 |
 |
 |
 |
 |
 |
 |
 |
 |
|
Synaesthesia
/ 4:
Translating, Correcting, Archiving Opening:
31.05.2013, 8 PM Synaesthesia / 4: Translating, Correcting, Archiving presents works by Ditte Lyngkær Pedersen (DK), Eva-Maria Bolz (D) and Andy Holtin (USA). The exhibition devotes itself to selected artistic strategies for decoding the phenomenon of synaesthesia. It is significant that all three artists experience different forms of synaesthetic perception. Since
2003, Ditte Lyngkær Pedersen, herself a synaesthete,
has created an extensive video archive of interviews about the multi-sensory
perception of synaesthesia that document the experiences of individuals
and at the same time make the unbridgeable gap between this topic
and the audience clear. Her
project Why Is Green a Red Word? is comprised of interviews
with synaesthetes and scientists, but also includes conceptual video
works such as What the Hell does Purgatory Look Like? and drawings
depicting the spatial imagination of number forms by different synaesthetes.
Contemporaneous with the exhibition opening will be the publication
of Ditte Lyngkær Pedersen’s artist book Why is Green
a Red Word? The project Der Innere Monitor, which Eva-Maria Bolz presents at Art Laboratory Berlin, follows her subjective perception that colours and letters form a specific code through which a text can be translated into blocks of colour. Each letter corresponds to a specific colour. When the artist deliberately uses texts that contain intense colour descriptions such as Oscar Wilde's The Rose and the Nightingale, she asks us not only to explore the perceived differences, but also to experience the text through the eyes of a synaesthete. In the exhibition Bolz will present five selected texts in the form of large colour plates. In addition to the colour plates, documentation is created in the form of an artist book.
Andy Holtin, Corrections, video still, 2009 Andy Holtin has grapheme synaesthesia, connected with a particular colour-number association. He sees numbers in specific colours, moreover, this is influenced by a partial red-green colour blindness, affecting certain nuances. In his video Corrections (2009) you can see how a hand colours in the numbers of different signs and nameplates in photographs. Corrections demonstrates the gap between the object and subjective sense perception as well as the personal impressions of the artist himself. By speeding up the video, the act of colouring in appears grotesque as the act of artist's hand achieves a form of slapstick. In his video Connections (2013) the artist examines the complications he experiences when objects share a colour with a particular number due to Holtin’s individual synaesthetic experience, creating an extended perceptual relationship. During this final exhibition the synaesthesia series, Art Laboratory Berlin will host an international interdisciplinary conference "Synaesthesia. Discussing a Phenomenon in the Arts, Humanities and (Neuro-)science" (5 & 6 July, 2013, Glaskasten Theatre, Prinzenallee 33, next to Art Laboratory Berlin).
Presse:
Olga Shmakova With the generous support of:
Media
partner:
Art Laboratory Berlin Awarded Prize for Project Spaces We are pleased to announce that Art Laboratory Berlin is one of the winners of the first Prize for Art Project Spaces and Initiatives in the Field of Visual Arts awarded by the Berlin Senate Office of Cultural Affairs. The award honours the commitment and work of those operating project spaces and initiatives. "The award serves" according to the Senate Office of Cultural Affairs, "to support them, to secure the existing diversity and to make the activities of art project spaces and initiatives in Berlin more visible." The prize ceremony takes place on 27 February, 2013 under the auspices of State Secretary André Schmitz A
complete statement from Art Laboratory Berlin on the award can
be found at: art-in-berlin
Berliner Projekträume und –initiativen
|
||||||
 |
 |
|||||
|
|
||||||
