OPINION / Chiara Rimella
Power plants
In Newburgh, upstate New York, a project conceived by the late Austrian-born artist Martin Roth is being realised posthumously, transforming an abandoned building into a plant-filled musical installation. The City Club, a former gentlemen’s club and law library built in the 1850s, had long been a ruin and was overgrown with plants and weeds when Roth first came across it. His idea for an artwork involved not only building pathways through the greenery but connecting the plants to audio devices so that the noise they make could be amplified into an orchestral, ambient soundtrack for the space.
Roth’s work had previously explored the power of living organisms and this latest project, “A Home With A Garden” (pictured), feels particularly poignant today. We’re used to thinking that a building overrun by weeds needs fixing and yet we hanker for more greenery in our cities. The realisation of Roth’s project, which is expected to open to the public in June, invites us to reframe how and when we consider nature to be a positive or a negative.
In a similar vein, artist Es Devlin’s centrepiece for London’s Design Biennale, titled “Forest for Change”, also opens this week. The trees transported into the middle of the prim neoclassical courtyard of Somerset House goes deliberately against the rules of the building; she was explicitly told that planting trees would be forbidden there. We talk a lot about the need to rewild our cities but how wild are we really willing to go? Greenery can do more than benefit our public spaces – done right it can become an art.