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Die_Dron_Embosances

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Schweiz
Monthey
Die_Dron_Embosances

Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von Die_Dron_Embosances, Bildende Künste, LaFabrikh2, Route de Clos-Donroux 1, Monthey.

dieDronEmbosnaces is a collaborative visual art show by Alla Malova, a Russian-born multimedia artist, a sculptor, and a sufi dancer and Chris Timmermann (PhD), a Chilean-born, neuroscientist, psychologist and musician.

06/06/2022

dieDronEmbosances2123 / 2021 / bronze

photo London Bronze Casting Ltd

11/08/2020

post tenebras lux / lux tenebras

the image in both pieces is a volumetric representation of the brain activity during a dmt experience as recorded by fmri and as such is a form of a new mind cartography.

during the psychedelic experience human brain enters the state of high entropy /chaos/ where usual pathways are erased and are replaced by new highways. these new freeways allow for direct communication between the far off regions of the brain that don’t usually communicate with each other in a head-on way. through such process new territories originate. and new territories require new maps. much like traditional cartography post tenebras lux / lux tenebras combines science, aesthetics and technique.

the first title comes from latin and translates as “after darkness, light”. it was adopted as a motto by both the city of geneva and the state of chile at different times.

by causing this connection to exist and bridging her own city of residence /geneva/ to the country of origin of the dmt study subject /chile/ the artist injects a healthy dose of chaos into the traditional geographical hierarchy.

the image is represented twice: once in silver on black and second time in black on white version. what appears visually as a simple play on reversal of dark/light images is actually two different techniques produced through two different processes. thus again upsetting the habitual train of thought. similarly, “lux tenebras” that first reads as simple reversal of words – a common practice of the artist – is in fact a reference to a video game also known as “amnesia – dark descent”. by re-coding the visual language of the title the artist grants the viewer a password to access another plateau of reading the piece.

lux tenebras is a platinum-palladium print and post tenebras lux is a photo-gravure with silver ink on black paper. in both cases what produces the image is a form of liquid metal mimicking the workings of the fmri where the image is produced by capturing the iron in the blood flow – then also a form of metal in a liquid state.

silver being a common metal in manufacturing coins puts the connection of title to the piece in flux yet again. “post tenebras lux” was minted on the coins of the city of geneva.
but its referencing as a currency is also a nod to the generative practice of the artist. the swapping of a fine silver coin named after Lorenz /alfred, norton, the inventor of the law of chaos/ minted by the artist into a currency of her own, is used to initiate a collaboration.

currencies serve as stores of value. much like our brains. and much like our brains in their normal state, have limited boundaries of acceptance. on the flip side, they were created with a purpose of ensuring circulation. the act of passing on a coin is thus a means to put into circulation the flow and free exchange of ideas, knowledge and experiences. a process that in itself is conducive to altered states of consciousness.

Come and see the piece live during the closing week of the show. The gallery will be open from 19 to 23 of August from 14.00 to 18.00 daily.

03/08/2020

video extract / dieDronEmbosances / 2020 / 28 min

"Le titre de l’exposition révèle en lui-même ce désir d’effacer les barrières entre soi et l’autre, à la recherche d’une réalité infiniment plus authentique car partagée. En choisissant “diedRon Embosances” comme titre, l’artiste joue avec les mots : elle métamorphose l’un des principes-guide de la recherche de Christopher Timmermann, celui des « embodied resonances » - en français les « résonances incarnées » - qui connectent naturellement l’individu au monde environnant. Car la résonance n’est autre que le son d’un objet lorsqu’il vibre au même rythme que les ondes sonores d’un autre objet. Un système de résonances qui nous lie à l’autre et au monde mais que l’on a tôt fait d’oublier du fait de sa nature imperceptible et énigmatique. Toutefois, les résultats obtenus par Timmermann au cours de ses recherches sur les effets d’une puissante substance psychotrope comme la DMT sur le cerveau humain, démontrent bien que les psychotropes réussissent à créer de nouvelles connexions cérébrales qui ont la faculté de renforcer ce sentiment de connexion avec soi-même et avec les autres. Il s’agit alors de retrouver en nous cette capacité innée, et pourtant perdue, à transcender les apparences pour toucher à notre humanité vraie....
Car toute la recherche artistique de Alla Malova, et probablement même celle scientifique de Christopher Timmermann, semblent s’interroger de la même façon sur ce quelque chose qui est en nous depuis toujours mais que l’on a en quelque sorte perdu. Non pas parce que ce quelque chose est invisible et donc indétectable par nos yeux, mais parce que notre conscience en a perdu les traces à force de croire en un être humain uniquement définissable comme être de raison. Or, la DMT nous permet de renouer avec cet être instinctif et primordial qui définit notre humanité, elle nous renvoit à notre lien unique avec nous-mêmes, nos rêves, le monde qui nous entoure, l’univers et l’autre. Une vérité originelle qui, si l’on cherche bien et si l’on accepte d’ouvrir nos esprits cartésiens, existe également dans notre société. L’art, par exemple, propose sans cesse d’ouvrir non seulement nos sens mais aussi nos esprits à la réalité vraie, celle qui nous définit en tant qu’êtres profondément humains parce que reliés à l’autre. Dans cette quête originelle, l’artiste ne serait-il pas lui aussi un peu chamane ? Un guide en lien avec l’autre monde sur lequel pouvoir compter dans ce voyage à la découverte de notre humanité ? Peut-être, comme nous le suggère Alla Malova, ne nous reste-t-il alors qu’à oser opérer cette transformation vers cette autre partie oubliée de nous-mêmes, un défi mais également une responsabilité à la hauteur de notre humanité."
Charlotte Blasi sur dieDronEmbosnaces

music Christopher Timmermann

Come and see the piece live during the closing week of the show. The gallery will be open from 19 to 23 of August from 14.00 to 18.00 daily.

02/08/2020

The Malova/Timmermann partnership sets out to address the problem of how features derived from ineffable experiences (i.e. experiences which are difficult to put into words) can be translated into phenomenological objects and environments by means of contemporary art practice. Objects thus created - physical and mental - could then become a form of emotional cartography that translates the embodied and the visceral into the worldly. It aims to project the scientific into the artistic and back.

Alla Malova is a Russian-born multimedia artist, a sculptor, a Dharma yoga teacher and a sufi dancer based in-between London and Geneva. The basic question that underlines her practice is that of blindness as expressed by the action of not seeing. She works by making the salient features of the invisible visible without ever quite resolving the shape that it is.

Chris Timmermann (PhD), is a Chilean-born, neuroscientist, psychologist and musician based in London. His research focuses on the effects of psychedelics in biology and psychology. More specifically he has led the first neuroimaging study of DMT (a potent psychedelic present in the ayahuasca amazonian brew) in the human brain. As a musician, Timmermann blends ambient soundscapes with medicine music and latinamerican Folk. Both his research and music attempt to uncover the fundamentals of embodied experience, its rootedness in emotion and developing a cartography for what is beyond the margins of ordinary states of consciousness.

On the one hand science gives us some important tools to understand worldly phenomena and to generate knowledge beyond the edges of what can be perceived using our senses. The development of brain imaging techniques have allowed us to start mapping important features of the human experience into the brain, such as emotion, language and vision. Nonetheless, these findings remain impersonal and incomplete. Recovering the intimacy of subjective experience, still remains an intractable challenge for neuroscience. These challenges only become more evident once we take into account experiences that transcend our ordinary repertoire of communication - experiences characterised by their mystical, transcendent and intuitive character, such as the psychedelic experience. On the other hand, art allows us to tap into intuitive domains of experience in a direct, unmediated fashion. The work of the sculptor, the dancer and the musician aims at communicating the ineffable through embodied practice: An apprenticeship of experience. Malova and Timmermann’s partnership therefore aims at bridging the gap between these two main avenues of knowing containing the explicit and the implicit - The know-that and the know-how.

photos Janna Lambinet Photographer

02/08/2020

cuatro direcciones is a sculptural scenario consisting of four life-size cast figures: two male and two female. one of two figures in each pair is produced to real life-size of the subject and the other one is proportionately scaled up or down to the exact hight measurement of the other person.

at the origin of the piece is a reflection on the nature of reality and subjective experience. how do we understand what’s real and how do we get to experience the subjective reality of the other?

during his scientific experiments christopher timmermann asks his subjects to give a numeric value to the intensity of their experience at different points of the experience. however, everyone’s tolerance for intensity is different. moreover, it will vary according to their psychological, physical and emotional state on any given day. how and where do we position ourselves compare to the other to allow for their perspective to enter our reality and vice versa?

cuatro direcciones is a reference to our primary orientation devices – a compass with it’s north/south/east/west but also self which is both masculine and feminine. by placing the female figures face to face with each other and the male figures at odd angles and facing away from the group the artist questions the strict linear two dimensional perception of north against south and of east against west. following a similar bend of thought, the presence of two male and two female figures suggests the possibility of a more complex understanding of having a male and a female side to each one of us.

the in-tention of juxtapositioning of smaller versus bigger version of each subject could be read as revisiting your younger self through the eyes of an adult thus echoing a common experience of re-leaving your past during a psychedelic experience. but it could equally be resonant of a tangle of inner versus outer self.

the placement of the four figures as a group suggests some sort of gathering yet at the same time it underlines the improbability of such as a real life encounter. through repetition, scale deformation and the in-betweeness of proximity and distancing the viewer is invited to question his own coordinates of beingness in the space-time continuum.

cuatro direcciones / variable dimensions / 2020

Come and see the piece live during the closing week of the show. The gallery will be open from 19 to 23 of August from 14.00 to 18.00 daily.

photos Janna Lambinet Photographer

28/07/2020

por la fuerza de la razon / a pair of videos / 5 minutes

the base of the piece is a cast of timmermann’s hands that has been produced through a very traditional sculptural technique. this cast has then been 3d scanned and brain vibrations recorded by fmri during the dmt experience have been applied to the surface of both hands to create the animation.

the sound piece that accompanies the video is re-render of timmerman’s own musical compositions. with the voice still distinctly recognizable as his own and words indistinct and becoming a form of “poésie sonore“. together they amalgamate into a sound that has a hypnotic quality similar to that of a chanting shaman and alluding to the role of both a musician and a scientist as a form of a modern day shaman – a person endowed with the power to inspire and lead people.

the hands are the most perfect transformation tools that we possess, especially those of a musician, an artist or a scientist. in the video we are witnessing this transformation tool being constantly reshaped and transformed by the in and outflow of the experience. the black and white render of the piece is suggestive of an early anatomical drawing keeping it in line with the language of a scientific presentation but reshaped through contemporary technology.

each hand occupies it’s own screen – it’s own operating theatre. the screens are rested on electric guitar stands playing on a double meaning of the notion of an instrument: as medical or musical. thus the instrument that is supposed to play is also being played and played with. electric signal in this instance resonant of an impulse, or a brain signal that sets an instrument in motion.

much like a tool, meaning can loosen and loose it’s sharpness through repeated use and friction within an ever changing reality. it thus requires to be constantly tightened and re-shaped to fit the current reality.

the psychedelic substances have been deemed too dangerous as tools for treatment of psychological disorders and consciousness transformation in the 60s. today this definition is being challenged as too harsh and massive work is being carried out by the scientific community to have the status of these substances re-defined.

on another note, recent attempts have been made /in 2000 by ricardo lagos and then again in 2005 by nelson avila/ to change the state motto of chile adopted in 1834 from “por la razon o la fuerza” to “por la fuerza de la razon” to make the sound of it less aggressive. what meaning can be derived from this occurences when viewed through the prism of the events that took place in chile in november 2019 while this work was being finalised?

and if events co-inside are they coin-side?

photos Janna Lambinet Photographer
music Timmer

28/07/2020

reflux / 2020 / 5 min

reflux. a giant strawberry of a human heart. what do you see?

Come and see the piece live during the closing week of the show. The gallery will be open from 19 to 23 of August from 14.00 to 18.00 daily.

photos Janna Lambinet Photographer
music Timmer

28/07/2020

reflux / 2020 / 5 min

in the full version of the video the heart starts out crystal clear and progresses through light shades of pink and back to clear. it maintains its transparency while persisting in the grey area through the whole process. what remains un-clear is its materiality. at times it blows out like a soap bubble only to transition into a scrap of jelly. so there is no way of telling if it is going to burst or melt at the slightest touch.

i watched the full version on a big screen for the first time while installing the show during the lockdown period. i remember thinking that it looked really ridiculous and not at all like any picture of the heart that i had in my head. sometimes it reminded me a giant strawberry and others a cold turkey. when it turned jellyfish-like it spoke to the origin of organisms as sea-creatures.

i thought it really worked well because no matter how many hearts one has seen or drawn, no matter how well one studied and understood it’s anatomy, the inner workings of a human heart remain a mystery. and it is such a ridiculous thing after all because it makes one totally vulnerable but also human.

to accept one is to open to the other and i see beauty in that.

Come and see the piece live during the closing week of the show. The gallery will be open from 19 to 23 of August from 14.00 to 18.00 daily.

photos Janna Lambinet Photographer
music Timmer

28/07/2020

reflux / 2020 / 5 min

reflux, is a diptych consisting of a pulsating heart and a beating brain and as such underlines the importance of their interconnectedness and their roles as orientation devices which help us navigate the reality (or lack thereof) of our physical existence. Reflux signifies a backward flow in general terms when this interconnection is altered or perturbed and the heart-brain system no longer operates in its usual ways, allowing for reorganizations of this relationship.

In this work the data from the electrocardiogram recording of the heart during the DMT injection and that of fMRI recording brain activity is reversed and used to inform the algorithm which transforms the rendered images.. Thus the movement of the heart is tuned to the rhythm of the brain and the brain beats out the heart beat. Similarly, the flow of the sound is created by reversing and re-arranging bits of Ttimmerman’s own musical compositions.

Come and see the piece live during the closing week of the show. The gallery will be open from 19 to 23 of August from 14.00 to 18.00 daily.

phots Janna Lambinet Photographer
music

Adresse

LaFabrikh2, Route De Clos-Donroux 1
Monthey

Öffnungszeiten

Donnerstag	02:00 - 18:00
Freitag	14:00 - 18:00
Samstag	14:00 - 18:00

Webseite

https://allamalova.com/

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