Sophie Erlund / Lived Synchronicity
10 November - 22 December 2018
PSM
Schöneberger Ufer 61
D-10785, Berlin
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| Installation view |
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| Human Emotion, 2018 (detail), wood, ceramic, metal, 50 x 350 x 20 cm |
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| Human Emotion, 2018 (detail), wood, ceramic, metal, 50 x 350 x 20 cm |
|
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| Human Emotion, 2018 (detail), wood, ceramic, metal, 50 x 350 x 20 cm |
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| Installation view |
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| Installation view |
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| Installation view |
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| Installation view |
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| Installation view |
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| Sonorous & silent at the same time, 2018, leather, metal, dimensions variable |
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| Sonorous & silent at the same time, 2018 (detail), leather, metal, dimensions variable |
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| Sonorous & silent at the same time, 2018, leather, metal, dimensions variable |
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PSM
is delighted to present the fourth exhibition of the Danish artist
Sophie Erlund with the gallery under the title: Lived
Synchronicity.
The current exhibition ties in with the physical-media as well as the
theoretical content of Erlund's work to date, but in its continuation
condenses the interweaving of space and sound installations,
sculptures and kinetic works into a new density and depth, which
activates an active and physical
awareness for the viewer with all their senses.
The
center piece of the exhibition and the eponymous work is the
audio-video installation Lived
Synchronicity.
The walk-in installation consists
of word play of sorts from
text fragments of the essay
"To Reverberate" (1936) ('Reverberation')
by Russian philosopher Eugene Minkowski and
walk-in-rear-projection-screens that visualize a 4-part video work.
Minkowski and other of his contemporaries - like u.a. Gaston
Bachelard, Hannah
Arendt or Gilles Deleuze
- have studied how images resonate, build and overlay
with one another, a
phenomenon we normally only know from the world of sound. In the
world of sound, we know how layering can create such a massive
structure that distortion eventually occurs.
Sophie
Erlund places this question in an
expanded form at the center of her research in Lived
Synchronicity,
and on this subject creates a medialized Gesamtkunstwerk in a
visually perceptible context, in which images build up, reverberate,
and influence one another to ultimately create distorted or
reminiscent pictorial compositions in the mind 's
eye of the
observer.
All
works in the exhibition relate to each other visually as well as
conceptually. Wherever the viewer fixes their eye, a form, a line, a
color, or a movement echoes something that you have just seen in
another work a second ago. For example, the round white ceramic tubes
appear time and again, weaving themselves into and out of the images
and are stretched to a wild collage of images, mixed with other
recognizable images such as machine parts or wood surfaces, or fine
structures like hair, which then reappear as shapes of real hair on a
different screen. The tubes are circles that move across the
painted-leather-conveyor-belt, mixed with completely reduced shapes
that relate to the black wooden bodies in the other space in the
Human
movement.
Saw blades, chains and machine parts appear everywhere on the
screens,
in Human
motion,
as part of the conveyor belt and in the voice of the androgynous
narrator, whose voice even weaves into the visual landscape in front
of the visitor.
The
rooms breathe, have crescendi and silence. The space is sonorous and
silent at the same time. It is alive and full of movement, where even
the static Human
Motion sculpture
appears in full forward motion. The carved imprints on the
plasterboard, objects in the videos and the drawings on the leather
conveyor find a rhythm and comment on this rhythm. The show is about
punctuation, markers, logic and patterns;
It's
essentially about sound.
*All photos by Nick Ash
