High Energy Interactions: how to be an artist at CERN
“How can an artist make relevant art if he doesn’t know anything about relevant science?” – Julius von Bismarck, artist
I have been too busy to blog for a few months, but I must flag up the EXTENDED DEADLINE DATE for the latest Collide@CERN Artist Residency Award open call for digital artists, now open to 5 July. Collide@CERN is the flagship programme of the progressive Arts@CERN initiative initiated by the dynamic Ariane Koek at CERN, the world’s largest particle physics laboratory in Switzerland, home of the Large Hadron Collider.
I’m sad that I couldn’t make the dates of the selection committee – thanks for the invite, Mónica Bello (new Arts@CERN curator), and sorry to any artists who might have hoped I’d big up their application ;) – but I’m confident the selection committee will choose boldly, based on their track record. Previous winners of the Collide@CERN digital arts residency, a partnership between CERN and Ars Electronica, have been Julius von Bismarck (2012), Bill Fontana (2013) and Ryoji Ikeda (2014). There have also been a number of other artist residencies of shorter duration, including the wonderful Mexican artist Ale de la Puente.
The Collide@CERN programme expects “at least work in progress as plans/drawings and/or models by the end of their residency”, but emphasise a “free exchange of ideas” between artist and their partner science, in my opinion an absolutely critical element for an artist residency programme if we are to continue to develop and demonstrate the contribution that art makes to contemporary society, which lies not just in the output but in the process and performance of art and the generation of new ideas. In this way, the CERN residencies perhaps echo the spirit of the Artist Placement Group, who negotiated placements for artists between 1966 and the early 1980s in private and public sector organisations, with the aim of fostering a two-way communication between artists and industrialists or politicians, in order to benefit both the host organisations and the artists in the long-term.
Many people ask me what scientists “get” from work with artists. I feel James Wells, the theoretical physicist who was the ‘inspirational partner’ for Collide@CERN’s first artist in residence Julius von Bismarck expressed it so beautifully when he talked about valuing having someone around who saw the world in a different way, whose influence, he felt, could shake up accepted mindsets. In a talk, Wells notes that the the process of becoming a scientist can “snuff out the daring impulse” in young scientists and that it is the “tremendous daring and openness of ideas” of artists that might really benefit the scientific community. “The first thought of an artist is not can we do this, but ‘this is what I want to do’” he remarked.
Another aspect of such fascinating and important art-science exchange was explored by artist Ale de la Puente in her short CERN residency, during which she organised workshops with scientists to investigate and discover the creation of metaphors devoted to time, scale and space in both art and science,
It’s worth featuring some the resulting artworks from the Collide@CERN artist residencies, particularly for me that of the first resident artist, Julius von Bismarck, who worked with James Wells. His first resulting work ‘Versuch unter Kreisen’ is an installation of 4 revolving industrial hanging lights, each attached to a motor which rotate them in a circular motion. Each light has a slightly different frequency which means that every 75 circles they all have the same phase, the rest is chaos, which Bismarck compared to life: that we spend so much time to find a moment of clarity, of coherence, and lose it again. Although I was also intrigued by his mention of other potential works (or perhaps thought works): to make a slight dent in a lake, building a 4-dimensional cube in three dimensions. He spoke of CERN as both creating reality and changing how we see reality, and his desire to add art to the world that could change it slightly afterwards.
In Ryoji Ikeda’s resulting work ‘Supersymmetry’, shown recently at the Vinyl Factory in London, the visual reference to particle physics and CERN is more immediate. The first hall contained three large floor-set cubes, with top screens lit from below showing clouds of tiny black circles engaged in an incessant dance, forming and un-forming fleeting structures. The second hall housed four rows of screens, two on either side of a central pathway. Images fly over the panels, the two walls projecting similar but not identical imagery, dynamic images of figures, numbers, words and diagrams zip along the rows of screens, followed by sudden plunges into darkness, underscored by a compelling beeping and clicking electronic soundtrack, conveying an exhilarating sense of overwhelming streams of data generated from multitudes of collisions and the struggle to make sense from such a complex mass of information.