SPACING + TIMING + RESEARCH
April 28th, 2017 – by Mikkel Dahlin Bojesen
GO FOR A WALK IF IT IS NOT TOO DARK
Go for a walk, if it is not too dark. Get some fresh air; try to smile.
Say something kind to a safe-looking stranger, if one happens by.
Always exercise your heart's knowing. You might as well attempt something real along this path:
Take your spouse or your lover into your arms the way you did when you first met.
Let tenderness pour from your eyes the way the Sun gazes warmly on the earth.
Start a game with some children. Extend yourself to a friend.
Sing a few ribald songs to your pets and plants–why not let them get drunk and loose?
Let's toast every rung we've climbed on evolution's ladder.
Whisper, ''I love you! I love you!'' to the wholde mad world.
Let's stop reading about God–we will never understand Him.
Jump to your feet, wave your fists, threaten and warn the whole universe
That your heart can no longer live without real and lasting feelings!
– A year with Hafiz, Daniel Ladinsky
ABSALON ARTLAB #3 – RUNE BOSSE
April 3rd, 2017 – by Mikkel Dahlin Bojesen
In our recent project as set designers for Sisters Hope and the manifestation of Sisters Academy #5, Fremtidslinien, this particular room, that we called Chôra, made a profound impact on us, in regards to our search for aestetics in interactive and immersive environmental psycology. The following is an except from my own notebook, written during the performance manifestation.
Action and interaction. What is the action here? Is it an interaction, that is an action? Magnus seems to enjoy this new take on his old room. I has something to do with time. Sand running out and pendulums swinging. Sand being still and pendulums pulled towards the earth. Imense calmness. Gravity. Isn't gravity one of the main factors in our scientific understanding of time? Isn't time a function of gravity in the theory of relativity?
Does matter at all? No, not really. What matters is not the understanding, but the experience, the rapture of feeling alive, feeling time around you. As the hill is no different from the field, and the wave is no different from the sea, this space is no different from time. It is time. Time felt. Contemplation in motion. Motion ballance. Gravity visuallized. A force of nature embodied. How do we embody our own relation to space? Can we speed up time? Slow it down?
The pendulums are made of concrete, and the bowls are concrete too. Quite concrete and hard, yet so fragile and soft. Time itself is stable and the flow is constant, but only visible for us, when we step into it, pushes the strings and pour the sand. Action and interaction. The action is the pressence, the invitation, the interaction is our curiosity evoken.
The pendulum is a magical device. We keep returning to its potential for opening worlds – because that is what it does. It is creating a hypnotic state of an undisturbed stepping in to the world and back again. It is the labyrinth, it is the womb of the world, it is the giver of time and space. It is Chôra.
CHÔRA – A CLASSROOM OF SISTERS ACADEMY #5, FREMTIDSLINIEN
March 8th, 2017 – by Mikkel Dahlin Bojesen
At ThinkingHand we put at lot of emphasis on reseaching the aestetic dimension, embodied wisdom and enviromental psycology. Therefore we have established a monthly event and art laboratory in the Absalon church community centre, called Absalon ArtLab. We are homing in on a new kind of art each time, and are placing the concept of aesthetics under the microscope in an experimental frame of empathy and experience. With contributions from a new visiting artist every time, we are working across different art forms to see what happens when conventions and imagination merge in unity.
For Absalon ArtLab #2 in March 2017 we teamed up with the artist Dominika Szarka in a session that we called unlearn how to draw. With a focus on the experience of drawing, rather than on the product or the drawing itself, we set out to see what happens with us as bodies when the process of creation is at the centre of expression.
The Seeing Hand. Looking is the act of the eyes, but it takes the whole body to see. Vision is not only a primary sense of visual orientation, it is a state of being. It is the comming together of all things in one clear and distinct moment. The mind does not look, the mind does not hear and the mind does not touch. It is a soft blob in dark room, that translates signals and creates images, transfers looking into seeing, hearing into listening and touching into feeling. It is a master connector, that creates skies of expressions out of rivers of impressions. Therefore it is possible to affect that translation, and bend the images into other realities, than we are used to. This is the potential of seeing. Have you ever tried to draw something that you touch? - then you will tryly see it!
ABSALON ARTLAB #2 – DOMINIKA SZARKA
February 15th, 2017 – by Mikkel Dahlin Bojesen
Research is one of the core logics of ThinkingHand, and we strive to exsamine the aestetic dimension, embodied wisdom and enviromental psycology in a perspective that is manifesting itself as a driving force of curiosity. One of our projects in this regard is the Absalon ArtLab, which is a monthly event and art laboratory in the Absalon church community centre. Here we have the possibility to create a framework in which we can challenge art and the way the body works and situates itself with creation and embodyment as the main vantage point. With contributions from a new visiting artist every time, we are working across different art forms to see what happens when conventions and imagination merge in a process based unity.
For Absalon ArtLab #1 in February 2017, we had the danish performance artist Yaa pay us a vistit. While she was conducting an intense performative ritual as the framework, the participients was invited to paint with colored sand on the floor. Using the essential concept of the tibetanian medidation form of creating mandalas, called Dyril khor, and merge it with the performative pressence of the ritual created a session of deep sensuous proportions.
What happens when you create something that is meant to disapear? When the image you create is a lesser product of your process, and the process becomes the image in it self? When the state of being is the primary experience, and your creation seems to create only you?
ABSALON ARTLAB #1 – YAA
January 25th, 2017 – by Rhoda Ting
TEXTURES OF NEW SOUTH WALES
November 24th, 2016 – by Mikkel Dahlin Bojesen
In late october this year ThinkingHand conducted spacial experients in the framework of Sisters Academy #4 at Myndlistaskolinn in Reykjavik, Iceland. The following is an exerpt from a research reflexion note, written mid air above the atlantic ocean going into copenhagen.
The eight projectors was bluntly set up in the hallway, and was free to use in any way you wanted. What normally served as a transit area now became a place of lingering and curiousness towards light, shape and image. Not only was it possible to place obejcts onto the projection plate – also lens focus, light intensity and position was variables in this hallway with a vibe of scientific research. Rainbow, light , prism – symbology of the beginning of time. Cells. Theses divisions of cells. Instant creation. No physical product, only the inner realization that your choice affected the whole process. What happens when i do this, what happens when light shines though this? Intuition portrait. The most simple objects. Recognizable objects. All the way. Curtains, overhead projectors, glasses, candleholders and other found obejcts – what wonder it created.
I think that we were inviting into something quite refined and simple, and therefore a potential complex personal experience. The installation was extremely simple, but i think they took part in our vision that Art is an apparition of life and matter, and only percieved as an identifiable genre through the use of definable medias. This gave an immediate emotional response, by utilizing one of the simplest and most baffling physical laws: the splitting of light – rhe rainbow, The Bifrost – Not an image of something, but an image by something. White noise. Intriguing colors.
Art does not produce visible, it makes visible. Seaching leads to finding, but looking leads to seeing. Seach implies an object you are seaching for, whereas looking is amuch more delicate procedure, because it is a training of perspective and a poetic releationary process – the act of seeing. Craftmanship: Ballance between ability and intention.
THE INTUITION HALLWAY
THE AESTHETIC DIMENSION
In may this year i turned in my Bachelor thesis – It was a proud moment of releif with a feeling of things finally coming together. The thesis is about aesthectics as a point of perception towards a sensuous perspective and an actual mode of being. By showcasing Sisters Academy and exploring the senses and aestetics, this thesis and have become a vital part in understanding, verbalizing, articulating and actualizing both my own artistic practice, and that of ThinkingHand.
Abstract from the thesis:
"In early April this year, the Danish government formed a legislation to reform the object clause pertaining to Danish highschools, whereby the goals of teaching now aim to form skill sets needed to perform within a corporate environment, thereby removing all values of human sensibility. This bachelor project examines how the aesthetic dimension can create a foundation for an alternative and sustainable line of thought concerning education. Using my first hand experience in the performance installation Sisters Academy as a point of departure, I undertake an analysis of the critical theory that supports the aesthetic dimension and comment on the repressive movement this reform ensues. Sisters Academy is an art based research project, which manifests as an aesthetic school that focuses on developing new modes of sensuous learning. Through immersive performance strategies and the otherworldliness of art, they facilitate open exploration of the aesthetic dimension with the articulated social agenda to make a change in the way society establishes education. Through the works of Fredrich Schiller, Theodor W. Adorno, Herbert Marcuse and John Dewey amongst others, I argue that sensuousness and the aesthetic dimension can create a vital foundation for learning and education. I conclude that the repression of capitalist society is creating one dimensional human beings, and that the aesthetics needs to be the core of educational thinking, to create a playfull life of value for the individual."
The thesis is in danish
September 16th, 2016 – by Mikkel Dahlin Bojesen