For the exhibition Two Hectare, Boris Acket has translated Aesthetics of Decay into a site-specific installation. A long strip of reflective foil hangs from the rafters of the barn and is lifted and dropped in a parabolic curve while illuminated by turnable lights. Together with the wind these different movements create an orchestrated composition of dappled light in the darkened barn. The work is a twelve-minute kinetic composition that repeats without pause, thereby serving as a clock for the entire exhibition. Aesthetics of Decay embodies a cycle of creation and destruction. By every movement the foil slowly degrades and more folds appear. At the same time its reflections become increasingly detailed, amplifying the dynamism of the work. This transformation subtly underscores the mechanical operation of the installation as both poetic and destructive.

‍

‍

For centuries, humans have harnessed the wind to their advantage. In the past, goods were transported over water, lakes, and seas from Stavoren and Hindeloopen to England, France, Germany, and beyond. We sailed across oceans to distant, unknown lands in search of new raw materials. Over the years, we have evolved sails from simple triangles to high-tech wings made of carbon and Dyneema fibers. Where the maximum speed used to be 7 knots, it is now over 50 knots. The need to transport goods by sailing ships disappeared with the arrival of mechanical vessels such as steamships and later diesel-powered ships. What remained were sails used for our enjoyment, in all shapes and sizes. Whether it’s an Optimist or a 50-foot Bestevaer from the KM yard in Makkum, they are all powered by the wind.

— George Valkema, Sail Loft Sudersee, Makkum

‍