Test_Lab (V2_) tomorrow will be live-streamed on this page.
From:
20:00 Central European Time
March 15th 2012.
Smell cannot be streamed though! :-)
15.3.12
8.3.12
Test_Lab: Smell This! @V2, March 15th 2012
Test_Lab: Smell This!
Witness the decomposition of Chanel No. 5, sniff out a partner, taste with your nostrils, and more treats for the nose. With Sissel Tolaas, Susana Soares and Maki Ueda. Opening: Caro Verbeek.
March 15th
20:00 to 23:00
location: V2_, Eendrachtsstraat 10, Rotterdam
Demonstrations: Sissel Tolaas (NO/DE) | Susana Soares (PT) |Maki Ueda (JP/NL) | Opening: Caro Verbeek (NL) | Performance: Jorg Hempenius (AJ Scentman, NL) | DJ: BEATNOLOGIC (NL)
Would you rather give up your sense of smell or your smartphone? A recent worldwide study conducted among youths aged 16 - 22 found that more than half of them would chose technology over their own sense of smell. What good is a nose anyway when all your friends, entertainment and sources of information are online? This edition of Test_Lab will reveal that your sense of smell might actually be the best reason to stay connected to the physical world. While the communication industry is fixated on visual and aural communication, it is the work of pioneering olfactory artists that points out the significance and potential of communication through smell.
In this edition of V2_’s Test_Lab, Maki Ueda performs a live experiment in decomposing the legendary fragrance Chanel No. 5, Susana Soares shows you how to sniff out a partner, and one of the world’s greatest scent experts, Sissel Tolaas, lets you taste with your nostrils. Art-historian Caro Verbeek kicks off the evening with a talk on smelly art, accompanied by a genuine AJ (Aroma Jockey).
Smell all of this at Test_Lab!
This event will be streamed live in this page. March 15, 20:00 CET
OLFACTOSCAPE
OLFACTOSCAPE - deconstructing Chanel No. 5 - (2012) is a work by Maki Ueda.
OLFACTO (= olfactory) SCAPE (= scenery)
OLFACTOSCAPE is an invisible panorama painting. It's a 3m diameter space created with a curtain. The walls are "painted" with smells.
Perfume is a composition of multiple ingredients, often more than a hundred. Making a perfume is like making a piece of music: creating a harmony with multiple tones. In this version of the OLFACTOSCAPE, independent components (aromatic ingredients) of Chanel No. 5 are separately placed (sprayed) at the different locations. If you stand in the middle point of the space, you would smell the "harmony." If you walk along the curtain, you would smell the "individual tones."
The intention is thus, to deconstruct the Chanel No. 5, and to reconstruct it again.
Enter the space, close your eyes, walk and sniff like a dog. Some scents come closer to you, while others fade away. When do you smell the "harmony" and when do you smell the "individual tones?" Do the scents navigate you instead of you navigating yourself? Is there any scent that attracts you, or that makes you want to approach?
This project is supported by Omega Ingredients.
OLFACTOSCAPE is an invisible panorama painting. It's a 3m diameter space created with a curtain. The walls are "painted" with smells.
Perfume is a composition of multiple ingredients, often more than a hundred. Making a perfume is like making a piece of music: creating a harmony with multiple tones. In this version of the OLFACTOSCAPE, independent components (aromatic ingredients) of Chanel No. 5 are separately placed (sprayed) at the different locations. If you stand in the middle point of the space, you would smell the "harmony." If you walk along the curtain, you would smell the "individual tones."
The intention is thus, to deconstruct the Chanel No. 5, and to reconstruct it again.
Enter the space, close your eyes, walk and sniff like a dog. Some scents come closer to you, while others fade away. When do you smell the "harmony" and when do you smell the "individual tones?" Do the scents navigate you instead of you navigating yourself? Is there any scent that attracts you, or that makes you want to approach?
This project is supported by Omega Ingredients.
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