The United States Pavilion makes visitors think

Humanity’s relationship to single-use plastic is at the heart of the installation presented by America within the Lake Rendezvous.

United States Foreign Pavilion.
Photography by Andrea Ferro

Worthy durable plasticThe exhibition is curated by SPACES Executive Director Tiziana Baldnipro and Lauren Living, Museum of Contemporary Art Cleveland. theIts goal is to highlight how addicted the planet is to plasticdespite the relatively short history of the substance.

However, the wing It also aims to study the positive aspects of plastics, such as its potential as a life-saving material in healthcare industriesto highlight the new departure from the culture of discarding plastic waste as a valuable resource.

Although plastic is a globally ubiquitous material, it hides in plain sight – it insulates our homes, acts as a production barrier and a transporter, said curators Baldnipro and Living. So, Everlasting Plastics opens up a conversation about material dependency and challenges our focus on zero waste, leading us to question our relationships with plastics and how we can embrace reuse.

wing and 5 designers

One of the exhibits inside the pavilion.
Photography by Andrea Ferro

inside of, The pavilion presents the works of five artists that explore these topics. It’s about the architect Xavi Aguirre designer Simon AntonArchitect Ang Leethe artist Norman Teague And the artist Lauren Yeager.

They each think about the materiality of plastic and the meaning of plasticity in thoughtful and innovative ways and it was an honor to support them as they develop new work for this project.

said the curators.
According to the duo, We hope that each of these exhibits will encourage visitors Examine your relationship to plastic and open your eyes to how plastic waste can be a “rich resource”.

Everlasting Plastics challenges visitors’ understanding of matter and inspires a broad range of methodologies for using waste handling and transformation methods.” We have to learn to live with the physical realities of our waste systems and hope that visitors will imagine new ways of being in this tension.

The basic elements of the suite

One of five exhibitions on plastics.
Photography by Andrea Ferro

Among the highlights of the American Pavilion is the contribution of artist Teague, who sees him using Perpetual Plastic as a laboratory for his practice. Instead of using the raw wood for which he is famous and specialized, Teague embraces plastic in an installation that explores the global attitude towards Waste Recycling.

The curators said that although he has garnered much acclaim for his work with wood, they challenged him to work with recycled plastics for this installation – his work looks at the Global South and Global North through the lens of the diaspora and critiques Western extractive practices in the world. south.

next to Tig, Li presents an EPS installation that shines a light beyond plasticwhile Aguirre offers a two-chamber installation which examines our bodily relationships to plastic.
Antonthen, He creates monument-like structures made of shredded plasticWhile Yeager uses discarded materials to create an installation that aims to evoke a sense of calm in the same way designer and artist Isamu Noguchi does.

environmental footprint

One of the rooms in the US Pavilion at the Architecture Biennale.
Photography by Andrea Ferro

there consideration of the environmental footprint From the United States Pavilion has formed a An essential part of his development this yearBaldinipro told Wolfing. This is in line with the Venice Architecture Biennale organizers’ ambitions to be carbon neutral for this year’s event.

We are fully aware that trade shows of all sizes create waste, and this has always been at the forefront of our minds while developing Everlasting Plastics.

They explained.
Among the measures taken to reduce the shipment of materials by sea rather than by air was to work with the people based in Venice to complete them.

Collaboration with the people who live and work here was essential to the success of our project — even our educational materials, which were printed in Venice, on metal so that they could be reused in future iterations of the project and presented as an alternative to the single-use vinyl wall text we often see in exhibition spaces.

Earl Warner

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