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@ WORK Gallery 24.06–24.09.11

Exploring the way technology and science mediate and define the human sensory experience, See Yourself Sensing brings together work from the 1960s to the present day by artists and designers who examine our perceptions and the spaces we inhabit. The exhibition includes work by Auger + Loizeau, Beta Tank, Didier Faustino, Ann Hamilton, Haus-Rucker-Co., Jochem Hendricks, Rebecca Horn, Industrial Facility, Golan Levin, Sitraka Rakotoniaina and Andrew Friend, Susana Soares, STELARC and Krzysztof Wodiczko.

See Yourself Sensing: Redefining Human Perception is inspired by a publication of the same name, authored by Madeline Schwartzman and designed by Rachel Pfleger. The exhibition is curated by Marianne Templeton.

After the Flash

Auger Loizeau
James Auger and Jimmy Loizeau, Audio Tooth Implant, 2001. An experimental concept for a radical new personal communication product, the Audio Tooth Implant consists of a miniature audio output device and receiver embedded in a tooth during routine dental surgery. These offer a form of electronic telepathy as the sound information resonates directly into the inner ear through bone transduction. The implant itself resonated with the contemporary market for personal electronics: despite its fictional status, the concept was taken at face value and gained widespread mainstream media coverage. Time named it as one of the best inventions of 2002. Courtesy of the designers.
Pathogen Hunters 1
Susana Soares and Mikael Metthey, Pathogen Probing Tool 02 Prototype from the series Pathogen Hunters, 2010. Pathogen Hunters explores hypothetical views on future disease monitoring technologies, personal surveillance and rapid detection. This tool is part of a kit that people can use to routinely monitor their health, to increase early detection of infection or colonisation by microorganisms. Courtesy of the designers.
Sitraka Rakotoniaina and Andrew Friend, Shocking (detail), 2010. Developed in collaboration with researchers at Nottingham University, Shocking proposes that new materials such as shock absorbing nano composites could open up strange new realms of experience. By allowing individuals to safely sustain a high-impact shock, this device examines our faith in technology, and questions the boundaries between thrill and fear, and entertainment and science. Courtesy of the designers.
Jochem Hendricks
Jochem Hendricks, detail of Reading 3 from the series Eye Drawings, 1992-1993. In this series of work, Hendricks explores the visualisation of abstract motives and processes by making drawings directly with the eyes, turning the organ of perception into the organ of expression. By means of technical aids (infrared, video and computer technologies), human eye movements are traced and digitised during the process of looking at something (in this case, reading a newspaper article). Courtesy of the artist and Haunch of Venison Gallery.
HRC Oase Nr. 7
Haus-Rucker-Co., Oase Nr. 7 (Oasis No. 7), 1971-1972. Developed for documenta 5, this work was an eight-metre transparent sphere installed on the front facade of the Fridericianum in Kassel. A steel walkway from the building made it possible to walk to the sphere; zips created an 'airlock'. Two plastic palm trees and a hammock completed the oasis. Courtesy of Ortner & Ortner Baukunst.
Didier Faustino
Didier Faustino, still from (G)host in the (S)hell, 2008. Courtesy of the artist and Galerie Michel Rein.
Beta Tank
Beta Tank, Yellow Eye Candy, 2007. Each sense (touch, smell, sight, taste, hearing) sends information to the brain at a different frequency; the brain uses this frequency to determine where the sensorial information it receives comes from, and decodes it appropriately. When an Eye Candy is licked, resonators on the sweet's surface transmit information from the tongue at the frequency normally used by the eye. Courtesy of the designer.
Ann Hamilton
Ann Hamilton, numbers 22, 44 and 58 from the photographic series face to face, 2001. A small pinhole camera is placed into the mouth; when the mouth opens, the film is exposed. The resulting image is a trace presence of personal engagement, transforming the orifice of language into the orifice of sight. Courtesy of Ann Hamilton Studio.
Golan Levin
Golan Levin, Eyecode, 2007. An interactive installation in which a hidden camera records brief video clips of viewers' eyes, which are then added to an archive of eyes on a monitor display, resulting in an unnerving tapestry of recursive observation. Each clip is articulated by the duration between two of the viewer's blinks. Courtesy of the designer and Bitforms Gallery.