The project poses questions about possible forms of coexistence equal actors
– of human and non-human matter.
Following the theories from rhizomatic deterritorialization to assemblage of Felix Guattari and Gilles Deleuze, my approach lies in a strategy of networking. To achieve this, I take the detour of an aesthetic distancing. While modernity focuses on distancing from a place – as opposed to the notion of being tied to place – I pursue the image of a network with the idea of an aesthetic distancing in order to create an assemblage of equal actors. And to encourage more ecological thinking. Starting from the ruins of a former cork factory in Kiel, the project visualizes the interaction of an unstable dynamic structure – made of matter in the form of bricks, pioneer plants, non-human life, cultural remains and climatic conditions – that constantly reconnect. The viewers see what is happening from the outside becoming observers of real and metaphorical decay that gives access to all forms of being. The deterritorialization of the visual experiment – using a LIDAR scanner and the method of modeling – results in the reintegration of people: In this way, rules and views can be questioned. The goal is an immersive experience that visualizes an assemblage.
The cultural remains are under monument protection and form the ordered space, the pioneer plants, the animals and the climatic conditions, form the free and unpredictable space. Both are constantly changing into one another and form an assemblage of equal actors by means of deterritorialization. Through the process of decay, the building gives access to the natural. Without external influences the originally dominant building loses more and more control over the place. A wild space emerges. This provides the potential foundation for a distance space. Peter Grundmann defines distance space as a wild space without program, property, rules, functions, control, order, or capital circulation. The place belongs only to itself.