Dillan Marsh


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Adventure Island, 22nd April - 8th May 2016-04-22

"Click to view Adventure Island, 22nd April - 8th May" Adventure Island, 22nd April - 8th May


Hordaland Kunstsenter, Archipelago: Eleanor Clare & Dillan Marsh

Hendene famler
Kloden roterer
Tidevannet stiger

Stadig å fortsette framover; å søke etter
Solen, som slynger sine slående stråler; som forsvinner
Under Brygga, et vesen lever; forråtner
Ved enden av Landet; Sjøen


Det finnes en innside og en utside, et mørkt indre og et lyst ytre. Under huden, inni kroppen, er mye flytende. Dette er stedet hvor det underbevisste virker, fordøyer og prosesserer og samler og skiller substanser.

De lette etter selve begynnelsene av mening og skapelse: for å sammenføye tusener av år tilbake med idag. De ville finne det, men da de ankom, visste de fortsatt ikke hva de skulle gjøre.

I dypene av himmelen fantes ingen speil, og i solens sted gapte et stort blødende hull der kanskje en jeksel hadde blitt vridd ut. Sjøen hadde sannsynligvis blitt tømt, og etterlot seg hulrommet av sin beholder omsluttet av et svimlende stup. Kloden selv hadde forsvunnet, hadde opphørt å være solid.
– Le Clezio, J.M.G., The Book of Flights.


Eleanor Clare og Dillan Marsh bor i Bergen, og har lagd arbeider sammen siden 2013, et samarbeid som begynte som en utforskning av hvordan det å lage kunstverk og å skrive gjensidig kan påvirke hverandre i å forstå mening og utviklingen av form og struktur. Clare har en mastergrad i kunst fra Central Saint Martins, London (2011), og Marsh en mastergrad fra Kunst- og designhøgskolen i Bergen (2011). Sammen har de produsert verk for følgende aktører: Parabol Bergen, Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery London, Deuxpiece/Büro für Problem Basel og Apis Press Bergen.

Prosjektet er støttet av Yorkshire Sculpture Park, Edinburgh Sculpture Workshop, Assembly House Leeds, Metal Arts, Bergen Kommune og Norsk Kulturråd.

www.fossilsandstars.blogspot.no


Archipelago er et lite, fleksibelt visningsrom for å vise enkeltverk og installasjoner i et fokusert, men åpent miljø. Siden rommet ligger i førsteetasje på Hordaland kunstsenter, like ved siden av et større, mer formelt utstillingsrom, åpner Archipelago opp for å undersøke de skiftende egenskapene ved et kunstverk med begrensningene av et lite, fysisk rom, i en tidsalder med virtuelle rom.
Programmet til Archipelago planlegges kort tid i forveien for hvert nye prosjekt, med den hensikt å gjeninnsette kuratorisk smidighet og nåtidig engasjement i institusjonen. Disse utstillingene følger en annen tidsplan enn Hordaland kunstsenters hovedprogram for utstillinger, og er tenkt som en gruppe av «tenkeøyer» som oppstår i tiden.





Hordaland Kunstsenter, Archipelago: Eleanor Clare & Dillan Marsh

The hands are scrabbling
The earth is turning
The tide is rising

Constantly forging onwards; seeking
The Sun, casting its glorious rays; disappearing
Under the Pier, a creature lives; decaying
At the end of the Land; the Sea


There is an inside and an outside, a dark interior and a light exterior. Under the skin, in the body, much is fluid. This is where the unconscious is at work, digesting and processing and merging and separating matter.

They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didn't know what to do.

In the depths of the sky, there were no mirrors, and in place of the sun a great bleeding hole gaped where perhaps a molar had been wrenched out. The sea had probably emptied, leaving the hollow of its basin rimmed by a dizzy precipice. The earth itself had disappeared, had ceased to be solid.
Le Clezio, J.M.G., The Book of Flights.


Eleanor Clare and Dillan Marsh live in Bergen, and have been producing works together since 2013, a collaboration which began as an investigation into how making artwork and writing can mutually influence one another in the understanding of meaning, development of form and structure. Clare received MA Fine Art from Central Saint Martins in 2011, and Marsh MA Visual Art from Bergen Academy of Art and Design, 2011. They have produced collaborative work for the following organisations: Parabol Bergen, Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery London, Deuxpiece/Buro fur Problem Basel and Apis Press Bergen.

Research and development has been supported by Yorkshire Sculpture Park, Edinburgh Sculpture Workshop, Assembly House Leeds, Metal Arts, Bergen Kommune and Norwegian Arts Council.

Fossils and Stars

Archipelago is a small, flexible platform for showing individual works and installations in a focused but open environment. Located on the ground floor of Hordaland kunstsenter, adjacent to a larger, more formal exhibition space, archipelago works with the constraint of limited physical space in order to explore the changing modalities of artworks in the age of virtual space. Archipelago is programmed with short lead times for each new project, with the intention of reinserting curatorial agility and real-time engagement into the institution. This initiative follows a different schedule to Hordaland kunstsenter's main exhibition programme, and is conceived as a group of 'thought islands' appearing in time.



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Adventure Island, Hordaland Kunstsenter 2016-04-22

Adventure Island, Hordaland Kunstsenter

Tags: work / exhibition / recent_work / stage / facade / text / collaboration / repeat / loop / fair / vehicle / movement / energy / video / light / darkness / fake / installation / artificial / sun / time / publication / body / action / Eleanor_Clare / scenery / landscape / simulation / carnival / view / wheel / film / motion / residue / hole / circus / dizzy / rubber / Edinburgh_Sculpture_Workshop / spinning / set / panoramic / skin / wave / matter / earth / speed / nature / water / seek / press_release / Yorkshire_Sculpture_Park / feet / touch / Adventure_Island / pool / sick / camera / ride / viewpoint / decay / feel / Rush / fibreglass / hands / Mathijs_van_Geest / 2016 / edge / Toucher / Archipelago / excitement / rubbing / tide / low_tide / sea / estuary / Hordaland_Kunstsenter / pier / unconscious / jumping / Southend / fair ground / mud_flats / Metal /


The Travels of The Toucher, Assembly House, Leeds 2015-12-15

The Travels of The Toucher, Assembly House, Leeds
The Travels of The Toucher

Dillan Marsh & Eleanor Clare

Video projection with audio played through a bass amp, 45 sec. loop
Framed digital C-print, 60x85cm
Audio, played through a mini guitar amp, 5.20min. loop
Digital photograph on 32 inch monitor
Stud wall with two poke holes cut through it
Five terracotta clay objects on different sized plinths
Framed painting, acrylic on two 21x15cm sheets of paper
Work lamp, lighting back yard
Publication, in edition of 50

The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds

Tags: work / exhibition / recent_work / documentation / photograph / text / collaboration / loop / box / cycle / video / ritual / print / light / darkness / collection / installation / studio / time / publication / sculpture / body / Eleanor_Clare / noise / plinth / screen / creation / plastic / sound / 2015 / landscape / show / connection / view / film / rock / audio / hole / Edinburgh_Sculpture_Workshop / chaos / nature / speaker / earth / matter / wall / sound_system / nature / water / Yorkshire_Sculpture_Park / megalith / acoustic / barrier / rubish / projection / Assembly_House_Studios / shrine / The_Travels_of_The_Toucher / Norsk_Kulturradet / About_Time / ceramic / feel / hands / site / voice / Bergen_Kommune / Lester_Drake / Tigh_na_Cailleach / ancient / Matt_Wheeldon / back / Mike_Winnard / gap / winter / Ellie_MacGarry / Rufus_Newell / clay / Arthurs_Seat / C-print / lamp / painting / Halhjem_Helleristninger / The_Hand_and_the_Hole / bass_amp / New_Haven_Bay / monitor / whispering / Granton_Mound / Poke_Holes /


The Travels of The Toucher 2015-12-14



The Travels of The Toucher



Dillan Marsh & Eleanor Clare
Assembly House Studios 20-29 Nov. 2015
Sat. & Sun. 1-4pm or by appointment



With cardboard boxes over their heads and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The possibility to destroy and remake was always there: it was just a means of getting to the thing.

On a wet and windy day, they journeyed out to Tigh na Cailleach, home of the Old Woman of the Glen, just before she withdrew into her shelter for winter. They were not sure what they might find, or what to do when they got there. They were walking a path that had been walked for thousands of years. They were hopeful that they would make their destination on time, and fearful of regret, lest they should have to turn back. It was not that time or nature were against them; it was simply that the elements continued, and would continue interminably, before them, after them and in spite of them. The night was drawing closer with every step further into the heart of the glen. Colours were changing to soft and rusty ochres, greens and bluey-greys. The form of the land was becoming gentler and more rounded. The deep, broad loch had now tapered off into a trickling stream; yet the wind raged on, and the rain beat with a stinging patter against against their faces.

They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didn’t know what to do. Not there at the shrine, nor in the studio with the clay.

This work has been kindly supported by: Assembly House Studios, About Time, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, Bergen Kommune, Norsk Kulturradet (Arts Council Norway)

The Travels of The Toucher

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Toucher 2015-10-26

Toucher

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Skjonne Sjeler Catalogue 2014-08-10

Skjonne Sjeler Catalogue Skjonne Sjeler Catalogue Skjonne Sjeler Catalogue

Tags: work / exhibition / text / collaboration / super / Norway / publication / total / universe / costume / landscape / catalogue / mask / astronomy / motion / 2014 / cosmos / poster / helmet / nature / solar_system / constellation / Francois_Hugo / Skjoenne_Sjeler / Nestle / gold / star / Anond_Versto / Ellen_H_Suhrke / Oystein_Wyller_Odden /


Comedy and Tragedy, Text 2014-02-08



Comedy and Tragedy
text by Eleanor Clare, 2014, published in NEVERODDOREVEN, Deuxpiece and Buro fur Problem, Basel


I was frantic, feeling a little sick and dizzy, but determined to carry on.
What had to be done, had to be done. It was a desperate attempt.
It was a hollow action.
It was just doing for the sake of doing.
It was doing to find some momentary release from the feeling of total inertia, of being stuck.
Now I must talk of hollow laughter.
Some say it is the laughter of a psychopath: cold, hard, unfeeling.
I say it is simply laughter at the end of the tether.
They say, if you don't laugh you'll cry.
I have been laughing this way.
I cry until I laugh, and laugh until I cry.
There is not much in between, but for an empty and desolate expanse stretching out ahead.
When I am laughing, I do not know if the laughter itself feels unreal, or if I myself am unreal.
It seems like I have been caught by something I cannot quite grasp.
I am in its grip: the grip of humour.
Watching myself on a screen, I make myself laugh, for I am hysterical.
Here I am comedy.
I laugh a senseless, reasonless laughter that has no meaning, other than to shake and move in a way that is ridiculous.
It is laughter in the extreme, because it cannot end until it reaches the opposite pole: tragedy.


*


"Emotions exist beyond time, as the pulse of pure physical connection to the world and its music.
Like music, they are a form of movement _ the origin of the word emotion lies in the Latin, emovere, to move out, remove, agitiate."
(Little)


Comedy and Tragedy, Text

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Flag New York City, Performa 13 2013-11-20

Flag New York City, Performa 13 Flag New York City, Performa 13

Tags: work / exhibition / recent_work / documentation / red / blue / design / print / super / 2013 / publication / slogen / Entree / total / flag / America / Randi_Grov_Berger / performa / New York / SUPER_TOTAL / Peforma13 Hub /


Flag New york City, Catalogue 2013-11-20

Flag New york City, Catalogue Flag New york City, Catalogue Flag New york City, Catalogue

Tags: work / exhibition / recent_work / documentation / red / blue / print / super / 2013 / publication / total / Entree / catalogue / Randi_Grov_Berger / America / New York / Peforma13 Hub / SUPER_TOTAL / performa / Natasha_Marie_Llorens /


Apis Press Publication 2013-08-14

Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication printed by Apis Press in collaboration with Bjorn Mortensen and Entree all texts by Eleanor Clare Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication Apis Press Publication

Tags: work / exhibition / recent_work / documentation / collaboration / print / 2013 / publication / Eleanor_Clare / Entree / universe / edition / June_Twenty_First / midsummer / Bjorn_Mortensen / Apis_Press / Bergen / Appendix /


Helios (text by Eleanor CLare) 2013-08-14



As he rides his chariot, he shines upon men and deathless gods, and piercingly he gazes
with his eyes from his golden helmet. Bright rays beam dazzlingly from him, and his
bright locks streaming from the temples of his head gracefully enclose his far-seen face: a rich,
fine-spun garment glows upon his body and flutters in the wind: and stallions carry him.
Then, when he has stayed his golden-yoked chariot and horses, he rests there upon the
highest point of heaven, until he marvellously drives them down again through heaven to Okeanos."

Homeric Hymn 31 to Helios (trans. Evelyn-White) (Greek epic C7th - 4th B.C.)

*

I lived to dance all night. A surging energy created a new and unprecedented confidence:
that it was possible to cheat time. I felt invincible - transcendent. Life was light, without fear
of death; at least not in this state of being. I sensed in my body vibrations of sound.
The closer I got to the source, the more it enveloped me, becoming a physical entwinement with
music and space. I felt one with it. But as the years passed, inevitably my heart began to
beat out of time. The breath did not come so easily. I held it at the top for a few seconds,
afraid to exhale. In these moments, the perceived syncopation that was once such a joy had
started to become a dissonance.

*

I feel alive, and the world - it's turning inside out Yeah!
I'm floating around in ecstasy
So don't stop me now,

I'm a shooting star leaping through the skies
Like a tiger, defying the laws of gravity
I'm a racing car passing by like Lady Godiva
I'm gonna go! go! go!
There's no stopping me!

I'm a rocket ship on my way to Mars
On a collision course
I am a satellite, I'm out of control
I am a sex machine ready to reload
Like an atom bomb about to
Oh -oh-oh-oh-oh explode!

(Extracts from 'Don't Stop Me Now' lyrics by Freddie Mercury, 1978)





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Burnout (text by Eleanor Clare) 2013-08-14



Burn Out

Through the grainy unsteady image and the sound, distorted by low quality compression, it
seems like something is trying to break through. The first few seconds sound like noise
pulled through a synthesizer, screaming and kicking as it emerges, fighting for life in its new
digital form. Something about it is alarming, frightening, tortured and angry. It is half-formed,
raw and unrefined. Streaks of red and white light flash across the screen.

It is an arena for action. Something about this situation that is chaotic; yet there is an
element of control. The driver makes tight circles around a central axis. At first this is
demarcated by a traffic cone, but as things proceed, the silhouette of a young man moves into the
centre. The car stops and revs up, creating billows of smoke in the air, obliterating vision for
a few moments. As the car skids and screeches, I feel a sense of alarm. This is coming close to
disaster for the lone, central figure, potential victim of the anonymous driver, a sacrifice for
the entertainment of onlookers. I can sense also the collusion. One figure willingly places his
trust in the other. There is a tension between these two.

*

A smoky, fiery object is spinning recklessly. One might say things had spun out of control.
Not quite though; for to completely lose control would mean total destruction. It would mean the
end. It all went up in flames. This is a sudden, intense and short lived burst of energy. More
like a supernova than the sun, and more akin to a meteor careering around a planet, than a planet
orbiting the sun. It was more than this, though. This scene was not simply about objects in space;
it was human. It was a game or a task, perhaps even a ritual.

Although I can identify it as a human activity, shot through with the implications of one's
relationship to another, from my vantage point it also seemed anonymous. In the dark, these
figures could be anyone, totally unrecognisable by the light of day. In this moment they had a
relationship to one another. Certainly for the two central protagonists, it was one of great
significance and trust. At any other time, on any other level, it was unclear. In this sense, the
action had become symbolic. The figures could be understood as archetypes. Ones which, for reasons
I cannot yet identify, I associate with the masculine.

***

In the threat of a loss of control, images had already flooded my mind. I remember as the
helicopters circled in the air above my house one evening in August. I had no idea why it was
happening, but this circling was incessant, the noise repeatedly coming close and fading away,
swelling and receding, but never quite out of my consciousness. It always gives me a slight sense
of unease, the idea of something being under surveillance, coupled with the notion that something
might be wrong. Why this surveillance from such a great height? It is a safe distance for the one
who watches. Then I remembered the destruction that had taken place, just minutes away from my home.
The aerial images of buildings and cars set alight, and rioters surging through the streets, anonymous
from this point of view. London's Burning.





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Mask (text by Eleanor Clare) 2013-08-14



You feel your breath inside the mask.

It is hot and damp.

You hear yourself breathing, heightened.

The mask is here: between the wearer and the world, the watcher and the watched.





Tags: work / text / collaboration / 2013 / publication / Eleanor_Clare / Entree / June_Twenty_First / mask / Apis_Press /


Appendix 1 (text by Eleanor Clare) 2013-08-14



Appendix 1: Extracts from C.G. Jung, Commentary on the Secret of the Golden Flower

The wise Chinese would say in the words of the I Ching: When yang has reached its
greatest strength, the dark power of yin is born within its depths, for night begins at midday
when yang breaks up and begins to change into yin.

...

The ‘enclosure’, or circumambulation, is expressed in our text by the idea of a ‘circulation’.
The ‘circulation is not merely motion in a circle, but means, on the one hand, the marking off
of a sacred precinct, and, on the other, fixation and concentration. The sun wheel begins to run;
that is to say, the sun is animated and begins to take its course, or in other words, the Tao begins
to work and to take over the leadership. Action is reversed into non-action; all that is peripheral is
subjected to the command of what is central. [...]

Thus the circular movement also has the moral significance of activating all the light and all
the dark forces of human nature, and with them, all the psychological opposites of whatever
kind they may be.

...

If viewed correctly in the psychological sense, death is not an end but a goal, and therefore
life towards death begins as soon as the meridian is passed.





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Appendix 2 (texy by Eleanor Clare) 2013-08-14



Appendix 2: Georges Bataille, Inner Experience

In this way existence closes the circle, but it couldn’t do this without including the night
from which it proceeds only in order to enter it again. Since it moved from the unknown to the
known, it is necessary that it inverse itself at the summit and go back to the unknown.

...

Action introduces the known (manufactured); then understanding, which is linked to it, relates the
non-manufactured, unknown elements, one after the other, to the known. But desire, poetry and
laughter increasingly cause life to slip in the opposite direction, moving from the known to the
unknown. Existence in the end causes the blind spot of understanding and right away becomes
completely absorbed in it. It could not be otherwise, unless a possibility for rest were to present
itself at a certain point. But nothing of the kind takes place: what alone remains is circular
agitation – which does not exhaust itself in ecstasy and begins again from it.

...

The upper part of my body – above the solar plexus – had disappeared, or at least no longer gave
rise to sensations which could be isolated. Only my legs – which kept me standing upright,
connected what I had become to the floor – kept a link to what I had been: the rest was an enflamed
gushing forth, overpowering, even free of its own convulsion. A character of dance and of
decomposing agility (as if made of a thousand idle futilities and of life’s thousand moments of
uncontrollable laughter) situated the flame ‘outside of me’. And as everything mingles in dance,
so there was nothing which didn’t go there to become consumed.





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Appendix 3 (text by Eleanor Clare) 2013-08-14



Appendix 3: Miscellaneous

As cosmic man or the personification of the intelligence in the tree of life, the Green Man is
the point at which the truth is manifested in creation, whether as life, light, song, words or
other figurative forms of art. He is the medium through which divine inspiration guides the works
of time in the fullness of space. He is the point of entry of eternity into time. Space is the
medium of sound, and therefore the music of praise.

W. Anderson, Green Man: The Archetype of our Oneness with the Earth.

...

Such circles designate, like the spirals, the paths of entry between worlds, and the pacing or
dancing of such designs in imitation of the journeys of the Gods, offers a perfect explanation of
these structures.

The Avebury henge was not a sculpture in the sense of being a finite, completed object.
Instead, it was brought to completion at the right time by human participation.

M. Dames The Avebury Cycle

...

In the extraordinary madness which periodically invaded Europe from the fourteenth to the
seventeenth century, people danced until they dropped.

At Liege in 1374, after certain possessed folk had come dancing half naked into the town
with garlands on their heads, dancing in the name of St John, we are told that many persons
seemingly sound in mind and body were suddenly possessed by devils and joined the dancers.

E.R. Dodds The Greeks and the Irrational





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Horizon Publication 2012-10-20

Horizon Publication Horizon Publication Horizon Publication

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Zwischenlandung 2012-03-03

Zwischenlandung Zwischenlandung Zwischenlandung Zwischenlandung

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Panoramic Interchange 2010-10-20

Hulda Stefánsdóttir
Travelling creates an odd conflict between longing to cut loose from yourself to see things in a different way while all the time consciously translating your same self into a foreign environment. Struggling to be just here while you are undeniably always also there, someplace else. Here are some moments travelled and places seen, both purposefully looking and aimlessly open towards what was there.

You Are Here is an exhibition of new work by 16 artists connected to the art academies of Bergen, Vilnius, Reykjavik and the Royal Art Institute, Stockholm.

http://panoramicinterchange.blogspot.com/

PANORAMIC INTERCHANGE: LANDSCAPE, SOCIETY AND THE INDIVIDUAL

International Symposium at
Moderna Museet, Cinema
Exercisplan 4,
Stockholm, Skeppsholmen

Friday, September 17th, from 10.00 – 18.00 hrs.

Historical panoramas used to offer a view of a city- or landscape - as seen from the point of view of an artist or photographer. Be it in painting, print or photography, the viewer received an often entertaining, informative and complete overview of a certain place at a certain time.

Digital media and networking have widened the scope of street, urban and landscape views to include 360” zoomable, interactive views, maps and directories - each in turn equipped with multiple options for further layers of information. Former blind spots might be rapidly disappearing in the ever more detailed complexity of available and accessible information. Furthermore the subject of individuality, the right to control, manipulate, protect and reveal personal information is challenged and hollowed out. The digital fingerprints left behind everywhere endanger our bank accounts and our privacy. In separate developments the decoding of the human gene is also leading to radical new perspectives regarding our rights to access information, questioning the individuality of humans and the way societies are organized.

Having arrived at this interchange, the artists, collectors, theoreticians and scientists participating in the symposium will present their material and ideas on the historical, current and emerging understanding of the observation, mapping and organization of different types of landscapes - beginning with historical viewing devices, the understanding and representation of landscapes (Werner Nekes) to the analysis of the genetic decoding of the individual and its social and cultural implications (Kári Stefánsson), further to an artists perspective of contemporary architecture, utopia and urban space (Marjolijn Dijkman) to the modelling, playing and interference with, as well as the questioning of, contemporary networked and mediatised societies (Michelle Teran).

WERNER NEKES
(b. 1944) lives in Mülheim an der Ruhr in Germany
Since 1965, filmmaker and media artist Werner Nekes has produced over 100 films and his work has been presented internationally at major museums and festivals.
Furthermore, Nekes has compiled one of the most important private collections of artifacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.

MARJOLEIN DIJKMAN
(b. 1978) lives in Rotterdam in The Netherlands, Brussels in Belgium and Saint Mihiel in France.

Through her diverse work Dutch artist Marjolijn Dijkman often considers the foundations of how we perceive and experience our surroundings – the conventions and categories which underlie the comprehension, or not, of the world around us. Ranging from photographic archives and films, to landscape interventions and the organization of exhibitions and experimental residencies, Dijkman’s practice has concerned itself with futurology, public space, knowledge organization, cartography, utopian architecture or environmentalism, for example, with a particular emphasis on collaboration.

KARI STEFANSSON, M.D., DR. MED., Executive Chairman and President of Research
(b.1949) lives and works in Reykjavik in Iceland
Kári Stefánsson, M.D., Dr. Med. founded deCODE in August 1996. Dr. Stefánsson was previously a professor of Neurology, Neuropathology and Neuroscience at Harvard University and Director of Neuropathology at Beth Israel Hospital in Boston, Massachusetts. From 1983 to 1993, he held faculty positions in Neurology, Neuropathology and Neurosciences at the University of Chicago. Dr. Stefánsson received his M.D. and Dr. Med. from the University of Iceland and is board-certified in neurology and neuropathology in the United States. Dr. Stefansson is recognized as a leading figure in human genetics. He has shaped deCODE's scientific approach and been actively engaged in leading its gene discovery work, serving as senior author on most of the company's publications in major scientific journals.

MICHELLE TERAN
(b. 1966) lives and works in Berlin in Germany

Born in Canada, Michelle Teran explores the interaction between media and social networks in urban environments. She develops performances, with the audience often participating via the staging of urban interventions such as guided tours, walks and open-air projections, participatory installations and happenings.
One of her recent projects, Buscando al Sr. Goodbar (2009), is a threefold tour through the Spanish town Murcia simultaneously taking place by bus as well as on Google Earth and YouTube.

Michelle received the Transmediale Award 2010, the Prix Ars Electronica honorary mention (2005, 2010) as well as the Vida 8.0 Art & Artificial Life International Competition.
Panoramic Interchange

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Castle and Elephant 2010-05-11

Castle and Elephant Castle and Elephant

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