CaCO3 –> CaO + CO2 –> Zuloa (Hole)

Dimensions 270×90.5 cm
Photographs on Dibond: 125×82 cm ea.

Spiagge Bianche is the name given to the almost 4 kilometers of white sandy coast in Tuscany, the result of over a century of calcium carbonate residue accumulation discarded by group Solvay’s chemical plant, situated at 1 kilometer off the coast. Ernest Solvay, an important Belgian chemist and businessman spanning between the XIX and XX century, established an enterprise that would determine the landscape of the area: a garden city that distributes its workers based on the hierarchy that they occupy in the factory. A town, planned and disciplined based on the business order, accomplice of the ideal of order and rationality typical of European capitalism that imposed the central perspective, as already observed by Pierre Francastel.

In artistic terms, the central perspective seeks to reach the mimesis in representation, reducing the three-dimensional perspective to a bi-dimensional which respects the appearance of depth. Following this logic of plausible artificiality, Ainhoa Akutain introduces the rectangle form in positive and negative in the landscape: an emptiness (Zuloa) and a pier (Kaia) that when photographed melt with a impossible, a rationalist geometry.

Otto Stelzer stated during his time that the diffusion of photography would mean the triumph of the perspective dictated by the central perspective. The intervention of the artist destabilizes the representation onto which this mode of perception is held, thus revealing the mirage where these white beaches rest: just as beautiful as perverse, underneath their appearance they hide a natural contaminated surrounding and a territory formed by the mark of power. It is this dialectical relation that is also revealed by the sculptural pieces of the installation: combining white sand, resin and plaster, they reflect the different layers that compose this landscape.

Julia Morandeira-Arrizabalaga

 

Zuloa

Zuloa (Hueco)

Zuloa (Hueco)

Zuloa (Hole)