Jasper Coppes

The work of Jasper Coppes is part of Exploded View

Jasper Coppes
exhibition at glazenhuis amstelpark amsterdam
exhibition at glazenhuis amstelpark amsterdam
exhibition at glazenhuis amstelpark amsterdam

Wasteland

There is a growing interest in archeology to regard this discipline as a critical involvement in the production of the past. Directions such as ‘Archeology of the present’ and ‘Contemporary Archeology’ testify to this growing interest. The role of the archaeologist is increasingly transforming from an observer from a distant past to a submerged admirer; someone who actively creates future historical layers. The proposal that I have worked with in the last few years under the notion of the ‘archeology of presence’ goes one step further. It recognizes the influence of both human and non-human entities in the creation of the final (artistic or archaeological) work. Both are engaged in the production of the past, the present, and also with the future. In my opinion, heritage parks such as the Via Appia Park and the Amstelpark are test places where such activities of future development are practiced. With my project I want to investigate how my own artistic methodology – which includes film, writing and sculptural intervention – can become a place where a new form of collaboration is established between different entities. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste. In my opinion, heritage parks such as the Via Appia Park and the Amstelpark are test places where such activities of future development are practiced. With my project I want to investigate how my own artistic methodology – which includes film, writing and sculptural intervention – can become a place where a new form of collaboration is established between different entities. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste. In my opinion, heritage parks such as the Via Appia Park and the Amstelpark are test places where such activities of future development are practiced. With my project I want to investigate how my own artistic methodology – which includes film, writing and sculptural intervention – can become a place where a new form of collaboration is established between different entities. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste. With my project I want to investigate how my own artistic methodology – which includes film, writing and sculptural intervention – can become a place where a new form of collaboration is established between different entities. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste. With my project I want to investigate how my own artistic methodology – which includes film, writing and sculptural intervention – can become a place where a new form of collaboration is established between different entities. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste. Heritage can be considered a practice of designing the future by actively preserving and dismantling the past. In this process, we distinguish between what is valuable to keep and what we throw away. I will investigate how practices of collusion, contamination, contamination and cooperation problematize the distinction between heritage and waste.

Landscape architect Gilles Clément is a leading source of inspiration in this. His ‘third space’ refers to those ‘abandoned’ locations in which certain plants bloom that are not used for their nutrition or beauty or have been deliberately preserved. What would happen if such wastelands were included in our true (contemporary) heritage? Both parks could be the perfect place to explore how nonhuman factors push the boundaries of our human ideas about the past and the future. I will take exploratory walks in the parks to document a historical substrate that is still in the making. I will look at remains in the broad sense: what remains of people and non-people, both in the distant past and the present. Leftovers can be costly and worthless: relics from ancient times, traces of modernity, but also contemporary by-products from agricultural, horticultural or social activities. I will also look at how plant and animal species create their own waste. Wild growth on the unmanaged edges of the parks and new species such as the parakeet or other (exotic) pests become leading. But above all I will investigate how the past and the present are rehearsed by the interplay between people and non-people. I will document this ‘current archaeological layer’ in various ways. For example, I aim to trace how the current activities of conservation and neglect by people and non-people shape the future. I will also look at how plant and animal species create their own waste. Wild growth on the unmanaged edges of the parks and new species such as the parakeet or other (exotic) pests become leading. But above all I will investigate how the past and the present are rehearsed by the interplay between people and non-people. I will document this ‘current archaeological layer’ in various ways. For example, I aim to trace how the current activities of conservation and neglect by people and non-people shape the future. I will also look at how plant and animal species create their own waste. Wild growth on the unmanaged edges of the parks and new species such as the parakeet or other (exotic) pests become leading. But above all I will investigate how the past and the present are rehearsed by the interplay between people and non-people. I will document this ‘current archaeological layer’ in various ways. For example, I aim to trace how the current activities of conservation and neglect by people and non-people shape the future. But above all I will investigate how the past and the present are rehearsed by the interplay between people and non-people. I will document this ‘current archaeological layer’ in various ways. For example, I aim to trace how the current activities of conservation and neglect by people and non-people shape the future. But above all I will investigate how the past and the present are rehearsed by the interplay between people and non-people. I will document this ‘current archaeological layer’ in various ways. For example, I aim to trace how the current activities of conservation and neglect by people and non-people shape the future.

 


 

Jasper Coppes (Amsterdam, 1983) is a visual artist who lives and works between Glasgow and Amsterdam. His films, sculptures and text-based works often explore stories imposed on, or inserted into, specific landscapes and other environments. Recent exhibitions are: ‘Cabinet Interventions’ Glasgow International Festival, Glasgow (2018), ‘Flow Country’ Glasgow Short Film Festival, (2017), ‘Roineabhal’, Galerie van Gelder, Amsterdam (2015), ‘Delaying Tactics’, House for an art lover, Glasgow (2015).

More info see: www.jaspercoppes.com

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