Making Visible
January 20 - March 23, 2024
Harlan Levey Projects
Opening: January 20, 2024
The title of this exhibition draws its inspiration from the seminal film crafted by Edwin
Schlossberg back in 1969, a film that originated from a unique commission by the iconic
Dilexi Foundation. The Dilexi Gallery, an avant-garde establishment nestled within the
heart of San Francisco and operational from 1958 to 1969, holds a rich history. Its
inception was the collaborative brainchild of Jim Newman, and artist and poet Robert
Alexander, igniting an era of unparalleled creativity in the Bay Area and the expansive
West Coast.
Making Visible is a cinematic endeavor that delves into the realm of McLuhanesque prophecies.
Labeled as an essayistic exploration of communication theory, the film envisions the latent
potential within the imperceptible realm of television’s material. As the cinematic journey unfolds,
viewers are confronted with the profound notion: “In order to make this image visible to you, it had to
become invisible.”
However, this exhibition extends beyond its cinematic origins. It serves as a profound inquiry into the
interplay of perceptions existing between both sender and receiver. The focus transcends mere
communication, delving into the intricate workings of the human mind when faced with the
dichotomy of the seen and the unseen. Making Visible ingeniously navigates the intriguing avenues
of how our cognitive faculties respond to visual and auditory stimuli, examining the processing not
only of imagery, but also the very essence of language.
One of my primaries aims in this exhibition has been to explore how different perceptions can exist
between the sender and receiver, beyond the mere context of communication. How the brain reacts
to the imagery of the seen and unseen, as well how we can process the voice or the idea of word as
an experiment in the form of sound or a static image.
The exhibition captures the profound complexity of perception, a dance between the tangible and the
abstract, and thereby challenges conventional paradigms of understanding. In essence, Making
Visible: Bridging Perceptions stands as a testament to the power of art to transcend traditional
boundaries. And the artists of this exhibition help us to discover a hidden political message, a voice
from another realm, signs that could be confusing, and static imagery that bespeaks an invisible
source. It beckons visitors to question the layers of interpretation and invites them to partake in an
intellectual voyage that intertwines communication theory, sensory responses, and the fusion of
various mediums. Through this exhibition, the invisible becomes the fulcrum upon which the visible
pivots, and the audience becomes an integral part of the intricate dance between what is seen and
what is understood.
- Lara Pan
White Hot Magazine Brussels Art Scene: Conceptual Art in its Prime
Artists:
Constance DeJong:
Constance DeJong, a versatile artist, writer, and performer, immerses herself in the creation of fiction texts and new media-based works. Her art unfolds in performance, theater, audio, and video installations, guiding the audience through a nonlinear relationship with text. DeJong's work invites spectators on an intuitive exploration, creating an elegant dance between the artist's narrative and the audience's interpretation.
Ira Lombardia:
As the artist explains, “the work itself goes beyond hybrid to pose a conflict, as it is the sum of opposites: it is aura and it is copy, it is an ‘art object’ and it is dematerialized. It is finished and it is not. It is open to manipulation by the spectators. These works are everything and they are nothing. “With her work she questions discourses, dynamics and rhetoric that have been assumed in the realm of contemporary art, image and philosophy.
Günter Selichar:
In Günter Selichar's works, sources the once abundant "source" has run dry, compelling us to relinquish the spatial dimensions. Paradoxically, these sources also unveil a hint of concealed realms beneath the visible surfaces—realms pervading our daily existence, urging us to preserve, replicate, and convey. These sources illuminate the notion that every media-technical device carries the depicted elements into a "sphere of principal otherness," portraying a profound connection with the hidden facets of our surroundings.
Jonathan Sullam:
Jonathan Sullam's latest creations, Fragments of Now and Then, utilize the Rorschach as a sophisticated formal construct. The Rorschach's multifaceted nature, from mirroring effects to diverse interpretations. However, the true essence lies in the overarching theme of delving into archives and histories, where the Rorschach symbolizes more than just an artistic tool. It becomes a symbol of scientific inquiry, evoking a sense of precision that ostensibly transcends mere interpretation and emotion.
Edwin Schlossberg:
Edwin Schlossberg's Conscious Alphabet invites viewers to imagine a time before written language, exploring the evolution of communication through letters and words. Delving into the aesthetics and associations formed by the arrangement of letters, Schlossberg prompts contemplation on the impact of language on human interaction and understanding.
Suzanne Treister:
Suzanne Treister explores the intersection of art and the holographic universe theory in her project, The Holographic Universe Theory of Art History (THUTOAH). Investigating the possibility of our universe as a vast hologram, Treister projects over 25,000 chronological images from art history. This colossal library, accompanied by a soundtrack of CERN scientists' interviews and watercolors, proposes a reality beyond intentional depictions of spiritual experiences—a reality hinting at the holographic nature of the universe.
Harlan Levey Projects
65 Rue Isidoor Teirlinckstraat
1080 Brussels, Belgium
