Danish artist Joachim Koester puts the whole house at work at the National Museum of Art in Copenhagen. Carolina Söderholm sees an exhibition that raises the paths of consciousness.
Joachim Koester, "The body of the reptilian brain and reptiles, that's your animal."
Samples, Shimmers, Scenes, National Art Museum, Copenhagen, Tuesday May 3, 2019.
Floods go through the halls. Body tattoo, skin on skin, creates air seal and vibrates. At the end of Joachim Koester's exhibition at the National Museum of Art, dancers dance to the reptilian brain. In the green jungle, the camera follows how transient and sweaty gets civilization and the reason for shine. A cold breath of a video film gives a nervous pulse to a cool cool view. That's a sound record.
Koester, since the nineties one of the strongest names of the Danish art scene, and also Malmö Konsthögskola's professor, has done research on a brain-wielding state. From psychedelic preparations and occult sects to anarchist temptations and hypnotic trophies in abandoned memory labyrinths.
It now displays document views, black-and-white photos, and a couple of discrete video screens on a smaller, but beautifully crafted show. A reminder that resembles an archive or a scientific museum. The shape is small, with more or less subversive excursions waiting for the historic nest of opium and the cleansing of the Arctic islands. Access is well selected. What Koester is interested in is what happens under the surface: the parallel dimension of everyday normality, the official version of the place or the story.
Take a project, for example "From the secret sleeping village," as well as in photographs and magazines, tells us that the powerful law of Reagan's regime against hay production paradoxically had the opposite consequences. Home-made domestic breeding took place indoors, and in the artificial light a new powerful superior cannabis was developed.
Joachim Koester, "From the secret brother of the dream", 2008.
But come back on the video "Reptile brain and reptile body, that's your animal." More often, Koester is opposed to the historical reference, Polish dramatic director Jerzy Grotowski, who during the sixties became pioneer of performing arts when his body and movement movements enabled participants to overcome their own consciousness. Although it is not a geologist or archeologist who discovers the neatly stored sedimentary and cultural layers that Koester resembles when setting the past on the move. Instead, the past and the present are settled in the same way as dredging by a dredger, which causes the sea floor to rise to the surface.
Despite all the work, but unpretentious appearance, it often gives me the feeling of disorientation that everything is going on. It is not just the boundary between visible and invisible, but also between rational and irrational ones that are disintegrating. No less important, two suggestive works are exhibited in collaboration with artist Stefano A Pedersen.
The experience resembles to enter the old chicken, as American choreographer William Forsythe turned to last year's permanent installation "Underall" at the Wanås sculpture park. Wooden under the look is pretty stable, but when you move it put the entire house into rocky. First, slowly and barely noticeable, what a scam is delicate. Similarly, the art of Joachim Koester infiltrates consciousness and treads its paths and patterns.