2015 © Anderwald + Grond
Reenactment in Istanbul of Mieko Shiomi's work event for the late afternoon performed in Okayama, Japan, 1964. (http://www.moma.org)
We use the term coalescence to describe a moment where a multitude of actors come together, act together, and merge into a collective movement, body, or unit. The resulting situation is a shared but divergent somatic, spatial and cognitive experience of togetherness that is experienced as fertile and generative by all or most of the collective.
Both notions seem crucial when thinking of the catalysts for dizziness. Reaching one’s own limit makes one dizzy. Crossing a threshold, which is understood as a symbol for ending something and beginning something new, could begin within dizziness but also end with lucidity.
Sound, growling behind the door, an unknown source of noise, the seduction growing, my whole body anticipating total surrender.
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
The work takes its name from the Zen concept "not two, not one" - the idea that things are neither fully separate nor fully the same.
'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.
