|Exhibition dates: |
Part I: 14 July - 8 October 2011
Preview: Wednesday 13 July 6:00 - 8:00pm
|Artists in Project Space |
Nils Guadagnin, Victoria Skogsberg
'The Wonders...' is an exhibition in two parts. It brings together a new generation of artists across Europe who have taken an abiding interest in the areas of human experience that are beyond ready explanation or beyond plain sight.
In the Project Space as part of 'The Wonders...'' two artists Nils Guadagnin and Victoria Skogsberg reveal works that expose our desire to believe in the unbelievable, both as part of our imagined vision of the future and as a link to a supposed afterlife.
Nils Guadagnin's 'Hoverboard' is an attempt to make the future a reality, by recreating an image of the future from the recent past. It is an attempt to make science-fiction into reality, and fiction into fact. The 'hoverboard' was originally a special effect in the 1989 film 'Back to the Future Part II'. Of course, nothing dates more quickly than how we imagine the future: Guadagnin is interested in how we imagine the future in both popular culture and in art. The 1960s, and to a lesser extent the 1980s, saw artists create visions of a technological utopia in which scientific progress promised us freedom, endless leisure and a cornucopia of goods to consume. What dreams of the future can we bequeath our successors? Can we see 'maglev' - magnetic levitation - as one of our generation's modern miracles?
Victoria Skogsberg asks whether parapsychology should be taken more seriously: "whether the presumed capabilities and limitations of human potential have been misunderstood". 'What is Recorded Does Not Exist' asks us to consider the idea of 'electronic voice phenomena' (EVP), also known as 'instrumental transcommunication' (ITC). EVP researchers study noises that feature on sound recordings that appear to be voices from the afterlife, and seem to have no explanation. For over a century, experts have imagined that radio or sound recordings might allow us to hear 'frequencies' inaccessible to the human ear, or alternative 'wavelengths' of consciousness. In fact this idea began with the very invention of the gramophone, and with Thomas Edison himself. Edison was the first to suggest that a sensitive recording device could allow us to commune with the spirit world.