This wonderful example of unintentional art was on temporary display at the “Rue de l’église” (Church Street) parking lot in the French village Choilley-Dardeney.
It shows a green, mundane family car in complete motionlessness. This immobility is no coincidence, but is a dual statement. On the one hand it shows the inertia defining the little French village, and perhaps even the economic and societal situation of France as a nation. On the other hand there’s also a more positive connotation, an easefulness demonstrated by the lack of dynamism or movement. The car is standing still. It does not participate in the hectic frenzy of modern day traffic.
What’s special about this work of art is that it also leaves the spectator with feelings of unease. As a viewer we know that the quietness is merely temporary and can end at any given time. The owner of the car might show up, driving off and leaving the parking space empty. This strengthens the transient, almost incidental, character of the artwork and serves as a reflection upon our own limits, our own mortality.
That message comes to full fruition when one realizes that the particular parking space in the artwork borders the village’s cemetery, a subtle yet unmistakably important layer, that one can only find if one gets behind the steering wheel, takes action and ends the slumber of inactivity. It takes effort to discover the context and deeper meaning of the artwork. And yet, it also gives a shimmer of hope. Stagnation is also temporary.
On a meta-level this work of art challenges us to redefine motionlessness. It does not imply a stagnation of the mind. As such it refers to the Unintentional Art Movement itself. The objects are often immobile and sterile, and become valuable or art after being put in motion by the artist. Physical immobility is often followed by mental activity.
The materials used in this work of art are mostly thermosetting plastics and aluminum, with the circles in the lower part of the artwork consisting of rubber.