Dashed II
12 mobile phones (interviews), wall graphic, 8 x 2 m, English, 2005
Interviewees: Johannes Auvinen, Megan Bodley, Thomas Crawley, Jeff Derksen, Marina Haydn, Joanna Lewis, Andrea Lumplecker, Jonathan Quinn, Stephen Mathewson, Genoa Mungin, Gerald Straub, Surachai Sutthisasanakul

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© Exhibition view zeitraumzeit, Künstlerhaus Wien, Vienna, 2008.
Photo: Michael Goldgruber

Locations:
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01 – Jeff Derksen, Vancouver (CDN): hut
02 – Joanna Lewis, Melbourne (AUS): nursery
03 – Andrea Lumplecker, New York (USA): garden in NY
04 – Johannes Auvinen, Los Angeles: red room
05 – Surachai Sutthisasanakul, Washington DC (USA): dining room
06 – Megan Bodley, Wien: bedroom
07 – Jonathan Quinn, Wien: cubus
08 – Genoa Mungin, New York (USA): club
09 – Steven Mathewson, Salzburg: courtyard
10 – Thomas Crawley, Wien: exhibition space
11 – Marina Haydn: car
12 – Gerald Straub, Steiermark: ventilation

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© Exhibitions view zeitraumzeit, Künstlerhaus Wien, Vienna, 2008.
Photo: Michael Goldgruber

The connection of spatial experience and information in the form of mnemonics acted from antiquity to renaissance as a privileged mode of memorizing complex texts and information. The central factor of mnemonics is to link extensive information to places and routes through architectural formations and thus connect them on the one hand to the subjective, motor memory of navigating through such places, and on the other, to the visually experienced, spatial structure as the organising principle. In Dashed II, this historical cultural engineering is effectively reversed by asking individual subjects to describe in detail places, which are important to them for personal reasons. The fascinating result of this proposition is a precise picture of the central function of rooms as time magnets, to which memories covering the entire human sensorium are attached. For instance, somebody talks about the smell of smoke from birch and cedar wood in a Canadian cabin, the changing temperatures, the impression of different colours and materials on the spot, as well as the incidents that occurred there. This shows how human memory uses places as containers for sensations over long periods of time. The use of mobile phones as visual medium for the presentation of individual fragments of memory refers to the parallelism of different stories. The synchronism of the stories opens a level of “active” recollection structured in the here and now and the use of the mobile phone as a placeholder that can be assigned to individual subjects thus stages a “choir of memory.”
(Axel Stockburger)


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© Exhibition view Prelude*), Hafen2 | interim.projekte, Offenbach am Main, 2010.
Photo: Eduardo Perez


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© Exhibition view Prelude*), Hafen2 | interim.projekte, Offenbach am Main, 2010.
Photo: Eduardo Perez


Deutsch

Exhibitions:
Closeness, E:vent London, GB 2005 • zeitRaumzeit, K/Haus Wien, Wien/Vienna, A 2008 • Fluid Architectures, Montevideo/NIMK Amsterdam, NL 2009 • Prelude*), Hafen2 | interim.projekte, Offenbach am Main, D 2010 • Locate Me, Kunstraum Kreuzberg/Bethanien, Berlin, D 2010 • Space Affairs, MUSA, Wien/Vienna, A 2012

Supported by:
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No:
06-002