiting artist Judy Chicago with students at the Minneapolis College of Art and Design, 133 East 25th Street, Minneapolis, Minnesota.’ https://www.flickr.com/photos/69184488@N06/8736142564/in/photostream/

15. ‘Joseph Beuys on Freedom.’ Beuys TV, https://www.youtube.com/watch?v=B_kSZvEQW4g

16. ‘Joseph Beuys on Freedom.’ Beuys TV, https://www.youtube.com/watch?v=B_kSZvEQW4g

17. ‘Joseph Beuys on Freedom.’ Beuys TV, https://www.youtube.com/watch?v=B_kSZvEQW4g

18. ‘Joseph Beuys on Freedom.’ Beuys TV, https://www.youtube.com/watch?v=B_kSZvEQW4g

19. ‘Joseph Beuys - A public address via satellite.’ Beuys TV, https://www.youtube.com/watch?v=Td3BCNREl PA

20. ‘Cover of the exhibition catalogue for Art into Society – Society into Art: Seven German Artists at the In stitute of Contemporary Arts, London, 1974.’ Dialogue, Encounter, Exchange: Joseph Beuys’s Visual and Tex tual Presence in Art into Society – Society into Art (1974), https://www.tate.org.uk/research/tate-papers/32/ beuys-visual-textual-presence-art-into-society

21. ‘untitled.’ The Body of The Artist, https://www.artforum.com/print/199106/joseph-beuys-the-body-of-theartist-33779

22. ‘May 1976 Graduation Ceremony.’ NSCAD University, https://nscad.cairnrepo.org/islandora/object/ nscad%3A5720

23. ‘May 1976 Graduation Ceremony.’ NSCAD University, https://nscad.cairnrepo.org/islandora/object/ nscad%3A5720

24. ‘Joseph Beuys - Melting of the Tsar’s Crown.’ Beuys TV, https://www.youtube.com/watch?v=t2j-579VznQ

25. ‘Joseph Beuys inaugurating the 7000 Oaks project for Documenta 7, Kassel, 1972.’ Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993.

26. ‘Joseph Beuys - Signed Postcard 7000 Oaks.’ https://www.catawiki.com/en/l/24067331-joseph-beuyssigned-postcard-7000-eichen-7000-oaks-documenta-7-kassel-1982#gallery

27. ‘Joseph Beuys planting tree. 16th March 1982, Documenta 7.’ 7000 Oaks, essay by Lynne Cook with state ments from Joseph Beuys, 2004.

28. ‘Joseph Beuys digging a hole/ planting tree. 16th March 1982, Documenta 7.’ 7000 Oaks, essay by Lynne Cook with statements from Joseph Beuys, 2004.

29. ‘Joseph Beuys moving basalt stone. 16th March 1982, Documenta 7.’ 7000 Oaks, essay by Lynne Cook with statements from Joseph Beuys, 2004.

30. ‘Joseph Beuys - A portrait 7/7.’ Beuys TV, https://www.youtube.com/watch?v=-Xvwc9VqpXc

31. ‘Joseph Beuys - A portrait 7/7.’ Beuys TV, https://www.youtube.com/watch?v=-Xvwc9VqpXc

32. ‘Joseph Beuys - A portrait 7/7.’ Beuys TV, https://www.youtube.com/watch?v=-Xvwc9VqpXc

33. ‘Richard Demarco and Joseph Beuys in front of blackboards from Beuys’s action Art = Kapital/Jimmy Boyle Days during the ‘Alternative Policies and the Work of the Free International University’ event at the Richard Demarco Gallery, Edinburgh, 25 August – 6 September 1980, part of Edinburgh Arts 1980’. Demarco Digital Archive. https://www.tate.org.uk/research/tate-papers/31/beuys-demarco-interview

34. ‘Joseph Beuys, Pala , 1983.’ Walker Art, http://walkerart.org/magazine/joseph-beuys-in-minneapolis-chica go-new-york

JOSEPH BEUYS

ARTE POVERA. AN INFLUENCE.

JOSEPH BEUYS // 7000 EICHEN [ARTE POVERA. AN INFLUENCE FOR BEUYS’ ART]

ARTE POVERA [DEFINITION]

“Poor art (Italian: Arte Povera) is an artistic movement emerged in Italy in the second half of the 1960s, to which authors adhered to the predominantly field turinés. It was named after Germano Celant, because humble and poor materials, generally non-industrial (plants, canvas sacks, fats, ropes, earth, logs) are used for its creation. These materials are valued mainly in their changes, since as they deteriorate, they transform the work.

Arte Povera is a contemporary art movement. The Arte Povera movement took place between the end of the 1960s and the beginning of the 1970s in major cities throughout Italy and above all in Turin. Other cities where the movement was also important are Milan, Rome, Genoa, Venice, Naples and Bologna. The term was coined by Italian art critic Germano Celant in 1967 and introduced in Italy during the period of upheaval at the end of the 1960s, when artists were taking a radical stance. Artists began attacking the values of established institutions of government, industry, and culture.”

hisour - history + tour. global culture online. https://www.hisour.com/arte-povera-3056/

JOSEPH BEUYS // 7000 EICHEN [ARTE POVERA. AN INFLUENCE FOR BEUYS’ ART]

“For the present the planting of the 7000 OAKS nothing but indicates a symbolic beginning. For the symbolic take off I need a “boundarystone”, in this case represented by a column of basalt. Since the action would yield to a complete modification of the way of life as well as to the reorganisation of human society and to the whole ecological environment....”

As each tree was planted and its accompanying basalt column erected, the pile of basalt in front of the Fridericianum decreased, and as the trees grew, the relative size of each of their basalt column decreased.

Beuys, J. ‘Portrait of an art performance.’ May 1982.

JOSEPH BEUYS // 7000 EICHEN [ARTE POVERA. AN INFLUENCE FOR BEUYS’ ART]

Germano Celant, who recognized the common tendency to use everyday [in the works of Arte Povera.]

JOSEPH BEUYS // 7000 EICHEN [ARTE POVERA. AN INFLUENCE FOR BEUYS’ ART]

JOSEPH BEUYS // 7000 EICHEN [ARTE POVERA - IMAGE SOURCES]

1. ‘Portrait of an Art Performance, May 1982. ‘ Geoarchitecture, https://geoarchitecture.wordpress. com/2021/07/18/7000-oaks-x-2/

2. ‘Giuseppe Penone - Three of 12 Metres, 1980-2, via Guggenheim.’ Arte Povera - The Highlight of Italian Mini malism, https://www.widewalls.ch/magazine/arte-povera-italian-minimalism

3. ‘Joseph Beuys, Fat Chair, 1964-1985, wood, glass, metal, fabric, paint, fat and thermometer, 183 x 155 x 64 cm (Tate Modern, London). https://smarthistory.org/joseph-beuys-fat-chair/

4. Joseph Beuys, We Can’t Do It Without Roses, 1972. Color poster. Edition Staeck, Heidelberg.’ Temkin, A. ‘Thinking is form : the drawings of Joseph Beuys’. 1993.

5. ‘Joseph Beuys ‘Stallausstellung’ — Fluxus 1963,” Kranenburg, 1963.’ Temkin, A. ‘Thinking is form : the draw ings of Joseph Beuys’. 1993.

[BREAK]

JOSEPH BEUYS

JOSEPH BEUYS + MAURO BARACCO.

JOSEPH BEUYS + MAURO BARACCO [TREE SPRAWL - MAURO BARACCO]

“Our relation to nature is characterised by it having become thoroughly disturbed....Between the mine and the garbage dump extends the one-waystreet of the modern industrial civilisation to whose expansive growth more and more lifelines and life cycles of the ecological systems are sacrificed.”

Baracco, M. ‘Urban densification and Community Interaction through Tree Sprawl’. 2010.

JOSEPH BEUYS + MAURO BARACCO [TREE SPRAWL - MAURO BARACCO]

JOSEPH BEUYS // 7000 EICHEN [ARTE POVERA - IMAGE SOURCES]

1. ‘Urban densification and Community Interaction through Tree Sprawl.’ Mauro Baracco, http://www.baraccowright. com/tree-sprawl/pmi87rh736wo4wrdcygib9ck9jlr05

2. ‘Appeal by Joseph Beuys, Newspaper article.’ Appeal for an Alternative, translated from German by R.C Hay and B. Kleer, https://issuu.com/sethjordan/docs/beuys_appeal

3. ‘Appeal by Joseph Beuys, Newspaper article.’ Appeal for an Alternative, translated from German by R.C Hay and B. Kleer, https://issuu.com/sethjordan/docs/beuys_appeal

[BREAK]

NATURE STRIPS

COUNCIL DOCUMENTATION

NATURE STRIPS [COUNCIL DOCUMENTATION | RULES + REGULATIONS]

NATURE STRIPS [COUNCIL DOCUMENTATION | RULES + REGULATIONS]

“Abstract: The humble nature strip is a characteristic of many, if not, most Australian streetscapes. Nature strips are owned by the local council and generally divide private land from the public vehicular carriageway.”

Meenachi-Sunderam D + Thompson, S. ‘The Nature Strip: An Environmental and Social Resource for Local Communities’. Faculty of the Built Environment, University of NSW, Sydney, Australia.

NATURE STRIPS [COUNCIL DOCUMENTATION | RULES + REGULATIONS]

NATURE STRIPS [COUNCIL DOCUMENTATION | RULES + REGULATIONS]

“A FLAWED SYSTEM, PERHAPS?”

9.

Sorry, Susan....but the council has their rules and laws!! It’s more than 3 cubic meters!!

NATURE STRIPS [COUNCIL DOCUMENTATION | RULES + REGULATIONS - IMAGE SOURCES]

1. ‘Hard Rubbish - What can i put out for collection?.’ Yarra Ranges Council, https://www.yarraranges.vic.gov.au/ Environment/Waste/Hard-rubbish

2. ‘What can i do with the nature strip?.’ Sanctuary Lakes Resort Services: Nature Strip Policy, https://www. sanctuarylakesresort.com.au/images/Nature_Strip_Policy_15_01_16.pdf

3. ‘Plants that grow to a maximum of 300mm.’ Sanctuary Lakes Resort Services: Nature Strip Policy, https:// www.sanctuarylakesresort.com.au/images/Nature_Strip_Policy_15_01_16.pdf

4. ‘Design Option - Nature Strip.’ Sanctuary Lakes Resort Services: Nature Strip Policy, https://www.sanctu arylakesresort.com.au/images/Nature_Strip_Policy_15_01_16.pdf

5. ‘Option 1 - Nature Strip.’ Sanctuary Lakes Resort Services: Nature Strip Policy, https://www.sanctuarylakes resort.com.au/images/Nature_Strip_Policy_15_01_16.pdf

6. ‘Option 2 - Nature Strip.’ Sanctuary Lakes Resort Services: Nature Strip Policy, https://www.sanctuarylakes resort.com.au/images/Nature_Strip_Policy_15_01_16.pdf

7. ‘Option 4 - Nature Strip.’ Sanctuary Lakes Resort Services: Nature Strip Policy, https://www.sanctuarylakes resort.com.au/images/Nature_Strip_Policy_15_01_16.pdf

8. ‘What we can and can’t collect.’ City of Casey, https://www.casey.vic.gov.au/what-we-can-cant-collect

9. ‘Local law aims to clean up city.’ Star Weekly, https://wyndham.starweekly.com.au/news/local-law-aims-toclean-up-city/

NATURE STRIPS

ADRIAN MARSHALL

NATURE STRIPS

[ADRIAN MARSHALL - THE NATURE OF NATURE STRIPS]

NATURE STRIPS

[ADRIAN MARSHALL - THE NATURE OF NATURE STRIPS]

“Research on nature strips, the green space within the road easement, is mostly absent from the international literature on urban green space – despite their ubiquity in planned residential development globally. In many cities, and including Melbourne, they are the main location of the urban forest, are a defining aspect of roads and neighbourhoods, are the green space most often encountered on a daily basis, and have the remarkable attribute of being public space managed in large by private citizens.”

Marshall, A. ‘The Nature of Nature Strips’. 2016.

NATURE STRIPS

[ADRIAN MARSHALL - THE NATURE OF NATURE STRIPS]

“Between the kerb and a hard place, nature strips hide in plain sight”.

Marshall, A. ‘The Nature of Nature Strips’. 2016.

NATURE STRIPS

[ADRIAN MARSHALL - THE NATURE OF NATURE STRIPS]

“The ubiquity of nature strips, and the manner in which they are embedded within the fabric of urban development, means they have great potential for contributing to the public realm. They can provide essential biodiversity, sustain ecosystem processes, contribute to human health and well-being, and strengthen civic engagement in issues of fundamental importance. Collective action by the citizenry who are the primary managers of this resource, through many small probiodiversity actions, could provide substantial benefits. Such action could also feedback positively into social value systems that promote such action.”

Marshall, A. ‘The Nature of Nature Strips’. 2016.

NATURE STRIPS

[ADRIAN MARSHALL - THE NATURE OF NATURE STRIPS]

NATURE STRIPS

[ADRIAN MARSHALL - THE NATURE OF NATURE STRIPS]

NATURE STRIPS

[COUNCIL DOCUMENTATION | RULES + REGULATIONS - IMAGE SOURCES]

1. ‘Cover Image.’ The Nature of Nature Strips, Adrian Marshall, https://msd.unimelb.edu.au/graduate-research/ student-life/oculus/2016/the-nature-of-nature-strips

2. ‘Nature Strip’. Image taken by Dylan Markovski

3. ‘Before (2017) and after (2019) photographs of the four ‘impact’ biodiverse streetscape planting sites (initial planting of sites occurred between April – June 2018), located at A) Arden Street, North Melbourne.’ The Nature of Nature Strips, Adrian Marshall, https://msd.unimelb.edu.au/graduate-research/student-life/oculus/2016/ the-nature-of-nature-strips

4. ‘Before (2017) and after (2019) photographs of the four ‘impact’ biodiverse streetscape planting sites (initial planting of sites occurred between April – June 2018), located at B) Clowes Street, South Yarra’ The Nature of Nature Strips, Adrian Marshall, https://msd.unimelb.edu.au/graduate-research/student-life/oculus/2016/thenature-of-nature-strips

5. ‘Before (2017) and after (2019) photographs of the four ‘impact’ biodiverse streetscape planting sites (initial planting of sites occurred between April – June 2018), located at C) Docklands Drive, Docklands.’ The Nature of Nature Strips, Adrian Marshall, https://msd.unimelb.edu.au/graduate-research/student-life/oculus/2016/thenature-of-nature-strips

6. ‘Before (2017) and after (2019) photographs of the four ‘impact’ biodiverse streetscape planting sites (initial planting of sites occurred between April – June 2018), located at D) Park Street, Parkville.’ The Nature of Nature Strips, Adrian Marshall, https://msd.unimelb.edu.au/graduate-research/student-life/oculus/2016/the-natureof-nature-strips

[BREAK]

WASTE AND WASTELANDS

PHOTOGRAPHIC SURVEY

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]

photographs taken by Dylan Markovski

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]

[THE SOIL HAS BEEN DISRUPTED, BRO KEN, BURNT, TREAD ON, NEGLECTED. AND THIS IS AT AN HOUSING ESTATE, IN SUBURBIA]

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]

[WHEN LANDFILL IS “FULL”, OR CAN’T BE BOTHERED..]

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]

WASTE AND WASTELANDS

[A PHOTOGRAPHIC SURVEY OF THE WESTERN PLAINS GRASSLANDS]