Despite the fact that the socio-political impact of art on society seems to be unarguable, the big question still is: how to prove it? Amongst this and other grey areas within research is that of art and its effects on our everyday viewing experiences.
This effect can easily be tested upon leaving an exhibition or following an in-depth engagement with art works, as almost inevitably one’s minds starts to establish connections between what has just been experienced and new sensual information coming in.
Probably anyone familiar with the work of Carsten Höller must have felt his working practice (carousels, reindeers, means of transportation, psychedelia) echoing all over the place when visiting one of the Christmas markets in Berlin.
Of course in most cases those associations are far from being firmly rooted within the artistic ideas they stem from. But what if those connections are so strong that they become the referential frame for anything we see?
Maybe this could constitute another area of concern for those artists who like to keep tight control over how their work is supposed to be perceived and all off a sudden find themselves as funding figures of the associative Neverlands of their audiences.
“SEEING THROUGH” is a series of experiments each of which will prove how the characteristics of an artist’s working practise are reflected in and affect our perception of everday objects and our surroundings, starting with Liam Gillick.