2015 © Anderwald + Grond
Reenactment in Istanbul of Mieko Shiomi's work event for the late afternoon performed in Okayama, Japan, 1964. (http://www.moma.org)
Break camp, break in, break the mould.
When dizzy we cannot distinguish between inside and outside.
In order to better understand the Taumel process we decided that we should work with models on which we could analyse the course and the duration of the process and its many components, such as loss of control or paralysis.
How does an artist live and work in isolation? How can he/she follow up on exhibition commitments? What kind of artistic strategies should be developed in order to maintain a presence and contact with the public in this situation? What would then be the role of the curator, and of the institution in general, in extreme situations where mobility is imperiled?
Can dizziness be a resource? What remains from states of precariousness, uncertainty, disorientation, intoxication or exhilaration? Particularly now, in these times of invocations of global crisis, these questions are more relevant than ever. The exhibition ‘Dizziness. Navigating the Unknown’ locates dizziness in artistic creativity, finding it in situations of unbalance, confusion, disorientation
A three-day programme with Austrian, Swiss, British, American, Danish, German, and Israeli artists and scientists at the CCA – Center for Contemporary Art, Tel Aviv. 'Dizziness' is a condition of the body and/or the mind indicating a deviation from what has been so far conceived as normal or usual. As a condition, 'Dizziness' forces a re-rearrangement of the current navigational system. But how does one navigate the unknown?
