COMMON IMAGINARY ARCHIPELAGO MANIFESTO

We are We Love Humans and UltimateFantasyland, an artist duo who still believe then can leave a trace in the waterpodproject history.
We would like to involve ourselves in this project with ideas linked to miniature worlds, models as an art form, and the possibles interactions between proliferating micro visual universe and viewers.
By creating a serie of floating models following the waterpod journey by witnessing its presence like traces of a vanishing dream.
The realisation of the models will be happening in New York inspirerd by what this place has to offer, the floating systems will be studied in Geneva as well as certain modular elements necessary to the models development. In order to find a place in the questions and aims that the waterpod project implicates, we started to think the first step was to define how the spectator would get acces to the mental strolling, when observing the models if those ones where to be out of reach, in the wake of the waterpod.
The suitable solution shapes itself with the use of the famous "Coin operating Binoculars", derived strategical war object that slipped into the tourism industry.
Those Binocular would allow us to create several points of view on board of the waterpod as well as the shores of the Hudson River.
The models conception will then answer to the interaction with the elements of its exhibiting environment like water and wind fluctuation and use those natural ressources as a way to animate the sculptures.
We'll inspire those floating worlds with narration that will take its sources from satyre,political headlines and historical or imaginary representation of urbanism.
This way we will take place in the project by creating micro-landscapes inspired from the world and rewriting its story,
so as to transpose those into the utopia aimed by the waterpod purpose. Under shape of cities or architectures yet to define, the models would invite the viewers to experiment subversive way of observing to renact the discovery of Unknown and "As agreed" lands.

******

Nous sommes We Love Humans et Ultimatefantasyland, un duo d'artistes qui croit encore pouvoir faire trace dans l'histoire du Waterpod project.Nous aimerions nous engager dans ce projet avec des idées liées aux mondes miniatures, au rôle de la maquette en temps que forme d'art, au possibles interactions entre petits univers plastiques proliférant et spectateurs. En créant une série de maquettes flottantes accompagnant le voyage du waterpod qui marquerait son passage comme les traces d'un reve qui s'efface.La réalisation des maquettes se ferait en partie a New York en usant de l'inspiration que cet endroit a à offrir, les systèmes de flotteurs seront réfléchis à Genève ainsi que certains éléments modulaires nécessaire au développement des maquettes.Afin de se situer dans les questionnements et les aboutissements que le Waterpod project implique et propose, nous avons pensé que le premier pas était de définir comment le spectateur pourrait avoir accès à la déambulation mentale, lors de l'observation des maquettes si celles-ci se trouvent hors de portée, dans le sillage aquatique du waterpod.La solution propice nous apparait prendre corps avec la mise a disposition des fameuses "Coin Operated Binoculars", objet dérivé des besoins militaires avant d'être ré-accaparé par l'industrie du tourisme.Ces jumelles nous permettrait de créer différents points de vue a bord du waterpod ainsi que sur les berges de l'Hudson River.La conception des maquettes répondra ensuite aux accords avec les Éléments de leur environnement de démonstration tel l'eau en mouvement, l'interaction avec le vent et utiliser ces ressources naturelles comme des moyens d'animation.Nous insufflerons dans ces mondes flottants, une narration qui prendrait ses sources dans la satyre, l'actualité politique ou encore les représentations historiques ou imaginaires des modèles d'urbanisme.De cette manière nous intervenons en créant des micro-paysages inspirés du monde qui viendrait en réécrire l'histoire tout en le transposant dans l'utopie soulevé par le Waterpod.Sous formes de villes ou d'architectures encore a définir, les maquettes inviteraient les spectateurs a expérimenter des modes d'observation détournés afin de rejouer la découverte de terres convenues ou encore inconnues.

WATERPOD™MANIFESTO>>

What in water did Bloom, waterlover, drawer of water, watercarrier returning to the range, admire?

Its universality: its democratic equality and constancy to its nature in seeking its own level: its vastness in the ocean of Mercator's projection: its umplumbed profundity in the Sundam trench of the Pacific exceeding 8,000 fathoms: the restlessness of its waves and surface particles visiting in turn all points of its seaboard: the independence of its units: the variability of states of sea: its hydrostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides: its subsidence after devastation: its sterility in the circumpolar icecaps, arctic and antarctic: its climatic and commercial significance: its preponderance of 3 to 1 over the dry land of the globe: its indisputable hegemony extending in square leagues over all the region below the subequatorial tropic of Capricorn: the multisecular stability of its primeval basin: its luteofulvous bed: Its capacity to dissolve and hold in solution all soluble substances including billions of tons of the most precious metals: its slow erosions of peninsulas and downwardtending promontories: its alluvial deposits: its weight and volume and density: its imperturbability in lagoons and highland tarns: its gradation of colours in the torrid and temperate and frigid zones: its vehicular ramifications in continental lakecontained streams and confluent oceanflowing rivers with their tributaries and transoceanic currents: gulfstream, north and south equatorial courses: its violence in seaquakes, waterspouts, artesian wells, eruptions, torrents, eddies, freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial ahorizontal curve: its secrecy in springs, and latent humidity, revealed by rhabdomantic or hygrometric instruments and exemplified by the hole in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity of its composition, two constituent parts of hydrogen with one constituent part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on shipboard: its properties for cleansing, quenching thirst and fire, nourishing vegetation: its infallibility as paradigm and paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of forms in loughs and bays and gulfs and bights and guts and lagoons and atolls and archipelagos and sounds and fjords and minches and tidal estuaries and arms of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks: its potentiality derivable from harnessed tides or watercourses falling from level to level: its submarine fauna and flora (anacoustic, photophobe) numerically, if not literally, the inhabitants of the globe: its ubiquity as constituting 90% of the human body: the noxiousness of its effluvia in lacustrine marshes, pestilential fens, faded flowerwater, stagnant pools in the waning moon.

- James Joyce, Ulysses.

Dark Matter, 2005. 30" x 30" Chromogenic Dye-Coupler Print by Mary Mattingly.