Catherine Mosbach

The landscape experiments, concretions in continuous formation, share dissolution of limits—understood as transitions, transmutations, and migrations; that is, they share a fragmentation of static states and temporalities so as to initiate the fiction of multiple states of stasis through the material and factual operations of figuration and reconfiguration. The mining-seismic dialogue reflects the ground material in a way that is least museum-like and least stable. Its aim is to dig into the subsoil and peel back the earth’s layers, to make of it na object to experience, a “material” for the Louvre Lens to display, rendering the main enclosure of the park a part of the museum’s collection. At Taichung, the surface material takes forms and redistributes itself in a manner greatly reminiscent of subsoil—always active and exposed to a diluvia rhythm by the fluctuations of tropical waters that are distributed between thick layers and across vast territories. The material is returned to the productive interaction of water and air interlocked with the cultural interaction of territories, so that the revealed layers may be elevated to the status of a sensory experiment.