Current and Recent Projects

Pazugoo, 2016-2019
Pazugoo, 2016-2019

workshops, 3D-printed plastic prototypes, bronze and resin casts, interdisciplinary discussions, collaborations, performances and installations with video, sound, drawings, diagrams and samples

Pazugoo is a distributed constellation of figures proposed to be buried at specific sites of nuclear waste storage.

The collectively modifiable figures are based on Pazuzu, the Assyrian-Babylonian protective demon of contagion, epidemic and dust, filtered through the ‘gooey’ glitched plastic materiality of current digital design and printing technologies.

Religious and secular belief systems are a significant part of the debate about nuclear semiotics and how to communicate important knowledge into the deep future. Weir’s project creates a thread of digital mutation through replicating the figure of Pazuzu who warns against dangers as intangible as dust and viruses, highlighting the invisibility and mutating force of radiation through a physical modification of the 3D model.

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As part of the work, Andy Weir runs workshops to create and distribute figures. Participants draw on online museum databases of scanned artefacts, and reconfigure them according to the Pazugoo morphology, leading to the production of combinatory designs and printed objects.

Through the work, Weir proposes the importance of mythic fiction as a method for navigating between the immense timescales of nuclear storage [1] and human cognition in the present. Pazugoo speculates on this through the fabulation of double-flight - a figure with an ‘excess of wings',[2] it is projected to fly billions of years into radiological deep time futures and back to the present.

This use of myth connects two temporal registers of the work: firstly, it draws attention to itself as a material object, slowly decaying over long timescales and becoming a future part of the earth in which it is buried; secondly it enters into discussions around waste now, opening critically engaged debates around responsibility, memory, fiction and materiality.

Pazugoo inhabits the gallery or museum exhibition as an ‘index’ to reference objects located and buried, collectively produced and dispersed around the world, connecting local, international and planetary scales of engagement.

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[1] Aiming to isolate radioactive waste 'from Man and environment' for hundreds to thousands or millions of years, depending on categories of radioactivity.
(M. Van Geet & C. Depaus (2016), ‘Long-Term management of high-level and/or long-lived radioactive waste’ , presentation at ONDRAF/ NIRAS HADES Underground Laboratory, Mol-Dessel, Belgium 11/07/16, slide 19.)

[2] "Its body strangely has two pairs of wings instead of one, as if two wings are not adequate for its missions...The wings emphasise a demonic lust for flying , for speed and migration…These four wings render the demon a perfect vehicle for carrying pestilential particles (Namtar) and delivering them to their destination without delay."
(Reza Negarestani, Cyclonopedia, Melbourne: re-press, p.88.)








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