Biological Alchemy as Salvation of the Soul

Biological Alchemy as Salvation of the Soul

by Yuko Hasegawa

Gerda Steiner and Jörg Lenzlinger began collaborating in 1997. Their work engages matter in a process of reproduction and creation; they explore the reactions between different kinds of matter within a given space and, by establishing relation­ships between physical, organic, and immaterial elements, produce mutation. In their transformation into organic entities, even trash and plastic waste become mystical.

The process of transmutation, including crystallization, can be described as a chemical or biological reaction in which fusion results from an encounter between materials. lt is not only alchemy of matter but also alchemy of meaning. Steiner and Lenzlinger generate multiple narratives with their mutated matter. When entered into a spatial frame, these narratives combine to form one overall, nonsequen­tial story. The way the work is constructed follows certain patterns. The artists are conscious of the narrative capacity of a site and reconcile different worldviews within it. In “Falling Garden” (2003) in the San Staë church in Venice, the artists created a suspended garden for the deer that is said to have appeared in a miracle that made San Eustachio eligible for sainthood. The visitors lie on a bed placed over the grave of the doge buried in the church and looked up at the garden, as if assuming the doge’s line of vision. The multicolored array of items suspended from the ceiling, dancing wiIdly in midair, would have been a feast for the magistrate’s eyes. The objects had been gathered by Steiner and Lenzlinger during travels around the world – plastic berries from India, baobab seeds from Australia, a cat’s tailt from China and artificial flowers. On the floor, vividly colored urea crystals grew on the floor.

The artists’ “Brainforest” (2004), created at the 21st Century Museum of Contemporary Art in Kanazawa, Japan, incorporates some of the cells/elements of “Falling Garden”, but represents a further development. The interior of the human brain – with its complex connections and elaborate entanglement of neurons – is juxtaposed with a rainforest. Located in one of the galleries scattered like islands throughout the circular art museum, “Brainforest” was based on the organizing concept of the exhibition itself: the various installations complemented one another with polyphonic resonance. Steiner and Lenzlinger associated this notion with the workings of the mind. Paper flowers and birds made of flower petals by the residents of Kanazawa, tree branches gilded by craftsmen, and colorful cables from electri­cal appliances and computers hung from the ceiling and connected like synapses. When visitors looked up, it was as though they were looking at their own brains turned inside out. With Steiner and Lenzlinger’s intervention, objects created by many were crystallized, with urea as the medium, or combined to form hybrids, resulting in an astonishing biodiversity that served as a metaphor for the vast range of thoughts that are activated by synapses. The visually and coloristically rich work on the one hand suggests a festive fantasy, and on the other refers to socio-critical, histori­cal, and cutting-edge biological theories.



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