QUANTA

Wednesday, March 16, 2011


What art can do for science (and vice versa)

17:51 15 March 2011

Liz Else, associate editor

Astronomers will know Toruń in Poland as the birthplace of Nicolaus Copernicus, and tourists as one of the country's oldest, most beautiful cities. Since the summer of 2008, however, the Centre of Contemporary Art (CoCA) has put it firmly on the map for modern art aficionados.

Its newly appointed artistic director Belgrade-born Dobrila Denegri has plans to big things up, taking up the post on the basis of an international reputation gained largely in Italy. Her 4-year programme is focused, she says, on exploring the artistic "languages" of historical moments ranging from the 1960s to the 1990s, and is dedicated to pioneers such as Richard Buckminster Fuller, John Cage, Jorge Luis Borges and Joseph Beuys who have enlarged the confines of art and embodied the possibility of exercising true intellectual freedom.

Part one of the programme is an exhibition called Spaceship Earth as a homage to visionary architect and inventor Richard Buckminster Fuller, and was curated by Denegri herself. The title comes from a 1969 short book called Operating Manual For Spaceship Earth by Buckminster Fuller. The exhibition, says Denegri, is "a voyage through the universes of art, the sciences and technology, areas that have always had the capacity to create new paradigms and to push forward the boundaries of consciousness."

Denegri is intent on engaging with this, by paying particular attention to areas of artistic research that are inspired by the most audacious scientific research and environmental issues.

As Denegri notes, the first part of this quote undoubtedly sounds far-sighted and truthful. It triggers reflections on the capability of science to do what art is very good at doing: creating visions for the future.

Biotechnology, microtechnology, genetic engineering, transgenetics, bioethics, nanotechnology are generating scenarios that seem going far beyond the edges of our "real" and known world. But then there is the second part of the quote. In the 1960s, art was in a process of advancement, it was moving forward; it was somewhere on the forefront and it was one of the emancipatory forces that would bring well-being to humankind. But how, asks Denegri, in 2011, is it actually getting closer to science?

That's a toughie, but she has at least one good answer. While science is about understanding the complexity of the structure of the material world, art indicates the deeper implications of scientific advancement and helps shape new paradigms.

In this sense, art is not only close to science but it is complementary, and even necessary. Thus the scientific eye is able to penetrate the smallest sub-atomic particle, which moves perpetually creating energy waves and makes one realise that the structure of matter consists of emptiness.  The artistic eye can see in that void, in that fluid "emptiness", a seed for a new vision of the world: a world no longer dominated by materialism and its devastating consequences.

The artists and architects are there to help make her case. Some are already internationally recognised, such as Vladimir Bonačić with his computer-controlled object-light installation DIN. PR10; Ernesto Neto with Meditation on Color Vibration - Matter Color, made from cotton and plastic rings; Victoria Vesna's interactive installation Inner Cell; the Acconci Studio's amazing Umbruffla: Renderings & Notes, a wrap-around camouflage umbrella made from two-way mirrored polyester film; a video of the world-famous example of "formless, massless, colourless and weightless" architecture known as the Blur Building by New York multidisciplinary studio run by Elizabeth Diller and Ricardo Scofidio (now with Charles Renfro); and a photographic print by Olafur Eliasson (of Tate Modern's wildly successful The Weather Project) from his Untitled (Iceland Series).

Then are younger and emerging artists. Among their work is: a sculpture called Tentative Architecture of Other Earth_Coastline Inhabitants by Xarene Eskandar; Jakub Nepraš' lovely video collage Babylon Plant; multimedia SoundWear by Simon Thorogood with composer Stephen Wolff; Martin Rille's Coded Sensation, a performance work featuring "smart skins" made by applying an ultra-thin sheet of chromium oxide onto the surface of fabrics and storing information through magnetic modulation; and challenging digital prints entitled Sci. vs. Fi by Tobias Putrih, exploring the relationship between scientific truths and fiction.

A documentary about Richard Buckminster Fuller by Oscar-winning filmmaker Robert Snyder is due to run alongside the exhibition, as are feature films by Józef Robakowski about Buckminster Fuller's Geodetic dome for Expo 67 in Montreal. And to take away there's a catalogue with essays by the curator Dobrila Denegri, geographer Franco Farinelli and artist Xárene Eskandar.


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Publisher and/or Author and/or Managing Editor:__Andres Agostini ─ @Futuretronium at Twitter! Futuretronium Book at http://3.ly/rECc