The collections of urban exploration photographs on this page show an assortment of urban ruins, atoposes and other poetic sites visited and photographed, predominantly in California.
By way of terminology, the "ruins" described here are mostly the remains of urban buildings and dwellings. The majority of them are fairly recent, in that they have been abandoned to the elements for only a few decades. Compared to other parts of the "civilized" world, the abandoned elements of California are very, very modern, with relatively little history when compared with ruins found on the East Coast of the United States, or some of the ruined places in Europe or perhaps the extremely ancient sites in the Middle East, for example. Nevertheless, the West Coast images documented within surrealcoconut certainly have their share of interesting artifacts, entropic processes of nature and other mysteries of the interactive, collective unconscious psyche.
There are some people who do not understand the appeal of an abandoned building or a ghost town. It has only been in recent years that the phrase "urban exploration" has taken on its present meaning. What could really be so fascinating about wandering through partially destroyed and now-abandoned concrete and synthetic foundations of human existence?
For some, the justification of urban exploration resides in the thrill of transgression, of breaking the rules of forbiddeness defined by the state, of going places "where you're not supposed to go", of disregarding the arbitrary law of "private property." For others, the thrill of possible physical danger, such as exploring active subway tracks, is what motivates the excursion. Other times, the pleasure of adrenaline release from penetrating dark, fear-inspiring places is what fuels the pursuit. Still there are some who enjoy bringing their significant other to an abandoned site just for romantic purposes. Apparently there are many varieties of pleasure that appeal to these individuals who explore the ruined buildings of urban life. With the rise of the internet and subsequent mass-availability of digital photography, this obsessive activity known as "urban exploration" has mushroomed over the past few years.
While I cannot deny my own personal interest in some of these various "thrills" (in various guises, of course), the real motivation is the exploration of the gothic element, as it is constructed by the collective psyche of all those who visit "the urban ruin" and interact with and transform its constitutive elements. In this respect, the urban exploration documented here takes on a surrealist dimension, in that the ruins, and the found and vandalized objects within these environments, are considered to be objects of desire, and objects of haunting. These objects and poetic spaces are special because they influence all those who encounter them, and simultaneously, they are transformed by the subversive hands of those who find them in the solitude of social neglect, when no one is looking. Therefore these various ruins are the perfect breeding grounds for the surrealist found object.
From the gothic standpoint, many of these ruins have the power to evoke a questioning of the permanence and future of industrialism, an environment-unfriendly and people-destroying process first set into motion by capitalism. Images of crumbling buildings, mutating offices, long-disrupted places of manual labor, all serve to suggest the ephemeral nature of alienated labor and private property
(whether privately owned by a person or by the state), much to the disappointment of so many terrified, conservative minds. In their own special way, these places poetically serve to frame the period of industrial stagnation (and capitalist decline, in many places) — the era of right now — in a way that suggests that the "civilized" human needs to evolve in favor of non-exploitative and less self-destructive ways of life.
The process of urban exploration is also capable of revealing more than just bare walls and terrible buildings. In particular, this kind of physical inquiry is anthropological in nature, in that ruined and abandoned areas are analyzed in terms of what they represent socially, and their relation to society, and in revealing some of the underlying cultural forces within those societies (especially the sometimes embarrassing tendencies that the respected voices of the establishment fail to acknowledge). In this special light, the abandoned space represents a means of measuring the pulse of any culture, by comparing what people say and do in the solitude of ruins, with what they don't say or do in public, with all of the order and repression maintained within the latter. Surrealism is extremely interested in any phenomenon or method of inquiry which can lead to the revelation of the latent thought of a culture, and not just the consciously crafted, manifest rhetoric that shows up on the television screens and online sources of that culture.
Dialectically, the pursuit of industrial archaeology yields traces of the poetically defused, historical materialism of any finished era, in the way an oyster eventually transforms an irritating grain of sand into a resplendent pearl. In the "gothic" sense, the ruins are haunted by the subjective ghosts of past oppression and tyrrany. The forces of disrespect, exploitation and persecution are reduced to roaming ghosts which populate the lonely hallways. A terrible institution becomes a teetering shadow of its former self. Once unchecked cultural menaces are neutralized with physical reminders of their own mortality, and institutions of terror are immobilized by their own forgetfulness, with the permanent scars of obsolescence. In California, we often see the remains of the cold war, for example.
The handwriting is on the wall, even though there is nothing for sale.
These specifically surrealist journeys through urban ruins have nothing to do with 'Art' or 'Literature'.