#24 2019 AND THEN — I ENTER[ED] THE DEEPEST, MOST DUG CAVE*¹
Reflective fabric, 3D print [Polyamide/PA12], metal clothes hanger with clips, metal chain, scent, metal clip, QR code, virtual 3D model, sound recorded with TTSMP3 ((Text-To-Speech Software) [With excerpts by: Sophia de Mello Breyner Andresen, Hugo Canoilas, Beatriz Colomina, Hito Steyerl and Keller Easterling]
Dimensions variable
The Grotto has the goal to offer a time and space for reflection on the most pressing issues in contemporary culture - in the form of a collective process of exchange through artistic experience and in an environment that is non-rational.
Daniela Grabosch’s intervention in The Grotto is related to Parasitic-Architecture, a form of architecture intervention that takes advantage of an existing space temporarily, redefining it and offering a new perspective, and potentially a new space, to its audience.
A scent made in collaboration with Anna Thomas – a professional in the making of scents and perfumes - was started in 2018, in direct relation to Le Corbusier’s Unité d’Habitation in Marseille, is applied on the walls of the Grotto. This intervention opens the experience of the space to new senses and bridges the project with the experiences related to new forms of literacy that are shaping us, by transforming our subjectivities.
Through a process that conveys 3D scanning of the Grotto, it’s 3D printing in small scale and an online project where new associations were made to expand the reading of the project, Grabosch activates and appropriates The Grotto into her own artistic discourse.
The application of the scent, and the audio piece inside The Grotto – that functions as the score of the scent, are enriched by a series of four artworks displayed outside the space. Every object and position is based on Le Corbusier’s Modulor. Each assemblage is made of reflective color fabrics - the blueprint of the cave, 3D reproductions of parts of The Grotto and a QR code that makes you travel to VR world with the Grotto as an object.
[Text: Hugo Canoilas] [*¹ The intervention's title belongs to the text As Grutas in Livro Sexto (1962) by Sophia de Mello Breyner Andresen]
[Site-specific intervention in front of The Grotto @ Galeria Quadrado Azul, Lisbon (PT)]
01. AND THEN – I ENTER THE DEEPEST, MOST DUG CAVE
Dimensions: 113x69 cm + 3.66m metal chain
02. DELTAS – AND VARIABLES IN SPACE ITSELF
Dimensions: 113x69 cm + 3.66m metal chain
03. FLOATING OVER AN ABSENT GROUND
Dimensions: 86x69 cm + 4.79m metal chain
04. A GENTLE, FORCEFUL TENSION BETWEEN GEOMETRIES
Dimensions: 113x69 cm + 3.66m metal chain
[Site-specific intervention inside The Grotto @ Galeria Quadrado Azul, Lisbon (PT)]
05. [NON]HUMAN ASSEMBLAGES UNFOLDING OVER TIME / INSTRUCTIONS FOR A MOVING VISITOR
Sound: 02:58 min recorded with IBM Watson (Text-To-Speech Software)[https://soundcloud.com/daniela-grabosch/instructions-for-a-moving-visitor]
06. [NON]HUMAN ASSEMBLAGES UNFOLDING OVER TIME / [C5H8_SPATIAL PRODUCTION]
Scent
In 2021 AND THEN — I ENTER[ED] THE DEEPEST, MOST DUG CAVE was exibited here: "CONNECTIONS UNPLUGGED, BODIES REWIRED", CURATED BY FREDERIKE SPERLING, WEISSES HAUS, VIENNA (AT)
Daniela Grabosch’s multi-part installation engages with the materiality of post-digital intimacy, its potential textures and topographies; wearable and reflective fabrics generate an image of it being a malleable and fugitive entity. Navigating the liminal spaces between 3D scanning, analog sensuality and virtual sound, this work manifests as an itinerant conglomeration of smells, finger prints and reflections. While initially conceived as a site-specific response to the Grotto at Galeria Quadrado Azul in Lisbon, Portugal, it will carry das weisse haus’ imprints with it to future venues.
[Text: Frederike Sperling]
