How do artists „read“ a semi public research space? How can artists convey that which they find in the gap between knowledge and experience in medical research? Starting point for these explorations was a network of research, science and higher education found on the premise of the Charité Campus (Berlin) Mitte as well as related research of scholars, performance artists, theoreticians, architects, within existing systems of classification.
The course “Tasten, Riechen, Hören” of the Institut für Kunst im Kontext at UdK – initiated by Lisa Glauer in connection with the interdisciplinary Projekt-Forum (IP-F) by Wolfgang Knapp, in cooperation with the “GeDenkOrt.Charité – Wissenschaft in Verantwortung” has been dealing with these questions.
The artists developed presentations for an exhibition space based on temporary interventions and explorations produced in the scientific realm of medical science. Visual signs pointing to a strict hierarchical demarcation between the knowledge of the medical experts, with its historically shaped aspiration to objectivity and universality and the subjective experience of human beings that move through the space as patients, relatives of patients and generally interested public. The artists dealt with the question of how the physical and semantic boundaries interact with the bodies moving through this space. The artists explored the location via movement exercises, performative talks, experimental painting, and/or drawing.
19 January – 5 February 2017
With works by: Hasan Aksaygın (in Kollaboration mit Yener Bayramoğlu), János Brückner, Tina Griffith, Gözde Güngör, Carsten Lisecki, Maria de Sande, Ultraviolett und Hanwen Zhang
Opening: Wednesday, 18 January, 19h
“The works are developing into space. Corporeal encounters in between. Collective explorations and joint discussions ahead. Somewhere there is a place they are bending over and away from: tactile, olfactory, and auditive experiences are constructing the terrain on which they are moving. Time is movement in space. From A to B it makes for the past to be recalled and forms our perception of what is possible. The works speculate, remember and remind us. But they prefer to whisper, disagree or laugh, and only sometimes do they cry over themselves. When they are in a good state, they are inviting the other bodies in space or form a conglomerate supporting one another, overlap, superimpose and stumble apart: this into that corner, to the left-hand wall or to the center. Together, they hold responsibility for themselves. Not one but many.”