PALA FRUITS_ Hierarchy of Perception

About

Outcome of the 7 day laboratory where artists collaborate, analyse and create
site-specific media installations investigating the
hierarchy of our perception.
“Pala” is the name of the island in Aldous Huxley’s utopia “Island“. It is the
“illustration (of) what could be done in a community if it were built on the
premise of ‘goodness politics’ instead of power politics”.

P r o g r a m / / /
7 pm - Opening of the Installation Lab (WIP)
8 pm - Performances
from 10 pm - Disco
A r t i s t s / / /
Akeelah Bertram & Stanley Giacomo Quaia
Yan Gi Cheng & Trami Nguyen
Giorgos Gerontides & Dimitris Ameladiotis
Daniela Calandra & Angela Kaisers
You Kim & Maxmilian Fedyk
Fellipe Vergani & Yotaro Niwa
Eliza Goldox & Vincent Chomaz
Wissam Khaled & Holger Heissmeyer
Cristina Maldonado & Wolfgang Kick
Natasha Marin & ZD
L o c a t i o n / / /
Plateau Gallery /7th floor of
GREENHOUSE Berlin
Gottlieb-Dunkel-Str. 43/44
12099 Berlin
http://greenhouse-berlin.de
“The world, which I distinguished from myself as the totality of things or of
processes linked by causal relationships, I rediscover ‘in me’ as the permanent
horizon of all my cogitationes and as a dimension in relation to which I
am constantly situating myself.”
Maurice Merleau-Ponty, Phenomenology of Perception
Pala Fruits - Hierarchy of Perception was conceived on the premises that
our individual perception of the world arises from a selective process. Of
the multitude of events happening around us at one time, we perceived only a
small fraction. All stimuli being upon perception processed,
digested, hierarchized and categorized into a selected array of influxes fitting
to the diverging necessities of our personas, moods or survival. The
preconceived and pre-established perception we have of the world.
As much as a memory is in fact being recreated and transformed, reinterpreted,
with each recollection, perception is neither absolute nor truthful. It
is partial - in both meaning of the word. An incomplete and biased picture of
the world, filtered and rendered non-threatening,
adapted to the necessities of our selves.
The intent is here to demonstrate, replicate and perhaps also deknit or unweave
the mechanisms of our perception. Both in form, as a collaborative
laboratory, and content, by showcasing projects rooted in the phenomenology
of our perception, which either explore, mimic, reflect
or attempt to break through its machinery - and how they can shape any human
society.
Once again, “Pala” is being given for name sake to an utopian island1, it is
the basis for a temporary community where each individual, be it the participating
artists or visitors, are given the right to “selfdiscovery, selfawareness,
and self-satisfaction”2. The focus is here not put on a final
product, object or installation, but on the experience of a process residing
between creation and exchange. And the ability to share this process with
others.
In Pala Fruits, spectatorship is neither defined as passive nor active, but as
a middle-point between this two opposites, between passivity and participation.
Spectators are understood as the active witnesses of a multi-layered
collaborative process.
Key term: “open laboratory”. If the first and second layers imply a collaboration
between and within the participating artist groups, the third layer is
organized around a daily two-hours long Open Lab: a series of artist talks,
discussions and presentations - around the work conducted as part of Pala
Fruits, and themes annotating to perception and collaborative process.
A starting point for initiating a renewed dialogue on participation in art,
and to rethink participatory as collaborative.
1. “Pala” is the name of the fictional island in the novel Island by
Aldous Huxley.
2. The Utopian Tradition and Aldous Huxley, William W. Matter
I n i t i a t o r / / /
ZONA DYNAMIC
Artistic Operations
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