New Problematics of the Ephemeral
Given that almost all public art projects are developed with an eye to their materials having a long encounter, over time, with the environment, the idea of duration is an integral factor. Exterior works in particular must be thought of in terms of their preservation, their ability to resist bad weather. This is a classic problem of public art, one that remains inherent in the conception of such works today, but it is also a factor in the various stages of their post-production installation.
One could point to the example of two of Valérie Blass’ works that were part of the group exhibition Configurations,1 the Public Art Fund put together in Brooklyn during the autumn of 2012. These works were installed in the hall of an office building in the MetroTech complex rather than in the nearby park where they originally were to be shown among other sculptures. Even though the artist had anticipated the deterioration risks of Orca Gladiator (2012) and Meuble Mécanique (2012) in an outdoor setting, the Public Art Fund only understood the extent of that risk during the installation process — a few days before the opening — and decided to move them indoors. Faced with a classic problem, choose a classic solution. Despite this, the Public Art Fund generates many ephemeral public art projects, which appears to run contrary to the logic governing Quebec’s 1% policy, targeting an enduring integration of art and architecture. In the case of the Configurations show —
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