Are we able to represent human feelings? How might we communicate them and ultimately, turn them into a visual experience? In regards to the representation and transmission of subjective perception, popular conceptions of an ostensibly objective design practice quickly reach their limit. The immense interest in the topic, as in the transgression of prevailing norms of representation, brings to mind the current hype for immersive production, where an immediate experience is created by means of physical and psychological immersion. Drawing on these unconventional strategies, Mathias Lempart’s Proto Migraine Buildings overcome the limits of an objective design practice. He uses the example of migraine in order to test the ways one might visualize pain. The exhibition is the final step in an extensive research and production process that spanned an entire year. His research cleverly incorporates his findings and expeditions around the archives and museum displays of the Wellcome Collection, London (UK), Teylers Museum, Haarlem (NL) and the Museum of Jurassic Technology, Los Angeles (USA). The resulting “buildings” read as characters, or strange anthropomorphic structures that have been animated through audio and video, and in the case of Severin even provokes the viewer to activate the sound sensitive red traffic light, so that many viewers could be seen clapping and even screaming before the work. These animated bodies are rooted in real accounts, of five patients who suffer from severe migraine. There is an apparent subversion of exhibition design and museum codes, and symbols—while Lempart might appear to be celebrating the provisional or naïve form, he seems particularly astute at activating the complex data he obtained from his migraine interviewees and his own experience.
Anna Schanowski, 2018
A Posthuman Representation Of Mankind In Deep Space aka The Spam Of The Earth or What Does Hito Steyerl Actually Mean?
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Video recorded on Iceland, April 2017. Headline quote taken from BBC, 4 May 2017.
Installation views, HFG Karlsruhe, 2017
Graphic identity for the Postdemocratic Picture Party in collaboration with Barbara Strange. PPP is an experimental platform hosting talks with speakers such as Bruno Latour, Johan Hartle, Hans-Jörg Rheinberger, Margit Rosen and many more about their diagnoses of postdemocratic symptoms. The talks took place at HFG Karlsruhe and were followed by an exhibition at the Federal Agency for Civic Education Bonn . 2018
Photography and book design, 2016.
Graphic identity for an experimental exhibition space in downtown Karlsruhe in collaboration with Jana Hofmann. The first exhibition from Mexico-City just opened, Tokyo next: Stay tuned! 2018
Espee Headquarters are located in Paramaribo, Suriname. Made allround high-res graphics for the company's trucks and an endless sticker pattern for the food packaging. Designed in collaboration with product designer Hauke Unterburg, 2018.
I Made My Baby Cry is an exhibition by Bart de Baets at The Small Museum at Paradiso Amsterdam. I made this riso printed booklet using photographs of Bart's little scupltures which were made out of Lego bricks—which I translated into real bricks: Size matters! Now available at San Seriffe. Photography and book design, 2016.
It is extremely embarrassing to be broke and it's nothing to be proud of...let's just say it's a damn good reason to make a secret out of it. When I am broke, no matter if it is because I am bad in calculating or for any other reason, I start to improvise. These photographs are examples for cheap solutions. Solutions, that already helped me through the day and others that I saw at friends' places. Installation view at HfG Karlsruhe. Art works framed with tape, 2016.
Hungry Eyes, Amsterdam 2016
Zwischen 5 und 9, designed with Sascia Reibel, Karlsruhe 2019
Recipe 4 Chemistry, with Rebecca Stephany for Intensive Care, Karlsruhe 2017