Samuel Treindl's intervention uses TRAFO's low-waste ambitions as a springboard and deliberately introduces few new materials. By folding out the existing, overlapping concrete walls of the building and reconfiguring them as large tables, Treindl created sculptural seating and areas for food preparation for visitors to the kitchen.
These are supported by constructions made of industrial scrap metal parts, which are painted using Treindl's process of 'Farbverläufe in anarchistischer Produktion', in which Treindl uses each can of paint until the very last drop is used. Once finished a new can is installed, which merges with the previous colour - again until it is completely empty. Here, Triendl extends the concept of zero-waste to his artistic decision making process, in which the finished work is dependent on resources rather than aesthetic choices.
Treindl's intervention extends to the roof, where visitors can view the place from a higher position. Drawing on different architectural styles, such as deconstructivism, industrialism and postmodernism, Treindl creates a deliberate neon parasitic mash-up to literally and abstractly fragment the constructed building - exposing its inherent grey energy and interior explosive potential. The implementation was carried out in collaboration with Sophie Netzer from the FFAP (Research Centre for Anarchist Production).
Treindl’s work explores cultural change, art in public space, production systems and physical constructions. In his 2013 series Parasite Production, Treindl transformed existing items of furniture, from manufacturers such as Ikea, into new functional objects, following what he calls a ‘parasitic strategy’. Recent projects include Alles easy, Tandem Projekt der Euregio with Kevin Bauer, 2019; Monumentbesetzung with David Rauer, Bergkamen, 2018; Produktionsblase, Kunsthalle Münster, 2017 and Power Kongress, Pylonia, with Bazon Brock, Performance Electrics gGmbH, Wagenhallen Stuttgart, 2017.