While all other projects were based on a type of architectural practice, “Jump!” project, brought us in front of a commentary on Carol Factory from the perspective of Norwegian artists. These two artists worked very much with projects for public space.
Their proposal surprised us of course. On the one hand the object was born from a reference cliché about Romania: Nadia Comaneci and the trampoline which made her famous. What such an object had to deal with the factory, with the industrial site? But as we talked more and more about all these influences, about the space created around the object, we realized that it would create its story in the absence of this particular reference, too. And as we assumed, its most powerful sense came immediately when people discovered it. A trampoline to be used together with others, an invitation to create a community where the energy increases with more users. Even in the carpentry workshop, during tests, the workers jumped together on it, trying to get as high as they could.
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Photo credits: Andrei Margulescu
Normaly, the use of a springboard is to lift an athlete into breathtaking numbers or over an obstacle. The springboard made for Halale Carol is oversized. The main feature of a springboard is to give an extra boost, while this spring-boards size requires multiple people cooperating to get the board swinging. This is the most obvious parallel to the situation the project is a part of – art and architecture boosting the processes of urban development.
Finn Eirik Modahl & Arne Revjeim: “As artists we have always an ambition to give our work personal stories and multiple layers of meaning. In this piece we like to underline a strong fascination to our first Romanian reference; Nadia Comaneci, especially the slightly heavier 1978 version of Comaneci, with new hairstyle and melancholic glance.”