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1. "Early On I realized that the purely visual
experience of an artwork was somehow
insufficient. I wanted to go beyond the
purely optical and include tactical qualities
as well. My works aren't things one just
looks at, but things that the viewer is invited
to handle. There have been many theories
of art that try to break down the border
between art and the world, but I don't find
such attempts to be particularly meaningful.
Art remains art. I really see my work as quite
compatible with the l'art pour 'lart
philosophy. One may think that I try to bring
the art object out into the world since my
works sometimes appear to have a practical
function, but really it's the other way
around: things in the world can, under
certain special circumstances, enter the
realm of art. And, in fact, once they have
entered this realm they are art." ---Franz
West..."Adaptives
4. Valie Export
Tapp- und Tast-Kino (Tap and Touch Cinema) was performed in ten European cities in 1968-1971.[6][7] In this avowedly
revolutionary work, Valie Export wore a tiny "movie theater" around her naked upper body, so that her body could not be seen
but could be touched by anyone reaching through the curtained front of the "theater." She then went into the street and invited
men, women, and children to come and touch her. The media responded to Export's provocative work with panic and fear, one
newspaper aligning her to a witch. Export recalls, "There was a great campaign against me in Austria."[5]
5. Lygia Clark
Throughout her career Clark experimented with
hoods, tubes and plastic bags worn over the head.
In the Sensorial Hoods (1967) perception is altered
by eyepieces with small mirrors, ear coverings and
a small nose bag with aromatic seeds. The hoods
alienate the participants from the environment and
create a cocoon with new stimulants, where they
can rediscover their bodies and themselves.
Similarly, in Abyss Masks (1967) the face of the
participant is covered by a large air bag, weighed
down with a stone, where the sound of breathing
within the hood can reproduce the movement of air
within the body.
6.
7. lygia clark:1967: Sensorial Hoods- This experiment involved eye pieces,
ear covers, and a small bag that would be affixed over the participant's
nose. The participants would also have helmets with small mirrors
affixed to them. The purpose of this experiment was to utilize all of
the senses at one time. The outcome of this experiment might be that
a participant would use his senses in a way he would never have
thought possible.
Abyss-Masks- The participant's eyes were blindfolded and large bags
of air weighed down with stones could be touched giving off the
sensation of empty space from within the body.
The I and the You: Clothing/Body/Clothing- A man and a woman wear
hoods over their eyes and a full body suit and during this experiment,
each would come to understand their own gender by feeling through
their pockets
Antropofagia- One participant lies down while the rest sit around him
with blindfolds over their eyes and communicating with one another
solely by touch. These participants are eating fruit found inside the
pockets of the reposed participant's suit (which forms a stomach).
Baba Antropofágica (aka "Anthropophagical Dribble") - One participant
lies down and the standing participants hold small spools of thread in
their mouths and release the string until the reposed participant
would be completely immersed in the thread.
8. Helio Oiticica + “parangoles” Oiticica: , a series of strategies developed
by Helio Oiticica in the 1960s: the
transformation of the exhibition space
into a single Penetrable as seen in
Oiticica’s Tropicalia 1967; Eden 1969;
Nests 1969. In these works, Oiticica
collapsed the relation between high art
and no art, exhibition objects and
everyday objects, and transformed the
whole exhibition space into a total work
of art and a total experience. In having
the visitor wear masks and kaftans and
become part of the exhibition avaf also
integrates Oiticica’s strategy of the
Parangole: "My entire evolution, leading
up to the formulation of the Parangole,
aims at this magical incorporation of the
elements of the work as such, in the
whole life-experience of the spectator,
whom I now call participator” .
9. Rebecca Horn
The artist's 'body extension' pieces
very cleverly display internal
happenings on the outside of the
body.
10. Finger Gloves, 1972
Ideas of touch and sensory awareness are explored in this
work. Horn has described how wearing these gloves altered
her relationship with her surroundings, so that distant objects
came within her reach: ‘the finger gloves are light. I can move
them without any effort. Feel, touch, grasp anything, but
keeping a certain distance from the objects. The lever-action of
the lengthened fingers intensifies the various sense-data of the
hand; …I feel me touching, I see me grasping, I control the
distance between me and the objects.’ Implicit in the work is
the idea that touching makes possible an intimacy between our
own body and those of others.
Rebecca Horn
11. Pencil Mask, 1972
Strapped around the face, this mask transforms the wearer’s head into an instrument for drawing. Horn has
described wearing it: ‘All pencils are about two inches long and produce the profile of my face in three
dimensions…I move my body rhythmically from left to right in front of a white wall. The pencils make marks on
the wall the image of which corresponds to the rhythm of my movements.’ The spike-like pencils make this one
of Horn’s more threatening works. However, it is linked to the feather masks, as feather quills were also once
used for writing.
12. Horn has described how this mask
alters her interaction with others:
‘With the feathers I caress the face
of a person standing close to me.
The intimate space between us is
filled with tactile tension. My sight is
obstructed by the feathers. I can
only see the face of the other when
I turn my head looking with one eye
like a bird.’ Through her mimicry of
bird movements, Horn suggests the
use of plumage as a device for
communication and sexual display.
16. Since the late 1980s, he has developed an ongoing series of One Minute Sculptures, in which he poses himself or his models
in unexpected relationships with everyday objects close at hand, prompting the viewer to question the very definition of
sculpture.[5] He seeks to use the "shortest path" in creating a sculpture—a clear and fast, sometimes humorous, form of
expression. As the sculptures are fleeting and meant to be spontaneous and temporary, the images are only captured in photos
or on film.
To make a One Minute Sculpture, the viewer has to part with his habits. Wurm’s instructions for his audience are written by
hand in a cartoon-like style. Either Wurm himself or a volunteer follow the instructions for the sculpture, which is meant to put
the body in an absurd and ridiculous-looking relationship with everyday objects. Whoever chooses to do one of Wurm’s One
Minute Sculptures holds the pose for a minute, or the time it takes to capture the scene photographically. These positions are
often difficult to hold; although a minute is very short, a minute for a One Minute Sculpture can feel like an eternity.
Erwin Wurm
17. In this first evolution edition there is
three different pieces. The first is “one
man chair”, which incites personal
thinking. “The bench” represents the
crowds of the daily life and its attached
cocoon is a door to escape from it. The
third chair is called “The lovers chair” and
it pretends to confront the two sides of
behaving: private and public. It explores
different ways of communication, it
becomes a connecting tunnel.
Designer Nacho Carbonell
18. Mood Elevation Apparati
- - - - - - - - - - -
An edition in the ongoing series METHODS & APPARATI for Social Facilitation and Mood Elevation
Published in UNTITLED 003
- - - - - - - - - - -
:: FULL SPECTRUM OPTICAL INVIGORATION UNIT
:: PSEUDO SMILE GUIDES
:: COOLING INHALATION AID (aka Fridgi-Poofs) Keetra Dean Dixon
19.
20. Distorting the seam between home comfort and urban exposure, SHAREWEAR creates an
in-between place amid private and shared space. The work comprises of a pair of
reconfigurable, electronic dresses that physically slot together to activate atmospheric pools
of light. Unleashing potential for intimate chance discoveries, they are worn as part of a
performance, inviting both wearer and audience to, get close, lean on one another, morph
space, manipulate light and cast long shadows. SHAREWEAR is an investigative fashion
and technology collaboration involving Di Mainstone and V2_, Institute for the Unstable
Media.
http://sharewear.projects.v2.nl/index.html
21. Talk to Yourself Hat
The Talk to Yourself Hat considers the act of
conversing with oneself. When speaking
through a mouthpiece suspended in front of the
face, the voice is channeled back into the ears.
It allows the wearer to speak out loud while still
retaining the right to a somewhat private
conversation. Kate Hartman
22. The Muttering Hat is an exploration of what it would be like to extricate the noise of the thought process and
put it into physical form. A pair of muttering balls are tethered to the hat. They may be stuck to the ears, so
that all other noise is obstructed by the mutterings, or they may be detached, providing the opportunity to
escape from the mutterings or to share them with a friend. Kate Hartman
23. I sometimes use my touchphone in the bath. I know it’s stupid. One problem I encounter is that when put my
left hand in the water without thinking, it gets wet and unusable for touchscreen navigation. It is too risky to
try to hold and navigate with one hand. I found that I could use my nose to scroll but I couldn’t see where my
nose was touching precisely. It was at that point that I came up with this idea of a nose extension ‘finger’ that
would allow navigation while my phone is firmly held by one hand. Dominic Wilcox
25. Aluminum, wood, leather, galvanic skin
response (GSR) sensor, smoke grenade,
switch, and glass tube
13 3/4 x 7 7/8 x 5 1/2" (35 x 20 x 14 cm)
The suppression of feelings in the workplace in
the hope of greater professional success,
notes designer Jonas Loh, has led to unusually
high rates of employee suicide; a particularly
troubling statistic comes from France Télécom,
where 23 employees ended their lives over the
span of 18 months in 2008 and 2009. To
counteract this stifling and dangerous social
conundrum, Loh created the Amæ Apparatus,
which makes a person’s feelings explicit. Loh
calls it an early-warning system for stressed-
out people, soliciting sympathy and allowing
assistance to be provided in a timely manner.
Amæ, whose name comes from a subtle
Japanese concept describing the desire for
attention and care from a person of authority,
is worn like a backpack and interprets the
wearer’s stress levels through a skin sensor;
color-coded smoke erupts from a spout in a
canister to alert coworkers to various
emotional states.
39. • Defensive Body Extension/Gear:
• An EXTENSION of your body that promotes a
social interaction AND/ OR awareness
• Required:
• Worn on the body
• Meticulous craft (functions as a sculpture as
well as a wearable)
