Tim Löhde
Tim Löhde
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Bodysnatcher
Assembly House, Leeds
28.09.—15.10.2022

»The photography itself is positioned and fixed on a mirror, offering unlimited visual possibilities. Therefore, the viewer recognizes this Moving Image in various ways according to environmental conditions such as direction, vision, and individual consciousness. Photos on mirrors that help expand thinking to traces or hints function as a basis for visual decisions. His sound work is a recomposition of J.S.Bach’s experimental organ piece, BWV721. It allows viewers to reconsider the perception range of appropriation that occurs at the moment when space-time and media are switched to expand the sense of the present.« - Namjoo Huh

Familiarity requires time. It definitely takes more than a certain amount of time to identify and digest changes in patterns and speeds. At the point where the change is completely digested, newness becomes a daily routine. Whereas, there is also a situation that forces you to get used to through a shock. Rapidly changed situations and conditions through disasters or sudden accidents lead to forced familiarity by making humans aware of a change, not changing their perceptions.

The concept of virtual is one example of this ambivalence of familiarity. Although there have been communications all the time, the experience of contacting with online platforms raises questions about whether the other’s existences are real. Were we used to this if physically limited reality made communication easier and more active? Are we still wondering in the shock of accelerating that familiarity? Or, should we get used to it?

Body Snatcher starts with these questions. When we are floating as dots while connected as a line through (non)realistic communication, and finally forming a space as a society which is composed of both subjects and objects of communicating, it is worthwhile to think about the individual identity of the dots which were the elements. The four artists – Bianca Pedrina, Duhyoung Kim, Hyunjin La, and Tim Löhde – show this concept with views that is familiar but can also question its familiarity.



Curated by: Namjoo Huh

[easywaveformplayer audio="https://www.timloehde.de/wp-content/uploads/2023/09/BWV-721_2.mp3"]

Bodysnatcher
Assembly House, Leeds
28.09.—15.10.2022

»The photography itself is positioned and fixed on a mirror, offering unlimited visual possibilities. Therefore, the viewer recognizes this Moving Image in various ways according to environmental conditions such as direction, vision, and individual consciousness. Photos on mirrors that help expand thinking to traces or hints function as a basis for visual decisions. His sound work is a recomposition of J.S.Bach’s experimental organ piece, BWV721. It allows viewers to reconsider the perception range of appropriation that occurs at the moment when space-time and media are switched to expand the sense of the present.« - Namjoo Huh

Familiarity requires time. It definitely takes more than a certain amount of time to identify and digest changes in patterns and speeds. At the point where the change is completely digested, newness becomes a daily routine. Whereas, there is also a situation that forces you to get used to through a shock. Rapidly changed situations and conditions through disasters or sudden accidents lead to forced familiarity by making humans aware of a change, not changing their perceptions.

The concept of virtual is one example of this ambivalence of familiarity. Although there have been communications all the time, the experience of contacting with online platforms raises questions about whether the other’s existences are real. Were we used to this if physically limited reality made communication easier and more active? Are we still wondering in the shock of accelerating that familiarity? Or, should we get used to it?

Body Snatcher starts with these questions. When we are floating as dots while connected as a line through (non)realistic communication, and finally forming a space as a society which is composed of both subjects and objects of communicating, it is worthwhile to think about the individual identity of the dots which were the elements. The four artists – Bianca Pedrina, Duhyoung Kim, Hyunjin La, and Tim Löhde – show this concept with views that is familiar but can also question its familiarity.



Curated by: Namjoo Huh