The Boundaries of Perception
Curated by Daniela Arriado
To perceive is to be aware, to grasp and to recognise. It’s our senses, our taste and feeling about something or someone…It is the image. How do we define the basis of visualisation? How do we challenge the modes of communication through the image? How far can we go in abstracting and manipulating our perception and illusion of time, space and sound…until it’s not perceivable anymore? What is the core in our own perception? This selection presents art works exploring the boundaries of perception and modes of interpretation of time.
Contact Art Advisor
Director and founder of Art Republic, a platform dedicated to digital art and public space. Her work explores new curatorial approaches towards expanded borders of cinematic experiences and the audio-visual: the origin and vision behind the ongoing Screen City Biennial, which she founded in 2013. This approach has also fueled her work on projects concerning urban screens and online streaming platforms for video art and animation, aiming to pave new waves for the distribution and dissemination of the moving image to the public. She is a curatorial advisor for several organizations, galleries and fairs. Arriado is a member of PNEK – Production Network for Electronic Arts, Norway, and The Norwegian Association of Curators. Based in Berlin.
Levi van Veluw
The newest instalment in “The Collapse of Cohesion” is a series of short films, based on drawings. One of the drawings presents an image of an archive room, filled with large structures of cabinets containing more than 1500 neatly arranged icosahedrons. The whole arrangement is held in place by the very structure of the cabinets and the force of gravity, in a fundamental and continuous on-going struggle between the desire for order and the forces of nature. An unknown cause upsets this equilibrium and the cabinets are made to topple over. The symmetrical forms are no longer held in place, gravity takes over, order is turned into chaos. In the film, the drawing has been replicated life-size in wood scale 1 to 1. All the visible surfaces are covered in carbon powder, and the setting acquires shape only through the reflection of the light. Reality becomes tangible only through the experience of lighter or darker hues, as in a drawing. The falling apart of the structure is filmed at over 1000 frames per second. After months of meticulous preparation, this is the only, and crucial, moment over which the artist has no control. In contrast to the drawing in which the moment of chaos remains an interpretation by the artist – and is therefore inexorably linked to him – the film makes it possible to relinquish all and every form of control.
Levi van Veluw
Depicted in “Family” is a room with 5 persons sitting at a table. These persons are Levi van Veluw and the members of his immediate family: his father, mother, brother and sister. As in certain earlier works, everything, including the whole interior space as well as all family members, is covered with thousands of dark brown wooden blocks. At first sight, everyone seems to be sitting peacefully at the table, the picture of a perfect family unit. Yet this group of figures is positioned in an abstract environment, unrecognisable and therefore far removed from reality. The awkward silence, dark colours and claustrophobic atmosphere suggest uncomfortable underlying tensions and emotions. The endless repetition of wooden blocks again stands for Van Veluw’s attempts to gain control over his immediate environment, in this case his own position within the family structure.
Levi van Veluw
Produces multi-disciplinary works that include photographs, videos, sculptures, installations and drawings. His layered multi-disciplinary pieces of sublime design, modernist architecture and disruptive environments possess a strange, unreal beauty with no perception of time, space and reality. Many of his works feature a combination of grids and geometric forms, which explore the idea of a deep immeasurable space.
Van Veluw’s varied body of work has been show- cased in many locations, earning him a number of nominations and awards. His works were shown at Museum of Arts and Design (New York), Marres House for Contemporary Culture (Maastricht), Manifesta Foundation (Amsterdam), Maison Particulière (Brussels), De Hallen (Haarlem), Domaine the Kerguehennec (France), Museum of Image and Sound (São Paulo), The Museum of Old and New Art (Berriedale), The Phillips Collection (Washington DC) and The Bass Museum of Art (Miami).
Irene Cruz constructs her book before destroyed and feeds her positive and minimal vision, recovering the lessons that Mastuo Basho gives to his disciple in order to construct a haiku: “do not say that tearing off the wings of a dragonfly you will have a red stamen, add wings to the red stamen and you will have a dragonfly”. Irene is constructing a vital book in an unreal time. The narrative reveals itself enigmatic, the daisy with its petals pulled off becomes itself again and the personal diary mends itself in order to start over again: action, destruction, past, reconstruction, reincarnation and back to the beginning. Irene’s video sets out the loop of life, the looping recreation of an ephemeral existence, Irene presents a tiny and effective statement of the eternal return, of an atomism of beauty as well, of the instinct of preservation of words and of her own language and vital knowledge.
Luft II - Das Leben ist eine Sammlung von Erfahrungen
The artist constructs her book before destroyed and feeds her positive and minimal vision, recovering the lessons that Mastuo Basho gives to his disciple in order to construct a haiku: “do not say that tearing off the wings of a dragonfly you will have a red stamen, add wings to the red stamen and you will have a dragonfly”. She is constructing a vital book in an unreal time. The narrative reveals itself enigmatic, the daisy with its petals pulled off becomes itself again and the personal diary mends itself in order to start over again: action, destruction, past, reconstruction, reincarnation and back to the beginning. Irene’s video sets out the loop of life, the looping recreation of an ephemeral existence, Irene presents a tiny and effective statement of the eternal return, of an atomism of beauty as well, of the instinct of preservation of words and of her own language and vital knowledge.
Irene Cruz is Photographer and Video artist. She was born in Madrid 1987 and now lives and works in Berlin. She studied Advertisement & Public Relations and also Audiovisual Comunication at the Universidad Complutense de Madrid. After this she did the International Masters at EFTI specializing in Conceptual Photography and Artistic Creation. She was highly influenced by Course on the Narrative effects of light. (Cinema photography direction).
Light is indeed a very important part of her work which makes her explore and experiment in the Northern Europe countries.
She has in her CV more than 300 exhibitions, video installations and festivals, all over the world (in important places like Palais de Tokyo -Paris-, Project Art Space -NYC-, Kunsthalle & Deutsche Oper -Berlin-, Círculo de Bellas Artes -Madrid-, MUA Alicante, Da2 Salamanca Museum, etc.).