„point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot...,
(last edited: 2020)
author(s): Erika Matsunami
This exposition is in progress.
This is the fragment of my contribution „point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., which was stolen with my computer in 2014. This contribution will be never completed. After the part 3 in this contribution I had new experience, i had to consider about the reality that is "society"; their law, their culture and human right, also about Art itself in their society. Key words were western academic art education, professionalism, immigration, culture and culture layers in the society such as multi culture society in the globalization. What means "Global" for us...,
„point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., is an artistic research project which creates a connection between the presentation of physical art works, lecture (artist talk) with three thematic parts and the exhibition (re-presentation) with kind support of berlinerpool in the studio at Aqua Carré Berlin and at the office of berlinerpool in 2013. This paper is a summary of "POINT IN TIME" in 2013 and a contemplation about arts and cultures in our contemporary society.
The three topics "IDEA-Prefiguration", "performative-open system" and "Untitled-semiotics as personal code" will be summarized by the art works of artists; Eduardo da Conceição, Emma Waltraud Howes, Charlie Jouvet, Erika Matsunami, Enda O’Donoghue. It's a matter of the art works of artists which represent "time and space" in cognitive processes with different techniques and medium: from painting to performance up to multimedia. This basic theme "time and space" was taken up in the exhibition (re-presentation) on materiality and aesthetics, and to substantiate the cultures as background of artists and identity as well as individuality in our contemporary global society. Thereby I reflected about contemporary primitive and globally in the arts and the cultures.
p.s Art is not for the economic market, art by some of the people is their cultural and human existence and the evidence of their identity. (...)
I was a member of berlinerpool (mobile archive for and of berliner contemporary art) since 2009.
After the burglary at the berlinerpool office in March. My studio and other studios at the studio house Aqua Carré Berlin were burglarized in April, 2014 accordingly. (I didn't know about the burglary at the berlinerpool office. Their office was brocken in, before the burgraly at my studio house Aqua Carré Berlin.), thus I quitted the membership of the berlinerpool in 2014l. ... (add. in 2015)
(I could not comprise Sigrun Drapatz's contribution together with others. Because of several times to be burglarized at the studio house Aqua Carré Berlin in Berlin, as well as at my studio, the studio house Aqua Carré Berlin on April 1, 2014, Many data of this project as well Sigrun Drapatz's went missing. This exposition is before 1. April 2014. I dedicated this essay to Franz Koppe, Professor of Philosophy at the Berlin University of the Arts, who died in 2012.)
Why I'd like to decided Sigrun Drapatz's project especially which one she created her artistic project in Turkey to present within the project 'point in time'. Her husband is a turkish migration in Germany and she has children with him. She doesn't understand islamic so well as well as languages. She is atheist, however she tried to understand and to create her project in her concept. I call her this work semiotic personal code. I didn't think her this work as activism, because there was no political aim. Thereby my question was, which kind of attention could given by this semiotic personal code in the intercultural communication, which 'communication' might be creativity? Many people today are atheist, thus it' usual today–a subject of democratic co-existence.
After her generation in art, it has been starting the art from the perspective of the everyday life which art is not in 'metaphysics'. such as art to see into. In this part 3 „semiotics as personal code“, I researched on symbolism and today's art within theories by Cassirer and Goodman philosophically.
N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern
(last edited: 2020)
author(s): Erika Matsunami
This exposition is in progress.
"N.N-Zwischenliegend": Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper.
Eine künstlerische empirische Forschung.
Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) :
In part of my artistic research in the project N.N-Zwischenliegend, namely digital photography, I am investigating the potentiality of inspiring errors and imperfection. There are three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I tried to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon; I have implemented this idea in an image with photographic techniques and double exposure, so these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Thirdly, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “Estrangement” in the photographic perspective as a narration.
If the potential of the fault would open up to us, and if the error would thus contribute to an “elasticity” of consciousness or the illusion of depth, thus I question for paradox of seeing in arts which refers to a question "Could the fault inspire us in this sense?". To answer this question, in this article I connect to the evolution of consciousness from the point of view of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental photography today or digital photography today, its perfection and errors both in the world of artistic photography as well as in digital culture.
1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.
Meetings with Remarkable and Unremarkable Trees
(last edited: 2020)
author(s): Annette Arlander
This exposition is in progress.
This exposition serves as an archive for the project "Meetings with Remarkable and Unremarkable Trees", where Annette Arlander spends time with specific trees and poses for camera together with them. The exposition is under construction
