kinema- : motion (from gr. kínêma)
-tope : place (from gr. topos)
Kinematope is a site-specific installation developed for Nuit Blanche at the Gare d’Austerlitz in Paris. It takes place at a future train platform of the station, half kilometre long.
Kinematope is specific twice over. First, for being formulated as a response to the perceptual qualities and inner structure of the place it activates. Second, its kinematic nature is directly connected to the function of the train station itself: transit, transport, motion.
Kinematope uses ephemeral and intangible materials, projected light and sound, to set the space in motion. It makes use of elements from the cinema apparatus to generate a spatial film. It is a direct filmic experience that omits the mediation of the camera, transporting the observer into a virtual space-time and maintaining at the same time the real, physical bonds of the body with its environment.
This project has been possible thanks to Jose Manuel Gonçalves, Eva Albarran & co, Mairie de Paris, Gare de Austerlitz and Novelty. Thanks to Guillaume Benaich, Arnaud Bazenet, Guillaume …, Houcine Pradinaud, Marceau Gouret, Sylvie Pitet, Denis Julien, Audrey Turpin, Dariush Kowsar, Chloe Lopes, Yacine Ouagnouni, Nicholas Champion and all production, technical, mediation and security staff involved.
Mark Moore Gallery is pleased to present an exhibition of new paintings by Julie Oppermann. Coming from a background in neuroscience, Oppermann is primarily concerned with exposing the immaterial and subjective aspects of visual perception. By offsetting layers of similar patterns atop one another, she creates complex and stimulating compositions of moiré interference patterns that create intensely sensory experiences.
Mark Moore Gallery proudly presents "Domesticated Landscapes," an exhibition of new works from Brooklyn-based artist Jean Shin. Shin’s multi-disciplinary practice explores the codification of cultural signifiers embedded in everyday materials. By re-contextualizing familiar objects, the artist brings our attention to the history, mythology, and symbolic importance that we project (often unconsciously) onto commonplace objects.
Video: A Berlin Art Link Production
Filmed & Edited by Peter Cairns
Interview by Monica Salazar
Text by Alena Sokhan
Thank you to Galerie Krinzinger
Waqas Khan‘s work is a meditative pause in the present moment, taking the form of a series of highly precise yet organic patterns composed of dots or lines. Khan has been working on his exhibition at the Galerie Krinzinger in Vienna for the last year, conscientiously considering how to fill the giant exhibition space with his works and how his works will make the space visible. The exhibition, titled Acoustics of Life / Parterre ran from Feb. 03 – 28, 2015 and left a profound impression on the international art scene.
Khan spent a three month residency in the Galerie Krinzinger Project Space while he was working on the pieces for the show. The works are unexpectedly site-specific and so much more than they appear from first glance: they need to be seen from multiple scales and on different registers to reveal various patterns and discontinuities. The result of the work is less the presentation of ink on paper drawings so much as the construction of a moment, a pause, a much needed silence.
Khan’s works escape capture in words and exist in excess of any explanation. It is not sufficient to simply describe what they are or how they look: they require the presence of the viewer to encounter them in their scale and in the gallery space. “I want the viewers to remember what they saw,” explains Khan, “they should remember what they saw, and they should have questions.”
Waqas has a remarkable intensity and is both eccentric and approachable. His character is evident in his unconventional working habits. Khan sleeping during the day and working at night, hunched over the paper, holding with both hands a permanent pen that records each stroke with an unforgivable precision, on special tables that he has to design himself in order to make the works. The works are an index of Khan’s working process and a story that he is telling.
In this exhibition project, Meta Grgurevič delves into a specific emotional state that the Portuguese, a nation of seafarers and musicians, call saudade. The word has no directly translatable meaning in Slovene. It describes profound longing for something and correlates with the here better known word sevdah. The mixture of emotions is associated with events and experiences that once brought happiness and now resonate with happiness and hope to relive or feel something again, despite knowing that what is being longed for might never return.
Although Meta Grgurevič completed her postgraduate studies in painting, she found her means of expression in a complex interplay of kinetic mechanical objects and multidimensional settings. Her interactional systems contain audio and visual components, charging the viewer’s emotion with their spatial occupation and technological components. Most mechanical elements are based on the re-contextualization of ancient inventions and knowledge. By converting them into gallery space, the artist probes the phenomena that affect human perception of time and place. In this exhibition project, she delves into a specific emotional state that the Portuguese, a nation of seafarers and musicians, call saudade. The word has no directly translatable meaning in Slovene. It describes profound longing for something and correlates with the here better known word sevdah. The mixture of emotions is associated with events and experiences that once brought happiness and now resonate with happiness and hope to relive or feel something again, despite knowing that what is being longed for might never return. Saudade encompasses a unique form of yearning for something other than the present, looking back at the past and turning towards the future. The emphasised temporal component, in its continuous fusion with sound (music was produced in collaboration with Bowrain), pervades the entire installation: the clock mechanism, otherwise a relevant time-measuring tool, is transformed into a musical instrument which further loosens our relativized awareness of time. The temporal dimension is further thematised by the video of a mother and daughter struggling on a hovering chair to find the uncertain balance in life. In the video, using her recollections to find alternative forms of (co)existence, the artist connects with her loved ones. Precisely measured intervals define the content, which is subject to time loops, as a repetitive state and a precisely measured possibility of the real. The resonant objects came to life in collaboration with Jaša (and will be incorporated into the project “Zaklop” to be featured at the Venice Biennale). Their triangular shape hints at movement through the place-time dimension, while on the cognitive level it sublimates the desire to merge, the need to seek a common image, language, tone, and synchronised motion. At a certain frequency, they form patterns on water surface that are strongly reminiscent of sea waves. Above them is a swing, reminding us of the long-gone childhood, and its swinging motion symbolically alludes to the resonance between the past and the future.
Meta Grgurevič’s audio-visual structures transform an exhibition space into an ambient; individual elements merge together and awaken a sensuous experience that remains suspended at the crossroads between history and memory, elusive as ever, and left to the future.