HOW DO YOU WORK? CONVERSATIONS, DRAWINGS AND RESPONSES: Deborah Boardman - Thinking in Threes
(last edited: 2022)
author(s): Adelheid Mers
This exposition is in progress and its share status is: visible to all.
Conversation with Deborah Boardman, Chicago, July 18, 2014. Part of "Enter the Matrix" exhibition and residency, 2014. Text and Scenario 2016.
Deborah Boardman, b.2/15/1958, d.11/21/2015
HOW DO YOU WORK? Conversations, drawings and responses (Vienna)
(last edited: 2022)
author(s): Adelheid Mers
This exposition is in progress and its share status is: visible to all.
Preliminarily in 2012, and formally in 2013/14 , I asked experimental musicians and composers in Vienna "How do you work?". Based on those conversations, I created two drawings of what I call each artist's "epistemic engine", or the way I understood them to work. One drawing was a free form exploration, and the other mapped my notes onto the "Fractal 3-line Matrix", a diagrammatic instrument that emerged in my work in 2011, after the informal round of conversations. On sharing the drawings with them, artists were invited to produce a response in a medium of their choice. This project was supported by the University of Music and Performing Arts, Vienna.
Organograms, 2006 - 2009
(last edited: 2022)
author(s): Adelheid Mers
This exposition is in progress and its share status is: visible to all.
The Organograms were proto-versions of Diagrammatic Instruments. Conventionally, organograms depict organizational hierarchies. The images of arts organizations I created and for which I appropriated the name, Organogram, were based on stories the people working in the organizations and sometimes also their clients and stakeholders told me, about enacting their roles. All those part of such conversations were also the primary audience for the resulting, diagrammatic image, having participated in a reflexive assessment of their work environment. Several of the organograms were associated with additional activities, leading into their creation (for example a design contest), or associated with their presentation in exhibitions (for example musical presentations, talks, or interactive objects, such as wearable buttons). Such events were clues to the secondary, museum or gallery audiences that they were encountering a poetic scenario, rather than a map.
intra-view digital
(last edited: 2021)
author(s): Adelheid Mers, Doris Ingrisch
This exposition is in progress and its share status is: visible to all.
The intra-view is an intra-active, embodied world building exercise. What happens when explorations in intra-action rely on mediation through digital platforms?
Thumbnail: Trajectories in a Cloud Chamber, the core evidence for the local particle nature of individual subatomic entities, that is nevertheless incompatible with the propagation specified by the Schrödinger equation (Image from Gordon Fraser/CERN, http://cerncourier.com/cws/article/cern/28742)
Pilot Project: Intra-View
(last edited: 2021)
author(s): Adelheid Mers, Doris Ingrisch
This exposition is in progress and its share status is: visible to all.
Experimentally developing a new hybrid of interview and artist conversation, the Intra-view, this project mobilizes core research and knowledge production repertoires across specializations. Interviews and artist conversations are central tools in science and in art. They trade in politics of truth, technologies of self, and acquisition and appropriation.
Interview und Künstler-Gespräch sind wesentliche tools sowohl im Rahmen wissenschaftlicher als auch künstlerischer Herangehensweisen. Sie operieren mit Politiken der Wahrheit, Selbsttechniken und jenen der Aneignung. Im künstlerisch-wissenschaftlichen Experiment mit einer zu entwickelnden Neuformung aus Interview und Künstlergespräch, dem Intra-View, stellen wir einen zentralen Bestandteil des Forschungsrepertoires zur Erkenntnisproduktion in den Fokus.
Adelheid Mers 1981 - 1997
(last edited: 2021)
author(s): Adelheid Mers
This exposition is in progress and its share status is: visible to all.
Shown are early studies, sculptures and light installations (1981 - 1996) that can be construed as foreshadowing diagrammatic instruments.
