Genetologic Research

Maarten Vanden Eynde

Genetologic Research nr.22; 60937 Ikea-era, 2005 A.D., Rome, Italy

Genetologic Research nr.23; 50075026 Ikea-era, 2005 A.D., Rome, Italy

During the 1993 Long Beach Earthquake in Los Angeles, USA this coastalroad was destroyed. Wind and water have taken over the area and transformed it into a modern acheological site. A new geological layer is added on top of the others; concrete and asfalt.

ANT FARM (Chip Lord, Hudson Marquez, Doug Michels)

Build in 1974, Cadillac Ranch was made up of ten Cadillacs, ranging from a 1949 Club Coupe to a 1963 Sedan, buried fin-up in a wheat field in Texas. The piece was contructed in four days using a motorized back-hoe and low-tech surveying tools. On the fifth day the work was unveiled. In the tradition of readymades, the work uses mass-produced parts which have symbolic overtones. The Cadillac was a status symbol in 1960s America, indicating that the owner was financially succesful and had therefor ‘made it’. By using the Cadillacs as mere component parts of a work, ANT FARM subverted their symbolic function. The piece functions as a kind of cemetery, a comment on social values as well as their deathly polluting effect on the environment.

Mark Dion

Mark Dion is an explorer, naturalist, archaeologist, botanist, historian, and artist all rolled into one. His recent art actions and museum installations have focused on archaeological digs at unusual sites, deemed “historically insignificant” by local historians. A recent dig on the bank of the Thames River in London revealed interesting, if not significant, objects such as medicine bottles, animal bones, pottery shards, and several messages in bottles. As with other dig recoveries, Dion categorized the Thames material and presented it in curiosity cabinets (a term describing the display cases used for cultural artifacts and oddities in the seventeenth century) at the Tate Museum in London. Unlike an archaeologist who scientifically classifies objects to reveal their historical significance, Dion creates his own categories that may tell us more about contemporary culture than that of the past-color, for example, may put a sixteenth century, yellow porcelain fragment next to a Juicy Fruit gum wrapper.

New England Digs, 2002

Maarten Vanden Eynde

‘In 2004 I went to Tajimi, Japan to master the art of traditional ceramic making. I learned to make a tea ceremony tea-cup, the most valuable ceramic art object, and destroyed it. I labeled it ‘Genetologic Research N.18, 2004 A.C., Tajimi, Japan’ and presented it in a typical conservation-like museum context. It was very hard to explain my motives to the Japanese visitors of the exhibition taking place at the end of my residency, who considered the broken cup as useless. A stonethrow away from the room where my work was shown, in the same building, people where selling little pieces of very old cups on an antique market for extravagant prices. Right now, in 2006, the work is history and as much part of archaeology as any other found object’.

‘Genetologic Research Nr. 18, 2004 A.D., Tajimi, Japan’, 2004
(35cm x 35cm x 20cm)

In 2005 I went to Rome, Italy, just after IKEA declared that their catalogue was now the most printed book ever in human history. They beat the bible in the same week as the big boss of IKEA beat Bill Gates and became the richest man on earth.
I descided to preserve an IKEA sample for future generations and dug it under ground in Il Foro Romanum, the old historic center of the Roman Empire. It is an open air museum, where archeologists are digging for eternity.

‘Preservation of IKEA tea cup’, 2005