Previous exhibitions and Events:(click here)
Translating, Correcting, Archiving
31.05.2013, 8 PM
Synaesthesia / 4: Translating, Correcting, Archiving is the fourth and final exhibition in the Synaesthesia series at Art Laboratory Berlin. It presents three artists, each of whom has (grapheme) synaesthesia - Ditte Lyngkaer Pedersen (DK), Eva-Maria Bolz (D) and Andy Holtin (USA). Each has a unique form of expressing their synaesthetic experiences in their artwork.
While the three previous exhibitions synaesthesia dealt with art history, with media or with performative aspects the exhibition Synaesthesia / 4: Translating, Correcting, Archiving 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.
artist Ditte Lyngkær Pedersen, professor of video in Aarhus,
Denmark, experiences grapheme and spatial synaesthesia. Since 2003, she
has created an extensive video archive of interviews about the multi-sensory
perception of synaesthetes that document the experiences of individuals
and at the same time make the unbridgeable gap between this topic and
the audience clear: "Since each synaesthete, whom I met confronted
me with a new spectrum of aesthetic perceptions, I realized that probably
no common space of representation is to be found, but only an individual
New and old works brought together in Why is Green a Red Word? investigate the relationship between language, translation and visual thinking. Lyngkær Pedersen follows a documentary approach, by focusing on the interview and therefore creating space for an unsuspected diversity of synaesthetic expression on a global scale. For example, she interviewed Gregory Sean Kielian, who during the filming leads us through the countryside near the Berkeley University in California, as he speaks of his individual synaesthetic colour-space perception. The walk has been deliberately filmed in black and white by Lyngkær Pedersen. Colours appear again only in the video interview when he explains to her, for example, the perceived colour of the stripes on his passport. In another interview, for example Lyngkær Pedersen meets Lisa Nyberg, who experiences a form of number-space synaesthesia. In this interview, the artist has used the questionnaire method and asked synaesthetes such questions as: "how many inches away from your arm is in January?" or "how big are the days of the week?" Lyngkær Pedersen has transferred the answers to in drawings, which are then corrected by Nyberg in conversation, thus a three-dimensional temporal perception is transferred to a two-dimensional illustration. These and other findings were presented by the artist at the conference Synaesthetics and Kinaesthetics in October 2010 at the Center for Literary Research in Berlin
and lexical synaesthete Eva-Maria Bolz lives and works in Berlin.
Her work is dedicated to an exploration of the relationship between colour,
text and perception. In her individual form of synaesthesia she feels
an unchanging association of colours to numbers, letters, as well as whole
words (lexical synaesthesia). Perception becomes a filter through which
letters, words - text in itself - are translated into colours and transformed
from a set of well-known characters into a message that can only be detected
by means of a particular synaesthetic sensibility.
The project 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 has deliberately used 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 addition to the colour plates, documentation is created in the form of an artist book, presented in a small edition (and bound by hand). Here the artistic creative process is shown through illustrations, colour tests and texts. Furthermore, a small edition of small format prints is planned, which will also included with the documentation.
Andy Holtin, an art professor at the American University in Washington DC, has grapheme synaethesia, associated 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. Only at the beginning of his university studies did Holtin discover that his specific graphic-numerical synaesthesia was not shared by all people.
Andy Holtin, Corrections, video still, 2009
In his video Corrections 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 splapstick.
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.
With the generous support of:
22 March, 2013, 7PM
Davenport & Carl Rowe // Banquet for Ultra Bankruptcy
A Banquet for Ultra Bankruptcy, developed for Art Laboratory Berlin, is based on the Marinetti's manifesto, which forms the starting point for a series of performances followed by an exhibition. The overarching theme of synaesthesia provides a basis for the study of aesthetics, politics and participation, as well as for the reactions of the participants. A Banquet for Ultra Bankruptcy is made up of five performances for six guests. During a six-course menu selected foods are combined with images, sounds and scents. Each course is designed as an aesthetic experience, allowing the audience to participate in simultaneous sensations.
Maltagliati & Pietro Grossi // CIRCUS 8
Pietro Grossi & Sergio Maltagliati Circus 8, 1986/2008
The work Circus 8 (1986/2008) consists of eight pieces and is based on Grossi's HomeArt programs, which automatically generated sound. Maltagliati has expanded Grossi's principle with software programs and added visual graphic variations. The visual data generated by the computer approximates the graphic score for a sound composition (cf. John Cage). Whilst the work Circus 8 adds a media historical dimension to Art Laboratory Berlin's Synaesthesia series, it also brings an important new component into the discussion: the computer as artificial brain with its own form of digital synaesthesia.
& Christian de Lutz (curators)
With the generous support of:
Synaesthesia series is supported
in part by a generous gift from Michael Schröder.
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
statement from Art Laboratory Berlin on the award can be found at:
about Art Laboratory Berlin: