Brain, 2024
Courtesy of the Artist; Haus der Kunst München
A computer whose innards are laid bare. This computer controls the whole exhibition with a pre-written yet unpredictable script.
Black Happy Ending, 2024
Black blown glass, electrical system, dimmer, switch and plug in brass, DMX player
81 x 53 x 36.8cm
Courtesy of the Artist; Esther Schipper Berlin/Paris/Seoul
Glazed Rock, 2024
Black blown glass, electrical system, dimmer, DMX player
Courtesy of the Artist; Esther Schipper Berlin/Paris/Seoul
Mont Analogue, 2001 - 2024
Colorimetric mapping of ASCII (character encoding) of the novel of “The Mount Analogue , A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing” by René Daumal
Courtesy of the Artist
With its intermittent changing hues, this in-situ installation, translates into code the mythical and unfinished eponymous novel by René Daumal (1908-1944), published posthumously in 1951. Sequences are edited on the basis of the morse code alphabet, reflected light, coded in this way, gives off luminous signals, the message transmitted is a story, the story of a film based on a novel by René Daumal. This light sequence is translating the story of Daumal’s fantastic, metaphysical adventure, which recounts the discovery and collective ascent of a mountain joining earth to sky. An endless quest, an impossible adventure, a metaphor for art and its utopia. Incompleteness is also part of the myth surrounding the text. It reassures us: the most interesting form is one that is not finished. We don't need to finish something for it to exist. On the contrary, that incompleteness means it can go on developing in the imagination. Mount Analogue doesn’t need the words “The End.”
Marquee, 2024
Transparent plexiglass, neons, LED light bulbs, DMX player
143.1 x 108 x 38.7cm
Courtesy of the Artist; Esther Schipper Berlin/Paris/Seoul
Marquee, 2024
Transparent plexiglass, neons, LED light bulbs, DMX player
166.9 x 86.3 x 81.7cm
Courtesy of the Artist; Esther Schipper Berlin/Paris/Seoul
Inspired by the illuminated signs that hang over the entrances of American movie theaters, especially popular during the golden age of Hollywood, the marquees used to announce the titles of films and the names of their casts. In Philippe Parreno’s work they are stripped of their promotional information, leaving only the lights and the shell of the structure in place, introducing an event that has yet to be imagined. Each unique in their shape, light effect, and construction, they are displayed singly or in bouquets around the columns that punctuate the space, with their visible cables allowed to cascade down to the ground. With their sounds and lights modulated according to data from the tower outside, or from other elements inside the room, the marquees dialogue with each other and with their surroundings, embodying the show’s fundamental interconnectedness.
Tino Sehgal, [untitled] [for Philippe], 2024
Dancers/Singers: Chris Scherer, Margherita D’Adamo, Louise Höjer, Vera Pulido, Sandhya Daemgen, Leah Katz, Thomas Proksch, Hanako Hayakawa, Emma Mann
Two dancers-singers move through the exhibition rooms using their voices to trigger and accompany elements of Parreno’s work. Each room is activated, one after the other, by the dancers’ presence, their voices, and movements. This interaction is conceived as a single changing layer of the exhibition. By engaging both the visitors and the works through moments of encounter these scenes introduce direct human interaction into the otherwise technologically driven environment, adding a variable dimension to the choreography of voices, data, and space.
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Voices, 2024
(VSO) Language with Susane Daubner
Conlangers: David J. Peterson with Jessie Sams
Speech Generation/Voice Cloning: Pierre Lanchantin
Sound Design: Nicolas Becker with Lexx
Courtesy of the Artist; Susanne Daubner; Haus der Kunst München
The exhibition showcases a pioneering cybernetic voice system that speaks in a novel, evolving language called ∂A. This dynamic language adapts continuously based on environmental data collected from an array of sensors installed in an almond grove in Spain’s Tabernas desert. The voice, modelled after that of the ARD anchor-woman Suzanne Daubner, alternates between speaking, whispering, and humming, creating a melodic and soothing tone reminiscent of distant thunder. The cybernetic structure’s sensory network includes weather instruments, air quality monitors, geological sensors, and communication devices. This comprehensive array allows the system to perceive its surroundings in ways that surpass human capabilities, translating environmental data into unique linguistic expressions. The system can mimic emotional states based on environmental changes, adopting a melancholic tone in response to detected environmental degradation or during quiet, contemplative periods of data analysis. Its translations into human languages are poetic, always seeking the most evocative way to convey its observations, creating a bridge between its unique perceptions and human understanding.