Wednesday, July 30, 2014

Wednesday, July 23, 2014

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

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.

Go to our conference website and find the video recordings of all conference speakers!

You will have unlimited access to every single conference presentation (videos and abstracts).

Art Laboratory Berlin is glad to provide this opportunity for free.
If you like, make a donation (our contribution receipt are tax deductible in Germany).
More information:

Keynote speech by Prof. Dr. Hinderk M. Emrich

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, 2013

Tuesday, July 22, 2014

[macro]biologies II: organisms / Artist talk with Maja Smrekar & finissage 

Thursday, July 17, 2014

[macro]biologies II: organisms- Brandon Ballengée 

During the preparation for this summer's exhibition I had the great chance to meet and work with Brandon Ballengée. For his exhibits we worked a lot on the digital side and on the production side.

For example, with his work "Cry of the Silent forms" we had to find quite a lot of technological equipment in order to play the small videos and also to build a "house" for them and for the beautiful forms of life that they represent. The preparation for this installation took a lot of time, considering the many details that needed to be taken into account but the result was excellent. The eight boxes that were built represent eight sources of life of different species, caught in a unique moment that only a biologist, a man who studies / observes many of these forms could catch.

Branon Ballengee is also a biologist who is dedicated to his science and at the same time inspired from his science. The art-works "Requiem" and "Malamp" are all about this. The artist presents in the case of "Malamp: The Occurence of Deformities in Amphibians" a documentary on his field investigations for deformed frogs in collaboration with local communities before they become the source of beautiful prints that he makes. In the work "Un Requiem pour Flocons de Neige Blesses", Brandon made a video on the metamorphic toads in memorial to all the beings that lack our attention.

With Brandon working on our side, preparing the exhibition was even more enjoyable. What I admired the most in Brandon is his humanity which is obvious in his art.  He chooses to study all the unprotected, injured, and extinct life forms, and then to give them impetus as marvellous art works. Assisting in the whole procedure of installing Brandon's works was creative and very interesting at the same time, since the artist answered all my questions with many details showing with all his words his "love" for these unprotected beings.

Eirini Kokkinidou, intern at Art Laboratory Berlin

All photos (C) Tim Deussen

Monday, July 14, 2014

[macro]biologies II: organisms- Suzanne Anker

During my internship in Art Laboratory Berlin I have had the great opportunity to work for a time with the  bioartist Suzan Anker. The experience was great one reason; another was the possibility to follow in depth the creation process of two of the works of art: Astroculture and Petri's Panoply.

These two works on show in  [macro]biologies II: organisms were basically created from zero in our space, the guidelines obviously were settled earlier in her studio, also as these works had already been exhibited.  But the final result was completely different! This methodology of creating the work while exploring the city and its territory, shows me the importance of the external stimulus of every place in the result of the work. The collecting process for Petri's Panoply took place in every moment of her life, with completely different methodologies: from an Object Trouvèe during lunch to the methodical search for dead insect; from the small supermarket to a big mall dedicated to food; and what was particularly interesting was that error (some petri dishes that were broken during the shipment ), like in every scientific process, is not eliminated but became a main part of the work.

What was particularly surprising to me was how important it was for her to get inspired by the environment in which she exhibits and in the process to achieve nice aesthetic results. In my mind a typology of art (as Bioart is) that approaches scientific disciplines places the aesthetic aim in a second stage, but that was not true and I discovered with Suzanne just how fundamental it is for her and for the public too. Working closely with one of the pillars of the bioart, was also an opportunity to ask questions, chat and discover how the first bioart lab was founded.

Working with Suzanne was a great experience. She involved me as well as the others staff members in the creative process, and kept asking for our advice. Incredibly, she also delegated to us the fundamental role of taking care of the exhibition, transplanting and re-planting part of Astroculture; giving the impression that being together with the natural flow of time became part of her work.

Chiara Donelli, intern at Art Laboratory Berlin


Wednesday, July 09, 2014

[macro]biologies II: organisms- Maja Smrekar: BioBASE: risky ZOOgraphies project

In May 2014 I had the incredible opportunity to work with Maja Smrekar on her Berlin project. BioBASE: risky ZOOgraphies, where she focussed on the two species of crayfish both invasive to Germany, Procambarus fallax forma virginalis (the marble crayfish) and Procambarus clarkii (the Louisiana Crayfish). She placed both species in a two-part aquarium, which was divided but contained a  ladder which the crayfish could scale and confront one another. The experiment was focusing on the question if the crayfishes would climb over to other part of the aquarium and maybe start to breed. That would be namely interesting act, considering that females (Procambarus fallax forma virginalis) developed asexual reproduction form called parthenogenesis, which enable them to clone themselves.
The installation itself was considerably complex, and needed a high level knowledge of the animals and the structure. For that purpose Maja's assistant Marko Žavbi, with whom she often collaborates, was vital for setting up the installation. Maja and Marko had already developed an accurate system of working, alternated their work. Maja is truly thorough, taking care for every little detail, from perfect light and the cleanliness of aquarium to the small screws at the back. It was first time for me that I've work with one artist so intensely, and I was thrilled to participate.
Working with Maja (and Marko) was really a pleasure, bringing me a lot of valuable experience and knowledge. I'll certainly retain nice memories of the project.

Katarina Hergouth, intern at Art Laboratory Berlin

Photo (C) Tim Deussen

Photo (C) Tim Deussen

  [macro]biologies II:organisms / Tour of the show with the curators and ALB staff

Wednesday, July 02, 2014

[macro]biologies II: organisms

Photos (C) Tim Deussen

Left on the wall: Suzanne Anker, Vanitas (in a Petri dish)

Suzanne Anker. Remote Sensing. Plaster, pigment and resin, 2013

Suzanne Anker. Remote Sensing. Plaster, pigment and resin, 2013

Suzanne Anker. Remote Sensing. Plaster, pigment and resin, 2013

Suzanne Anker. Astroculture/Shelf Life, installation, 2009

Suzanne Anker. Astroculture/Shelf Life, installation, 2009

Suzanne Anker. Astroculture/Shelf Life, installation, 2009

BioBase: risky ZOOgraphies by Maja Smrekar. Aksioma Production, Installation, 2012 / 2014

BioBase: risky ZOOgraphies by Maja Smrekar. Aksioma Production, Installation, 2012 / 2014

BioBase: risky ZOOgraphies by Maja Smrekar. Aksioma Production, Installation, 2012 / 2014

BioBase: risky ZOOgraphies by Maja Smrekar. Aksioma Production, Installation, 2012 / 2014

In the foreground: Suzanne Anker. Petri’s Panoply, installation 2014

Suzanne Anker. Petri’s Panoply, detail, 2014

Suzanne Anker. Petri’s Panoply, detail, 2014

Suzanne Anker. Petri’s Panoply, detail, 2014

On the wall: Brandon Ballengée, Danse Macabre (8), a limited edition print

Brandon Ballengée, The Cry of Silent Forms, Wrath, video installation

Brandon Ballengée, Requiem pour Flocon de Neige Blesses (A Requiem for Injured Snowflakes), video projection

Right on the wall: Brandon Ballengée, Malamp UK, video documentation