Vent qui souffle. Fort. Ciel bleu pure Méditerranée. J’ai écrit quelques pages pour les habitacles aujourd’hui, et je me rends bien compte que je ne sais pas toujours ce que je raconte. Je n’avance pas masqué. C’est l’inverse. J’avance dans un espace masqué que je… Read More
That zero panorama seemed to contain ruins in reverse, that is—all the new construction that would eventually be built. This is the opposite of the “romantic ruin” because the buildings don’t fall into ruin after they are built but rather rise into ruin before they are built. This anti-romantic mise-en-scene suggests the discredited idea of time and many other “out of date” things. But the suburbs exist without a rational past and without the “big events” of history. Oh, maybe there are a few statues, a legend, and a couple of curios, but no past—just what passes for a future. A Utopia minus a bottom, a place where the machines are idle, and the sun has turned to glass, and a place where the Passaic Concrete Plant (253 River Drive) does a good business in STONE, BITUMINOUS, SAND, and CEMENT. Passaic seems full of « holes » compared to New York City, which seems tightly packed and solid, and those holes in a sense are the monumental vacancies that define, without trying, the memory-traces of an abandoned set of futures. Such futures are found in grade B Utopian films, and then imitated by the suburbanite. The windows of City Motors auto sales proclaim the existence of Utopia through 1968 WIDE TRACK PONTIACS—Executive, Bonneville, Tempest, Grand Prix, Firebirds, GTO, Catalina, and LeMans—that visual incantation marked the end of the highway construction.
Robert Smithson, “A Tour of the Monument of Passaic, New Jersey” (1967)