King, Dorothée
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King, Dorothée
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- PublikationDigital Anxiety Self-Help Group(25.09.2019) King, DorothéeWe live in a challenging digital world that is constantly in a state of up-dates. In higher arts education teachers and students are expected to fully embrace new forms of digitalization. Educators and students sense strong expectations to learn, practice and produce, teach and research in the constantly up-dating digital realms. In 2019 in my current home institution, the Arts and Design Education Department at Basel Academy for Arts and Design, some students indulge in the aesthetics of digital photography of a decade ago, others prefer to learn crafty skills, most refuse to use digital class room software. Educators tend to use and re-teach the digital tools they have learned during their studies. They use video, Wordpress and Dropbox as their state of the (digital) arts. Students and educators alike show an approach to media and digitalization that is affected rather by conservative nostalgia than by euphoria and optimism. In my experience in teaching and learning environments in the arts and design, only some educators and students jump enthusiastically into new digital environments, for most digital tools feel like a burden. Often the first argument of my colleagues is that in the good old days the digital tools and their aesthetics were better. Their second argument is that nobody needs those new digital tools anyways. But who dares to openly talk about their feelings? Or to put it even more clearly: How can we overcome digital anxiety? At the ELIA Academy 2019 in Stuttgart I want to install a digital anxiety self-help group in the form of a playful performative group therapy round table discussion. In a humorous way the self-help group will support each other to go through the following steps: 1) We will indulge in our most favorite (yet obsolete) digital setups to embrace our current (outdated) digital state with self-compassion. 2) Next step is to let go of the digital past in a healing ritual supported by the group. 3) Finally having permission to move on from the past - we will jump right into the eye of our biggest digital fears. In the company of like-minded colleagues, together we will experience that today’s digital environments are actually kind of fun, easier to handle than we think, and filled with creative artistic and pedagogic opportunities. 4) Lastly, we set up individual goals on how to keep in the loop with digitalization in the coming academic year.06 - Präsentation
- PublikationGeruch und Heimat(12.09.2019) King, DorothéeIn den letzten Jahren haben sich auf Geruch spezialisierte Künstler*Innen damit beschäftigt, ob über das Atmen Positionen zu Vorstellungen von Identität bezogen werden können. Die Analyse unterschiedlicher, olfaktorisch zu rezipierenden Werken soll zeigen, inwiefern über eingeatmete Aromen in der Kunst Kommentare zu Heimat und Zusammengehörigkeitsgefühl entstehen können. Der Akt des Atmens und der eingeatmete Geruch ist mit komplexen sozialen, politischen und kulturellen Implikationen verbunden. Geruch schafft Nähe und Distanz, je nach Kenntnis und Bewertung des eingeatmeten Geruchs. Geruchserfahrungen in unterschiedlichen kulturellen Kontexten prägen Zugehörigkeitsempfinden und führen zur Zuordnung über Geruch. Jonathan Reinartz formulierte die These zu Geruch als Mittel zur Abgrenzung und Identifikation für kulturelle Kollektive. Mădălina Diaconu stellte fest, dass bekannte Düfte ein Gefühl der Vertrautheit und der Zugehörigkeit zu Orten und Gemeinschaften vermitteln können. Biologisch gesehen ist Geruch ist an unser limbisches System gekoppelt, das für emotionale Zugehörigkeit steht. Die Anwendung derartiger Thesen in der Analyse exemplarischer olfaktorischer Werke, soll die Signifikanz von Geruch für die Bildung von Sozialgefügen explizieren. Beispielhaft vorgestellte Kunstprojekte generieren über die olfaktorische Rezeption ein „wir“ und „die anderen“ und stellen zugleich eine lokale Identifikation über das Atmen in Frage. Carie Paterson entwickelt das Homesickness Kit, um über Gerüche Weltraumreisenden ein Gefühl von Heimat zu geben. Sabotage Communications verkaufte zwei Monate vor der Umstellung der europäischen Währungen, nach Schilling duftende Euro-Noten. Matt Morris irritiert mit CopyCat Killer, in dem die individuellen Duftnoten seiner Familienmitglieder von Museumspersonal tragen lässt.06 - Präsentation
- PublikationDesigning the Atmosphere(26.06.2019) King, DorothéeOur paradise is on fire. Heaven is not the promised land anymore. Smog in mega cities, pollution in industrialized areas, and holes in the ozone layer change the physical and culturally informed perception of the sky surrounding us. Defining that breathable space as smellscape (Claasen, 1994) turns the unidentified air into a matter of evidence (Jacques Derrida). With “the invention of atmosphere” (Willebrord Snellius, 1580-1626) came the desire to design and alter the ephemeral yet breathable space that surrounds us. In the past artists and designers imagined dystopias, such as Margaret Atwood’s climate-controlled domes (MaddAddam, 2013), or utopias, such as Yves Klein and Werner Ruhnau’s who attempted to shield a whole town (Immatrial City, 1957/1959). A new generation of contemporary designers and architects work on altering our smell-able atmosphere for real. My paper discuses projects by designers that are based on the idea of air as a matter of evidence for climate change and aim to offer alternative atmospheres and smellscapes. I am arguing for the term smellscape architects. Smellscape architects are designers who work not only as experience engineers (Alva Noe, 2014), engineers who alter situational experiences of individuals. This new generation of architects work on changing the collapsing atmosphere of a man-made Anthropocene sustainably. Examples include London-based designer Michael Pinsky. His Pollution Pod (since 2017) documents a smellscape status quo. He offers his audience pollution cocktail from cities around the world. German start up Green City Solutions works on moss walls in urban areas (2018). Dutch designer Daan Roosegaarde designed a Smog Free Tower (since 2015) he proudly refers to as the largest air purifier in the world. Currently Daan Roosegaarde is working on pollution killing bikes (2017).06 - Präsentation
- PublikationSmell and Air in Contemporary Art(06/2018) King, DorothéeFor this paper, I take up a thesis recently formulated by Jonathan Reinartz concerning the historical qualities of smell as a divider and identifier of communities (Historical Perspectives on Smell, University of Illinois Press, Champaign, 2013). In applying this historical thesis to contemporary art, my approach shows the strategies of artists in commenting on smell-based signifiers for social relationships and local identification. I am researching art projects that track odors which mark the smell-based differences between “the healthy us” and “the dangerous other”– particularly in the context of growing inequality in a globalized culture marked by capitalism and climate change. As case studies, I will analyze Teresa Margolles: Vaporización (2002), Sissel Tolaas: The Fear of Smell – The Smell of Fear (2006), and Michael Pinsky: Pollution Pod (2017).06 - Präsentation
- PublikationDiscover – A Conversation between Art and Science Space in Higher Education(05/2018) King, Dorothée06 - Präsentation
- PublikationEverybody’s House. Rosa Park House: Memory, Space, Re-Use(05/2018) King, Dorothée06 - Präsentation
- PublikationOlfactory Injustice(01/2018) King, DorothéeThis paper studies ways in which olfactory art can be political and disruptive: how it may serve to challenge audiences’ perceptions in otherwise deodorized exhibition spaces, for example, and how smell-art pieces may trigger disruptive events which undermine confirmed visual habits of art consumption. How does this work? Medical research on olfactory sensations shows that we process smell on a more emotional level of empathy than visual aesthetic information. As a case in point I analyze Teresa Margolles' art work Vaporización (2002); my contribution intends to demonstrate how olfactory art such as this employs the moment of interference through smell in a visual art world in order to activate empathy on a political level.06 - Präsentation