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


© Exhibition view zeit

raum

zeit, 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

© Exhibitions view zeit

raum

zeit, 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)



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



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