English

Symphony - The Mnemosyne Revolution

Live events and performancesSymphony - The Mnemosyne Revolution

From Friday October 21st 2016 to Monday March 27th 2017

Locations : Centre Pompidou-Metz
Category : Live events and performances
Discipline : Installation
Public : All ages
Duration : 40'
Galerie 1
Author : Christer Lundahl & Martina Seitl

Lundahl & Seitl collect the experiences of an archive, of museums, one in counterpoint to the next, as if it were a Symphony of imagination.
Ronald Jones

What happens when historical events float free of their bibliographic and museum anchorings?

Symphony of a Missing Room reflects on the museum as phenomenon, its tradition and its potential futures.

In the micro-universe of Symphony - individual past experiences persist over time akin to stars that, although dead lightyears ago, keeps shining.

Time and evolution are the key experiences of this serial work, which first appeared at the Swedish National Museum in Stockholm in 2009. Symphony by Lundahl & Seitl has been hosted by ten internationally renowned museums and further on they have been commissioned to bring Symphony to Kochi-Muziris Biennale, India and Martin-Gropius-Bau, Berlin.

Existing in parallel with the architecture and history of the host museum, Symphony is something like a time machine, reminding of the Antikythera Mechanism, a machine, like Symphony has absorbed its own past incarnations. And like the Antikythera Mechanism the series of works have this unique capacity to reflect back on itself. Moreover, like the Antikythera Mechanism Symphony begins to reflect back onto itself, even capturing an inward gaze on itself, indeed a memory archive.

'Symphony of a Missing Room' investigates the phenomenology of memory, activating the most diverse layers of meaning and forms of seeing ­ all simultaneously. Visitors, deprived of sight, are guided by a disembodied voice and the gentle touch from etheral guides. Each of us creates our own archive of experiences within the layers of real and imaginary architecture of the the exhibition an Imagined Museum.

During the experience, we find ourselves freed from the physical limitations of time and space. Doing the unimaginable, you pass through walls, and down tunnels traveling through a network of past exhibitions and the museums that originally hosted Symphony.

Our perceptions are the single medium of the work, as with theatre, and Symphony¹s potential meaning, as well as the means by which to receive it, this work creates a closed system in which reality fundamentally originates from the perceiver as a form of projection.