and about the ability to deal with a utopian
space ‘moved’ into reality through an instru-
ment of the law.
The interest in failure is not only for Moscar-
dini part of her practice from the point of
view of the realization of projects. She also
has an interest in it for specific research,
which drives her to explore very different di-
sciplines such as history, urban planning, or
the law, looking for a balance between utopian
inspiration and the inevitability of time. This
is the case with 1xUnknown, one of her most
noted projects that is still in process. Since
2012, the artist has documented the preca-
rious existence of bunkers along the Atlantic
Wall. Designed by the Third Reich between
1940 and 1944 and never completed, the Wall
consists of a system of fortifications stretching
along the Atlantic coast of Europe, as a line
of defense against the attack of the American
forces.
It was a line of defense that was never used
– a colossal human effort thwarted in one
night (that of D-Day) as the result of an egre-
gious error of evaluation by German strate-
gists – that still stands obtusely proud as a
monument and at the same time as a decaying
ruin, transformed to such an extent as to be-
come part of the landscape. At Quiberville,
Heuqueville, and Bihen-Saint Firmin – places
on the French northern coast where the ruins
of the bunkers lie – the artist frames with a
fixed camera these architectural elements,
devoid of function, rising from the rocky walls
or lying collapsed on the beach, and then pro-
jects them into an installation that is develo-
ped as an archive, a testimony of how the pro-
cess of transformation of the elements affects
all things, human projects and natural for-
mations, rendering them finally assimilated.
To San Rocco with Love (2014) is a ‘finished’
but temporary work, which passes from design
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