Mosbach’s unique education in the life sciences that was precursor to her training in landscape informs and nourishes her aesthetic approach. The ground at Louvre-Lens is designed as a sensitive surface.
The intention is to expose this surface to variations in time, playing with relationships between materials through the processes of contagion, superimposition, and coverings. It is about drawing the ground via flows and traversing different environments in the park.
An existing wood at the edge of the site yields to a large clearing of meadow. which then becomes a mix of hard planted surfaces near the building. The ground is locally perforated to allow water to infiltrate; it folds over to become seating at the entrance to the museum: it protects the building from the intrusion of vehicles and it dips to accommodate a pool. Around the building, desirable mom exists as the first pioneer stratum, collecting atmospheric dust and preparing for successive ecological cycles. For Mosbach, the way the park responds to temporal and ecological dynamics is multidimensional and becomes a new heritage for the site.
Thierry Kandjee & Sarah Hunt, The Invisible Made Present (2013)
Catherine Mosbach, Louvre-Lens Museum Park (2012)
More recently (…), we could observe a new diagram of the human body in relation with its environment. The winning entry of the Phase Shift Park (Taichung) competition by Philippe Rahm architectes and Catherine Mosbach depicts indeed the body, not anymore by its anatomical dimensions but rather by its biological affections by the environment. Heat, humidity and pollution, as three factors having physiological consequences on the body, are mapped and exploited in the creation of the park proposition.
Léopold Lambert, A subversive approach to the ideal normalized body (2012)
Philippe Rahm & Catherine Mosbach, Jade Park, Taichung (2011-2016)
The distinction among formation, information and propaganda is melting in our profession just like it does in our everyday life. Everybody tend to believe that, when an image is presented to us, it brings trustable information but, the only thing that an image transmit is a moment of moving shapes and events that the observer can identify or not.
The issue of meaning comes out in the construction of the information between the emitter and the receiver. The dimension of an image is attached to the observer’s knowledge and to his curiosity that cultivates to learn the complexity the image reveals. Nevertheless, examining an image can or can not give access to its context. Nowadays, the exception state created around us through the image’s saturation, fosters the kingdom of the indifference. Excess of information banalize information. Information masks reality when creates the illusion that the point of view that gives us access is enough, just because it gives us access to any data or databank. The Digital Image offers us tools to an infinite manipulation. The mental image unleashes the onirical, through the building of points of view based on the origins of experience. When someone considers the whole from one only point of view, usually an idealistic view comes out. When all that is similar is put together, a positivistic view comes out. The social liaison as hope for a community is menaced when the individual’s singularity and the events do not foster anymore the collective imagination. To Hannah Arendt, the objective of the political and strategic action is to reveal what is singular into the plurality of the links. Hence, the aim is to fight against what is banal to show what is unique.