Imagining the Audience
240 pp. | Softcover | English/Swedish | ISBN 978-91-979985-5-0 | €24
Lundahl & Seitl feature in this new book published by Art and Theory.
How does an artist or curator imagine the experience, movement, and mental processes of the individual viewer? And how does this perspective influence the actual artwork and the way the viewer experiences it? In the past years artists working in the field between contemporary art and performance have developed artworks that engage the individual viewer’s body and consciousness. The viewer is not only a spectator but a participant in situations and becomes a vital part of the artwork, its development and existence.
Imagining the Audience offers an unusual and exclusive glimpse at the ideas behind the work of both the artist and the curator concerning the role of the audience. This publication is part of a research project on the extensive theory of viewing positions in aesthetics and film theory applied to contemporary art for a more differentiated understanding of the role of the audience. The book is a collaboration between the Swedish Exhibition Agency and Mobile Art Production.
The writers and participants of the book are: Kader Attia, artist; Phil Collins, artist; Jacquelyn Davis, writer and art critic; Clarie Doherty, curator; Lundahl & Seitl, artists; Simon Njami, curator; Raimundas Malasauskas, artist and curator; Magdalena Malm, curator; Johan Pousette, curator; Joanna Warsza, curator; Annika Wik, film theorist. Editors: Magdalena Malm, Annika Wik .
FOR ABOUT A YEAR AFTER GIVING BIRTH to our daughter, we both couldn’t escape an image that appeared on our retinas, an image that looked not like a void but rather a passage. When we would focus visually on that passage, it was clear to us that it was sealed; time was flowing in two different directions and it felt as if those forces were conducting us. We were empty vessels where things could just pass through.
Born in 1875, John William Dunne, an aircraft engineer, had similarly strange visions as well. But these more resembled premonitions by way of precognitive dreams. He once dreamt about a catastrophe in Haiti in the beginning of the 1900s where thousands of people were going to die. He didn’t think much of it until he happened across that news a few days later. Upon realizing this, he started having more dreams. What could they mean? After investigating them in parapsychological experiments, he discovered the concept of serialism—that many different time periods could exist simultaneously, every person having his or her own time within them as they walk through space.
Extract from Christer & Martina speaking to Frank Expósito in Artforum [read the full article here