Tag Archives: featured artwork

ArtBasel 2018: Wake up and smell the…

Art Basel offers a premier platform for renowned artists and galleries. The 49th edition brings together about 290 galleries from 35 countries and opened earlier this week. In fact, “art is now absolutely a consumer product, and that’s the huge difference. It’s a whole different world”, as Paula Cooper recently noted in the New York Times.  Paula Cooper, 80, whose gallery, opened in New York in 1968 has been pivotal in shaping the art world as we know it today. Yet, Art Basel is more than just a fair in the commercial sense of the word. Surprisingly, an attentive visitor can also encounter art in a multi-sensory way and make a few observations on the state of the sense of smell in contemporary art.

Irritating sensation at Art Basel

A pungent smell surrounds the booth of the well known Berlin based gallery Neugerriemenschneider. It emanates from Olafur Eliasson’s Moss Wall (1994). And please note: As iterated on the artist’s website the residual scent is an intentional component of the work. Thus, it is not an accidental aspect. The Icelandic-Danish artist was 27 years old and just starting to gain recognition in the international art world when working on the 3.5× 10m sized wall. What one sees and smells is Cladonia rangiferina, which is also called reindeer moss, a lichen native to the northern regions. The lichen is woven into a wire mesh and mounted on the wall of the booth as Eliasson points out on his website. Thus, the work brings a natural phenomena into the highly constructed space of an exhibition, where the visitor might notice how nature might be a construction as well. As the lichen dries, it shrinks and fades. However, when the installation is watered, the lichen expands and emits a pungent odor. The gallerist actually told me about spraying water on the lichen.

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Moss Wall as major early work

This major work from Eliasson’s early career has previously been shown at the Museum of Modern Art in New York, SFMOMA in San Francisco, and the Moderna Museet in Stockholm, among other institutions. In 2017, the wall was also part of a group show at Galería Elvira González in Madrid entitled “Sense of Smell”.

The hallways at Art Basel are crowded and packed even during the private days. Since an art fair epitomizes the principles of our attention economy, numerous artworks are in severe competition for the limited attention of the visitors. Thus, it is a special situation for presenting a piece that works with the subtle sense of smell. Yet, I have seen collectors that notice the sharp or irritating sensation of the smelly wall. But the situation differs significantly from the sensory and even meditative experience of a presentation in a museum:

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This film published by the Leeum Museum, Seoul captures the sensual experience of the wall:

However, in the specific context of a fair the smell becomes a minor issue. Even people who spend some time at the booth hardly engage with the work in a multi-sensory way as the video from the museum exhibition demonstrates.

Commercial context sanitizes works of art

The commercial context seems to sanitize a work of art that actively involves the sense of smell. Talking to the gallerist I got the impression that for him the sensory qualities of the work are of minor importance. Yet, it is pretty clear that the smell is conceptually a key element for showing “constructed nature”.

Smell & attention economy

Let’s come back to the attention economy. The pungent moss smell does certainly not evoke the pleasant ambience of a luxury retail setting. Yet, the moss smell might be an important factor in the attention economy. The booth subtly attracts attention across different sensory modalities. Thus, it might not be a surprise that the online platform Artsy, some call it the “Pandora for art,” lists the the booth among the 15 Best Booths at Art Basel and discuses the Moss Wall as one of two works that stand out:

Wake up and smell the art!

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We have actually shared observations from Art Basel before. If you missed this, please have a look.

Featured Artist/Artwork

Josely Carvalho, Shards

Shards started in 2006 with a series of lithographs printed at Wildwood Press in St. Louis, MO on different types of hand-made paper especially produced to my specifications by master-printer Maryanne Simmons. After researching the looting of the Iraq Museum and the archeological sites during the war of 2003, the artist approached Dr. Robert K. Englund, director of the Cuneiform Digital Library Initiative/UCLA, Los Angeles, for a collaboration and permission to use the digital archive. Carvalho chose sixteen cuneiform tablets from their virtual library, enlarged them, manipulated them digitally, and transposed those images to lithographs. She made three different series of prints and in the process it became clear to me that the actual tablet fragments were safer in a virtual library, than in museums. One of the series was exhibited as part of a sculptural installation, Disenchanting Salmu at the Octógono of Pinacoteca do Estado de São Paulo in 2007. The sculpture consisted of a filament of water coming from the forty-eight foot high ceiling into a basin molded in resin in the shape of a Sumerian sign. The prints were fastened to the floor, and the public walked over them. As part of the artwork, the artist designed a four-channel sound piece with speakers on the four walls of the Octógono.  

From a collective experience of cultural destruction, Shards is now an artwork based on Carvalho’s personal collection of broken wine glasses. The first artwork was a series of photographs of the shards, Carnivorous Flowers exhibited at Galerie Drei in Dresden, Germany in 2011.

The artist is now developing a new olfactory artwork based on the memory brought by the smell left at the moment a wine glass breaks. The artwork consists of a book/object (edition of 100) and a sculptural installation. Carvalho invited a group of writers to create texts on the event surrounding the moment of the break. The imagery from these writings became the source of the creation of seven original smells with the collaboration of Givaudan do Brasil (Affection; Absence; Persistence; Illusion; Emptiness; Pleasure and Glass). The book/object is encased in a box covered by hand-made paper from recycled cigarette butts and banana leaves. In the paper, they have added microcapsules of the smell Glass that is actuated by individual touch. In collaboration with the Department of Visual Arts of the University of Brasilia and the Nanotechnology Department of Givaudan do Brasil in Paris, Carvalho developed the scented paper and the boxes for the book/objects. Besides the texts, the book includes six photographs in postcard format of broken glasses in imaginary landscapes.

Shards, as a sculptural installation, will be constructed with the same elements of the book/object. It will consist of smells dispersed from seven sculpted wooden tables, broken glasses, texts manipulated as separate sound channels, and photographs printed in large format.

www.joselycarvalho.net

Olfactory Fatigue | Frieze

Pamela Rosenkranz’s Swiss Pavilion in Venice to the Serpentine Gallery’s own perfume, Alice Hattrick investigates the art world’s increasing engagement with scent. Continue reading Olfactory Fatigue | Frieze