Thursday, July 25, 2013

Works from Eva-Maria Bolz, Andy Holtin and Ditte Lyngkær Pedersen in Synaesthesia/4: Translating, Correcting, Archiving

Eva-Maria Bolz, Der Innere Monitor
Colour Plates
(c) Photography: Kirsten Kofahl, 2013
Eva-Maria Bolz, Der Innere Monitor
Colour Plates
(c) Photography: Kirsten Kofahl, 2013
Eva-Maria Bolz, Der Innere Monitor
Colour Plates
(c) Photography: Eva-Marie Bolz, 2013
Eva-Maria Bolz, Der Innere Monitor
Artist Book
(c) Photography: Eva-Marie Bolz, 2013
Andy Holtin, Corrections and Connections
Video Installations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Video Installations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustration
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installation
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Video Installations and Artist Book
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Artist Book
(c) Photography: Tim Deussen, 2013
Ditte Lyngkær Pedersen, Why Is Green a Red Word? and Andy Holtin, Corrections and Connections
Video Installations and Artist Book
(c) Photography: Tim Deussen, 2013

Saturday, July 13, 2013

International Interdisciplinary Conference: Synaesthesia. Discussing a Phenomenon in the Arts, Humanities and (Neuro-)Science

Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz

Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz



Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz

Keynote speech by Prof. Dr. Hinderk M. Emrich
Prof. Dr. Hinderk M. Emrich. (C) Photography: Tim Deussen
Keynote speech by Prof. Dr. Hinderk M. Emrich


Ditte Lyngkaer Pedersen on "Why is Green a Red Word?" 
Sina A. Trautmann-Lengsfeld, Multisensory Processing in Synaesthesia


Birgit Schneider, On Hearing Eyes and Seeing Ears. Berlin Optophonia in the 1920s.

David Strang talking about his project "Transmission + Interference"

Caro Verbeek, Inhaling History of Art - On the Role of Olfaction during the Avant-Garde 

Agnieszka Janik, Synaesthesia for Color is Linked to Reduced Motion Perception


Romi Mikulinsky, From Page to Screen - the Present and Future of Reading
Discussion, Agnieszka Janik speaking




In the front with Katharina Gsöllpointner, Caro Verbeek and Gertrud Koch (from left to right)


Katharina Gsöllpointner, Digital Synaesthesia - Introduction into a New Project
James Rosenow, (C) Photography: Tim Deussen

James Rosenow and Regine Rapp, (C) Photography: Tim Deussen

(C) Photography: Tim Deussen

Conference SYNAESTHESIA. Discussing a Phenomenon in the Arts, Humanities and (Neuro)Science. (5 & 6 July 2013/ Art Laboratory Berlin). - From left to right: Olga Shmakova, Assistent, Art Laboratory Berlin; Ditte Lyngkaer Pedersen, artist, Aarhus, Denmark; Sina A. Trautmann-Lengsfeld, Dept. of Neurophysiology and Pathophysiology, University Medical Center Hamburg-Eppendorf, Hamburg; David Strang, artist, Plymouth, UK; Agnieszka Janik, Dept. of Psychology, Goldsmiths, University of London; Caro Verbeek, Royal Academy of Arts Amsterdam, Rijksmuseum Amsterdam; James Rosenow, Cinema and Media Studies, University of Chicago; Christian de Lutz, co-founder/ curator, Art Laboratory Berlin; Katharina Gsöllpointner, Media Arts/ Art History, University of Applied Arts, Vienna; Eva-Maria Bolz, artist, Berlin; Romi Mikulinsky, Macquarie University, Sidney/ Bezalel Academy for Arts and Design, Jerusalem; Hinderk M. Emrich, Director of the Center for Psychological Medicine, Hannover; Polina Dimova, Institute for Russian and Comparative Literature, Oberlin College, Ohio; Eva Kimminich, Institute for Romance studies, Potsdam University; Regine Rapp, co-founder/ curator, Art Laboratory Berlin.
(C) Photography: Tim Deussen