2015 © Anderwald + Grond
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This is not a pure design approach, since I grant myself the full freedom of artistic development, not knowing where it will lead, but at the same time I have the feeling that it’s also about why I’m on this planet, and that I must give meaning to that. L’art pour l’art is not enough for me, instead I would say: L’art pour le sens.
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.
Braiding Sweetgrass offers points of relation to queerness, dizziness, and their intersections, by addressing the importance of the collective and lived reciprocity, talking about how plants and forest are teaching us about the destructive and constructive elements of change, and by exploring the possibilities of standing at the brink and those of falling.
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
'Utrata równowagi' at Ujazdowski Castle, Centre for Contemporary Art is the follow-up exhibition of 'Dizziness. Navigating the Unknown' at Kunsthaus Graz and allows visitors to immerse themselves in the experience and reflections on dizziness.
We differentiated the word sense into three transversal fields to define dizziness: sensory input (stands for the corporeal aspect of dizziness), emotion (the emotional spectrum of dizziness), and meaning. Along these three transversal fields of sense, we will discuss the phenomenon and concept of dizziness, bringing together different disciplinary viewpoints and connections to verticality.
