Carry on, and so on and so on is a project about the economic, political, geographical and cultural exploitation that occurs within the lifespan of a sand quarry. The quarry’s reaction to this exploitation is a tale of continuous resilience. Envisioned through the collection of three films about three different quarries in the Netherlands, Estonia and Lebanon, a relationship between humans and sand quarries unravels. The quarries become a surface that demonstrates how, even though completely manmade, we can only understand the quarries through the duality of something “from us” and “beyond us”…
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Exhibition Debut

Photos by Joep Jacobs

Maps of Männiku Quarry, Estonia

On-Site Interviews at Männiku Quarry

Andres Anvelt on crime and quarry, part 1

Andres Anvelt on crime and quarry, part 2

Eduard Pukkonen on frogs

Eduard Pukkonen and Andrus Meiner on quarries

Site Photos (Analogue) from Männiku Quarry, Estonia

Site Photos from Beaujean Quarry, the Netherlands

Site Photos from Mayrouba Quarry, Lebanon

Flying in Mayrouba Film

Filming and Editing Process Photos

Carry on, and so on and so on

Rawad Baaklini and Tiiu Meiner

Carry on, and so on and so on is a project about the economic, political, geographical and cultural exploitation that occurs within the lifespan of a sand quarry. The quarry’s reaction to this exploitation is a tale of continuous resilience. Envisioned through the collection of three films about three different quarries in the Netherlands, Estonia and Lebanon, a relationship between humans and sand quarries unravels. The quarries become a surface that demonstrates how, even though completely manmade, we can only understand the quarries through the duality of something “from us” and “beyond us”.

The sand quarry has the unique ability to create capital in all of its stages of existence. It begins with the planning stages and continues to onsite sand excavation and processing. This proceeds beyond the quarry, with off site transportation, production and application. Eventually, there is a return to the site, once the quarry is fully exploited and requires rehabilitation. Much like the boundlessly shifting materiality of sand itself, these stages do not always have clear boundaries. They are often enacted simultaneously, leaving the sand quarry to elude us in its magnitude.

The sand quarry also has a particular ability to reflect on its geopolitical surroundings. Each country has its own laws, regulations and needs that apply to its sand quarries. Männiku in Estonia tells the tale of habitual exploitation, encouraged by national history but restricted by local ecosystems. Mayrouba in Lebanon reflects the need to rebuild a nation distracted by stunning landscapes but entangled in corruption. Beaujean in the Netherlands contemplates a lucrative industrial past guided by national developments which have turned to favour public entertainment. No quarry is the same, yet they sprawl in solidarity.

Credits

Thanks to Kaiu Meiner, Eduard Pukkonen, Andres Anvelt, Andrus Meiner, Liina Meiner, Erkki Bahovski, Mark Khalife, Gaelle Khalife, Marita Sbeih, Maya Nehme, Johnny Fenianos, Carla Khaterr, Gorkem Ercan, Kirsten Spruit

Additional Material

Read in interview with Rawad Baaklini and Tiiu Meiner on The Scars and Buried Secrets of Sand Quarries Link

References

Cement Sustainability Initiative, Guidelines on Quarry Rehabilitation (Conches-Geneva: WBCSD, 2011). Link

Külli Sepp, "Ümberkodeeritud mälujäljed Männiku karjäär [Decoding the Fraces of Memory Männiku Quarry]" (Masters thesis, Tallin University of Technology, 2017). Link

Bio

Tiiu Meiner is a writer and freelance curator based in the Netherlands. She graduated from Design Academy Eindhoven in the Design Curating & Writing master’s programme, 2019. Her work deals with systems of knowledge and discovery through methods adapted from psychology, performance, and narrative forms. She also engages with design discourse through public speaking, moderation, and broadcasts. Rawad Baaklini graduated from Design Academy Eindhoven in the Contextual Design master’s programme, 2019. His work explores the meeting points between the enigmatic concepts of design theory and the concrete reality of the everyday, with a particular interest in the medium of film. He has taught at the Willem de Kooning Academy in Rotterdam.

Contacts

vimeo.com/rawadbaaklini Link

@rawadbaaklini Link

tiiumeiner.com Link

@isityoutiiu Link