By Carsten Holler. One day one day was announced as a regular exhibition, with an invitation card, a press release, a website, an opening party etc. But what neither the audience nor the media did not know was that there was in fact not just one exhibition, but two totally different exhibitions built in the same room, hidden from each other and changing every day.
By Carsten HÃ¶ller
September 19 and 20 - October 25 and 26, 2003
Carsten HÃ¶ller's ONE DAY ONE DAY is this autumn's main exhibition at FÃ¤rgfabriken, Stockholm and opened on September 19 and 20.
ONE DAY ONE DAY was announced as a regular exhibition, with an invitation card, a press release, a website, an opening party etc. But what neither the audience nor the media did not know was that there was in fact not just one exhibition, but two totally different exhibitions built in the same room, hidden from each other and changing every day. Every day a large mirrored wall construction is moved to cover the installation not in use, so that it is impossible to understand that the exhibition and the entire room will be totally different the next day. Therefore everything had to be made double. There were two different invitation cards where the invitation list was in half randomly. There were two openings, two parties, two websites (also changing every day, at midnight), two press releases (one sent to half of the media register, the other to the other half - providing a situation where one newspaper had information on one exhibition, another on the other exhibition).
In a way ONE DAY ONE DAY could be seen as a logic step for Carsten HÃ¶ller's art. His work is characterized by being, in a literal sense, physically and psychically palpable. It engages our perception and our senses so that we are affected, not by empathy but because our senses tell us to react to the signals emitted by the works. This effect could be described as hallucinatory. The longer we linger before the works, the more palpable they become and the clearer it becomes that they provide us with the tools to discover things we would not normally be able to observe. This means that the works simultaneously engage us on several different levels. On the one hand, they cause direct sensory reactions; on the other, they allow us to improve our personal toolkit for perceiving the world and ourselves. Carsten HÃ¶ller makes us aware of the differences between our individual experiences while at the same time inviting us to doubt some of the many ideas, commonly taken for granted, about the nature of things. Not for nothing did HÃ¶ller begin a project in 1999 entitled The Laboratory of Doubt, a headline that covers his entire artistic oeuvre. In the case of ONE DAY ONE DAY each one of the installations consists of these element - but here Carsten HÃ¶ller adds a new and hidden layer by the fact that the visitor does not know that there will be a new exhibition the next day. Thus the social part of the project - how visitors talk to each other after seeing the show - is also part of the project. Have they seen the same exhibition or are their experiences just different?
One day of ONE DAY ONE DAY exhibits The FÃ¤rgfabriken Light Wall, an extension of a work originally made for Fondazione Prada. It has been installed in such a way as to fill the entire main hall, looming between the pillars in the centre of the hall and further enhanced by a reflecting surface opposite. is seven metres long and four metres high, and is made up of 1,152 25-watt light bulbs flickering at a frequency of between 7 and 8 Hz (seven to eight times per second). This is the first time that a Light Wall is shown with a modulated flow of light. Such a vibration of light creates strong retinal after-images. The work is partly an extension of The Dream Machine by Brion Gysin and Ian Sommerville, which is on show in FÃ¤rgfabriken's project rooms as part of the parallel exhibition, 'INFLUENCE: Brion Gysin by CM von Hausswolff'.
The other day of ONE DAY ONE DAY exhibits The FÃ¤rgfabriken Phi Wall, an extension of a work originally made for BALTIC, Newcastle. It is based on a phenomenon discovered in 1912 by the Gestalt psychologist Max Wertheimer: if two dots are projected in rapid sequence next to each other, with a short moment of darkness in between, most observers will 'see' an imaginary ball jumping between them in the interval. This effect is remarkable, as it raises the question of how the observer can 'know' where the second dot will be projected, as he or she 'sees' the imaginary ball on its way towards the future site of projection. The FÃ¤rgfabriken Phi Wall is an extended display of this phenomenon. Three imaginary balls are seen 'jumping' simultaneously over a surface of 57 dots of light - distributed across a wall six meters wide and three and a half meters high. The dots are lit for 150 msec one after another, with 150 msec of darkness in between. The sequences are generated at random.
A book on ONE DAY ONE DAY will be published winter 2004. Visitor's are asked to leave comments and some of those will be included. A course in Creative Writing at the SÃ¶dertÃ¶rn University use ONE DAY ONE DAY as a starting point for writing. The book as well as the website and the logo is designed by Angelo Plessas.
For further information and press images, please visit the website or phone +46 8 6450707 (press officer Pernilla Lesse).
Carsten HÃ¶ller's ONE DAY ONE DAY was produced by FÃ¤rgfabriken in cooperation with the Goethe Institut. FÃ¤rgfabriken wishes to thank the Schipper & Krome Gallery in Berlin. FÃ¤rgfabriken's main sponsor is LindÃ©ngruppen. During 2003, FÃ¤rgfabriken has a running collaboration with Alcro-Beckers and Printfabriken.
Lovholmsbrinken 1, S-117