This exhibition is complex installation: an interactional multi-sensory walk, with sound and light at its core. Stretching over several of Bonn Kunstmuseum´s large galleries the visitor is first led through the exhibition guided by text messages, sent to a provided cell phone, from an unknown sender called “the collector”.
Soon about to know the exhibited works, ranging from paintings by Max Ernst - a pioneer of virtual worlds - to a contemporary series of maps by Stephan Huber, in an entirely new way. After finding the entrance to a hidden corridor in the first gallery the visitors enters stage two, which does not involve any physical objects.
Guided by the voice of “the Collector” as well as external stimuli in the form of synchronized light and three-dimensional sound, the visitors are encouraged to recollect previously viewed artworks and recreate them inside their minds. In this virtual space of possibilities; historical objects float free of their bibliographic and museum anchoring’s. In here, you alone, are the witness judging what is real.
We invite the visitors to reflect on the origin of artworks and the development of memories in broader terms: What role does our established notion of ”original” and “copy” play when an artwork unfolds directly in the visitors’ consciousness?...and in relation to the notion of Reality; when is experience Real or Fake?
Lundahl & Seitl
The working and exhibition: New Originals lift fundamental questions of cognitive science: How are images produced in our brain and how do we remember them? How “real” are our constructed memories, and how easily can perception be controlled and manipulated?
With New Originals, Kunstmuseum Bonn is taking a new approach in its current exhibition practice. The exhibition does not only put to question the term of the "original" by creating an exciting and at times paradoxical dialog between selected works from the museum's collection and edited copies of them, but also by interpreting anew the medium of the exhibition and the visitors' role in it beyond defined museum standards.
”If Baudrillard was mostly correct in his assumptions about our future, then in the Post-Baudrillardian interlude, in the so called "Post Truth" era; where an acceptable level of reality reigns, you alone, are the witness judging truth, upon which you mustplace the greatest measure of trust. I have come to believe that this is all there is to take away from Lundahl & Seitl's work, which is more than anyone could ever have hoped for.”
From Ronald Jones* essay: sublimi feriam sidera vertice on New Originals
The exhibition will be accompanied by a richly illustrated catalogue with essays by Sally Müller (Exhibition Curator), Ronald Jones and Johan Pousette.
The novella The Jellyfish Trap, written by Alex Backstrom for the exhibition New Originals, is available digitally HERE or in printed form at the museum's reception desk. We recommend reading the novella before visiting the exhibition.
*Foley Artist and Sound Archive: David Österberg
*Technology partner: Nagoon (Jûrgen Königsmann,Morgan Fredriksson & Markus Bohm)
*AE Animations and Video Production: Joakim Olsson
*German Voice: Nina Herting
*Production: Nina Overli
*Designer of Sightless Goggles: Jula Reindell
With kind support from Stiftung Kunst der Sparkasse in Bonn.
In Cooperation with Iaspis Program, The Swedish Arts Grants Committee und Swedish Arts Council.
*Ronald Jones is Senior Tutor at the Royal College of Art in London, serves on the faculty of the Graduate School of Design, Harvard University and has been named a Fellow at the d-School, Paris.