Philippe Parreno

May 25 – August 5, 2018

Sonic Waterlilies, 2018

Transducers, electric cables, Plexiglas panels, amplifiers, Fluorescein, Theta waves, water (9 waterlilies)

1900 x 700 cm

 

Photo © Andrea Rossetti

With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life, 2018

LED panels, MacMini, speakers, amplifiers, powder coated steel

2 parts, each: 350 x 200 x 100 cm

 

Photo © Andrea Rossetti

Above: With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life, 2018

LED panels, MacMini, speakers, amplifiers, powder coated steel

2 parts, each: 350 x 200 x 100 cm

 

Below: Bleachers, 2018

MDF panels, foam, wool, motor

90 cm x ø 700 cm

 

Photo © Andrea Rossetti

Bleachers, 2018

MDF panels, foam, wool, motor

90 cm x ø 700 cm

 

Photo © Andrea Rossetti

In the back: My Room Is Another Fish Bowl, 2018

Helium-filled Mylar balloons, adhesive foil, air-columns

Dimensions variable

 

Photo © Andrea Rossetti

My Room Is Another Fish Bowl, 2018

Helium-filled Mylar balloons, adhesive foil, air-columns

Dimensions variable

 

Photo © Andrea Rossetti

My Room Is Another Fish Bowl, 2018

Helium-filled Mylar balloons, adhesive foil, air-columns

Dimensions variable

 

Photo © Andrea Rossetti

Wall for the Bride, 2018

Clear acrylic glass

9 parts, overall dimensions: 379,5 x 502,5 x 63 cm, each module: 126,5 x 166,5 x 63 cm


On the wall: C.H.Z. drawings, 2011-12

Ink on paper

Dimensions variable

Various private collections and Collection Beyeler, Riehen/Basel

 

Photo © Andrea Rossetti

Wall for the Bride, 2018 (detail)

Clear acrylic glass

9 parts, overall dimensions: 379,5 x 502,5 x 63 cm, each module: 126,5 x 166,5 x 63 cm


On the wall: C.H.Z. drawings, 2011-12

Ink on paper

Dimensions variable

Various private collections and Collection Beyeler, Riehen/Basel

 

Photo © Andrea Rossetti

In the back: Bioreactor and probes

Peristaltic pump, scales, air compressor, air filter, silicon tubing and fitting, electric devices, servo controller, Plexiglas box

Overall dimensions: 215 × 250 × 150 cm

 

On the walls: Wallpaper Marilyn, 2018, fluorescent ink on paper

Dimensions variable

 

Photo © Andrea Rossetti

Bioreactor and probes

Peristaltic pump, scales, air compressor, air filter, silicon tubing and fitting, electric devices, servo controller, Plexiglas box

Overall dimensions: 215 × 250 × 150 cm

 

On the walls: Wallpaper Marilyn, 2018, fluorescent ink on paper

Dimensions variable

 

On the windows: Nine Blind Sisters, 2018

Fabric, aluminum, DMX controller, motor

Dimensions variable

 

Photo © Andrea Rossetti

Bioreactor and probes

Peristaltic pump, scales, air compressor, air filter, silicon tubing and fitting, electric devices, servo controller, Plexiglas box

Overall dimensions: 215 × 250 × 150 cm

 

On the walls: Wallpaper Marilyn, 2018, fluorescent ink on paper

Dimensions variable

 

Photo © Andrea Rossetti

Bioreactor and probes

Peristaltic pump, scales, air compressor, air filter, silicon tubing and fitting, electric devices, servo controller, Plexiglas box

Overall dimensions: 215 × 250 × 150 cm

 

On the wall: Wallpaper Marilyn, 2018, fluorescent ink on paper

Dimensions variable

 

Photo © Andrea Rossetti

Philippe Parreno

Gropius Bau, Berlin
May 25 – August 5, 2018
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Philippe Parreno’s solo exhibition at the Gropius Bau has various different modes of existence that will change over time. 

 

Some works reappear in a mutated form. Both films Anywhen (2017) and The Crowd (2018) have been entirely re-edited. The flower wallpaper, previously seen as a background element on the set of Parreno’s film Marilyn (2012), comes to the fore as an individual work covering a gallery wall. Hundreds of drawings of fireflies flash on a large LED screen and then fade away, their lifespan governed by algorithms. This is an automaton made out of many others. 

 

Disembodied, free- floating sensations and intensities will directly affect the bodies of the works themselves and those visiting the show. In one room, three different wind vortexes guide the circulation of balloon fish on an elaborate path. Live sounds, emanating from somewhere in or beyond the city, leak inside the museum walls and spread from one room to another. 

 

You will notice some synchronicities. Sounds re-surface in the reflecting pool of the atrium as they are transduced into visual patterns of water lilies. Light changes in the galleries as automatic blinds rise and fall, following a rhythm governed by an unknown authority. Another area is bathed in an eerie orange glow that evokes the fictional future of our fading sun. 

 

As we move through the exhibit, we begin to feel as though we have entered a dimension not organised according to our normal spatial coordinates. This is an inner space, a purely mental landscape, a site animated by fuzzy logic. 

 

In an isolated booth there is a bioreactor consisting of a beaker in which microorganisms multiply, mutate, and adapt to their environment. Connected to computers that orchestrate the events in the exhibition, these yeast cultures develop a memory—a collective intelligence—that learns the changing rhythms of the show and evolves to anticipate future variations. As the micro-organisms continuously interact with each other, and with the contingent events taking place in the museum, their neural circuitry sets a complex non-deterministic, non-linear mise-en-scène in motion through a series of non-periodic cycles. 

 

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