Brandon Ballengée | Katya Gardea Browne | Pinar Yoldas
by Regine Rapp & Christian de Lutz
At the Alfred Ehrhardt
Stiftung, Auguststr. 75, 10117 Berlin
Exhibition runs 2 July-4 September, 2016
1 July, 2016 at 7PM.
Artists talk 3 July, 2016 at 2PM
Curators' tour: 24 July, 2016 at 2 PM
Closing reception and curators' tour: 4 September, 2016 at 2PM
Animals. Cognition, Senses, Play
Mayeri Maja Smrekar
Opening: 27 May,
Artists talk: 29 May, 2016, 3PM
Dialog and closing reception: 17 July, 2016, 3PM
runs: 28 May 17 July, 2016, Fri-Sun 2-6PM and by appointment.
June open until 9PM)
Left: Maja Smrekar, I Hunt Nature, Culture Hunts
Me, performance and video; right Rachel Mayeri, Apes as Family,
exhibition On Animals. Cognition, Senses, Play investigates
two groups of animals that are closest to us. Primates, our nearest
'relatives', have a complex cognitive proximity to humans, but also
differ radically in certain areas. While dogs, with whom we have
made a symbiotic contract., have evolved alongside us over the last
30,000 years. The works in this exhibition share Donna Haraway's
concept of "cooperative actions": overcoming conventional
dichotomies of nature/culture, human/animal or subject/object is
all about joint action. The artists, Maja Smrekar and Rachel
Mayeri, make use of certain narrative strategies and the phenomenon
of immersion, to approach the perspective of a nonhuman counterpart.
The works of both artists place the instinct and the senses of the
nonhuman at the centre of artistic research, while aiming to translate
the nonhuman cognitive ability by means of the performance, film
and art/science collaboration.
Smrekar's performance I Hunt Nature and Culture Hunts Me,
created during a research residency, investigates the phylogenetics
of the wolf, the wolf-dog-human relationship and animal ethics.
The implied risk and intimacy of Smrekar's performance with hybrid
wolfdogs is contrasted by the reading of cultural texts from Joseph
Beuys, Oleg Kulik and Smrekar. A documentary film also explores
the complex evolutionary story of the canine.
her work Ecce Canis she explores the metabolic pathway processes
that trigger emotional motifs which bind humans and dogs and let
them successfully coexist together. The installation contains serotonin
from both the artist and her Scottish border collie Byron, which
has been transformed by chemical protocols into an odour - the chemical
essence of their human-canine relationship.
films of Rachel Mayeri are the result of years of collaboration
with primatologists. In her series Primate Cinema, Mayeri
has made films for (and about) chimpanzees and other primates. In
Apes as Family we watch a drama based on a tale of both chimpanzee
social customs and domestication. While, as humans, we find the
plot emotionally compelling, we also become caught up with watching
the reactions of a chimpanzee audience watching the same film on
a large TV. Indeed the film is both an example of 'Primate Cinema',
that is a film made for nonhuman primates, and the complexities
of cross-species understanding. Mayeri's film Baboons as Friends
juxtaposes footage of baboons with a film noir reenactment by human
actors, who translate a tale of lust, jealousy and deceit from the
animal to the human.
Rapp & Christian de Lutz (curators)
on the Nonhuman Subjectivities series
Other Selves. On the Phenomenon of the Microbiome
Lapointe, Saa Spačal with Mirjan
vagelj and Anil Podgornik, Tarsh Bates, Joana Ricou
- 1000 Handshakes:
3 February, 7-10PM during the opening of transmediale,
House of World Cultures
Opening of the
exhibition: 26 February, 2016,
Artists' Talk: 28 February, 2016, 3PM
Hack Day Stammtisch 23 March, 2016 19 Uhr (More
and artist talk with PD Dr. Annette Moter and Tarsh Bates: 23 April,
Finissage with talk by Felix Navarrete: 30 April, 2016, 3-6PM
Exhibition runs: 27 February 30 April, 2016, Fri-Sun 2-6PM
and by appointment.
Lapointe, Microbiome selfie, 2014, center & right: Saa
Mirjan vagelj, Anil Podgornik Mycophone Unison, Responsive
installation: electronics, sound, and biological material, 2013;
Petri dish, detail of installation 2013
exhibition, the first of our new exhibition series Nonhuman Subjectivities,
presents various artistic reflections on the complex microbial environment
found on and within the human body. Scientists say that bacterial
cells are as numerous as human cells in our body. The phenomenon
of the microbiome also brings forth many complex questions about
human identity and our relation to our multiple selves.
François-Joseph Lapointe connects his biological research
with performance art. His latest works of art deal with the microbiome
in our daily lives and physical connections to others. Lapointe
sequences his microbiome to produce metagenomic self-portraits,
Microbiome Selfies, which illustrate the metamorphosis of
his bacterial self. The show will present works from his performance
1000 Handshakes, performed at the opening night of the 2016
transmediale. The final images visualise the microbial change from
interacting with someone elses microbiome by shaking
hands, a basic and ancient act of networking.
with Mirjan vagelj and Anil Podgornik are interested
in the contrast between the oneness of the human body as biological
entity and the multiplicity of the human microbiome. In their installation
Mycophone_unison the artist-scientist-designer collective
has developed a sound map of intra-action between their microbiomes
and the recipient. By leaving a fingerprint the viewer sends a signal
to the map that processes it through the central celestial plate
to the microbiomes. The polymodal sonification stresses the multiplicities
of the makers.
Left: Tarsh Bates working in the science lab for
artistic production, School of Pathology and Laboratory Medicine,
The University of Western Australia, 2015
Right: Joana Ricou, Other landscape no. 1, microbiome of the
artist and environment, C-print, 89 × 140 cm, 2014
Tarsh Bates artistically explores what it means to
be human when we recognise our bodies as composed of over one trillion
cells, of which only around half are human. Her new work Surface
dynamics of adhesion is a flocked wallpaper sampler. Encased
in acrylic boxes, living Candida, with blood from Bates herself,
form patterns from wallpaper popular in the parlours of Victorian
Britain. The work offers aesthetic experiences from the contact
zones between the two different organisms, and highlights the unconscious
relation we have with Candida.
Joana Ricous works blur the fundamental boundary between
organism and environment, taking the shape of photographs of microbial
paintings or performance. Ricou collected samples of her own microbiome
and that of her environment and cultured these in the lab to visualise
them. Out of this two portraits emerged: Other-self Portrait,
a composite of cultures derived from her body, and Non-self Portrait,
a composite of environmental cultures.
Regine Rapp & Christian de Lutz (curators)
on the Nonhuman Subjectivities series
the generous support of:
possible in part by a generous gift from Michael Schröder.
Information on the [macro]biologies
& [micro]biologies series
from 2014-15 here...
We are glad to announce our new
& [micro]biologies. Art and the Biological Sublime in the 21st
Ed. by Regine Rapp & Christian de Lutz,
More information here...
We are proud to share with you our online-publication of the international
interdisciplinary 2-day SYNAESTHESIA-Conference, held by Art Laboratory
Berlin in the summer 2013:
Discussing a Phenomenon in the Arts, Humanities and (Neuro-)Science