The objective of this research is an artistic project-process, education, collaborative and share authorship, with promote the reutilization of garbage materials in a collective and individual way. The theoretical framework connect two concepts: artistic Education, centered in the knowledge of the mudéjar patrimony and the contemporary art (Trash Art); and, the environmental education, centered in the modern environmental problem, looking ways of solving it and, favour some of the Sustainable Development Goals 2030. This project began in 2018 and ended in the October of 2021. Their result is produce of the collaborative work and the participation of 200 persons (teachers, university students, schoolchild, artist and cultural managers), this has been shown in four expositions. Also, we have been giving lectures of the progress of this investigation in many academic cogress and events. The finality of this activity is to favour the personal reflexion about our habits related with recycling; transforming the garbage in community art; and make aware of this particular issue related with the sustainability and the gestion of the rubbish for favouring the environmental values(3R) and for bringing closer the contemporary art (Trash Art) and the artistic patrimony of Teruel (the Mudejar roof bestiary of the cathedral). Peer Reviewed.

Landy and his long-time collaborator Clive Lissaman introduced the workshop by showing short films of Jean Tinguely’s Homage to New York (1960), a large-scale kinetic sculpture set to self-destruct (or more correctly, to destroy itself) in the Museum of Modern Art’s sculpture garden, and Landy’s Break Down (2001), an art event comprising the destruction of all 7,227 of the artist’s material possessions through a systematic process of sorting, grouping, and dismantling them (both works are discussed in greater depth below). The tripartite film installation presented three characters connected by collecting: an immigrant collecting scrap metal in a shopping cart, an artist who collects images and profits from the immigrant’s scrap metal assemblage, and a wealthy woman collector who makes paper flowers out of money which she then throws away; the shopping cart full of metal objects appears on an exhibition invitation in one of her drawers.