Götz/Rissa in conversation with Irene Daum and Peter Tepe
The famous painter Karl Otto Götz, one of the most prominent artists of Art Informel, also worked as an empirical scientist in the 1960s and 1970s. (…) Visual artists like Karl Otto Götz also frequently pursue literary activities and write poems in particular. However, a visual artist who works professionally in the field of science – in this case as an empirical psychologist – is very rare. Why was he interested in this type of art-science combination? Why did he decide to conduct psychological research?
Mischa Kuball: “I do not perceive myself as a double-competent cross-over worker between science and art, but rather as an artist who is working transdisciplinary. As an artist, I contribute to certain scientific research projects. Particularly, there are cooperation projects with the neurosciences neuropsychology and neurophysiology.” …
The terms Space Art or Astronomical Art (I prefer the latter) are used for pictorial representations of aspects of the cosmos or the universe. Obviously, Astronomical Art also allows to represent utopias, but always on the basis of the current state of research in natural science. “Beam me up, Scotty” remains Science Fiction. It has to do with science and cultural history, with technology and last but not least with Man, who has always felt the urge to leave planet Earth and to explore the universe. …
At a time when copyright issues are debated ever more heatedly, an artwork titled True Copy may appear as more than a slight provocation. Above all, its aesthetic play on the legal, ethical, as well as ontological and epistemological dimensions of copying challenges us into re-considering some of the most pivotal questions surrounding truth and originality: What is a copy? When is this copy a true copy? How do (true) copies relate to their original/s?
Visual art has long been a topic of considerable interest in psychology, biology and related fields, with research issues addressing the perception and production of art, creativity and their applications in clinical psychology or advertising …
In 1754, the Anatomical Collections of the University of Erlangen-Nuremberg were established for the purpose of providing teaching material for classes held at the Anatomical Institute. In the meantime, the collection is also accessible to non-specialists twice a year. Yet, due to the extraction of the specimen from its original context and its solidification into an object, a layman will never be able to perceive a specimen with the rational logic that is appropriate to the observation of scientific models. The object thus takes on the appearance of a shadow of the living, reminding us of our own mortality in a disturbing yet monstrous way.
According to the terminology of the online journal, I am on the border between science and art: on one hand I am a working artist, and on the other, active in the sciences as a participant in a master’s program. I would like to describe the stages of development leading to this state.
A border crosser between science and art is what the online journal calls an individual working both scientifically and artistically in the field of fine arts. I belong to this group, too. (…) I will introduce the reader to some of my artistic works created since 2013. For this purpose, I will select some representative examples from several series and explain their prevailing peculiarities.
Art and science present themselves today – this ‘today’ reaches back several hundred years – as two distinct spheres which are clearly separated from one another. The expectations of society and audience, the institutions, the ways of production and presentation differ widely. Education is not only separated institutionally but also organized differently. These institutional foundations make the separation of art and science a sturdy affair.
These exhibitions have taken place every two years on the premises of the Anatomical Institute. Amongst the invited guests were physicians who actively pursue art and artists with an active interest in medicine. The self-taught in the field of art encountered the self-taught in the field of medicine. On these occasions, ambitious dilettantes came face to face with professionals, each party certainly fostering a sense of discomfort in the other.
Meral Alma, although you are still studying at the Düsseldorf Art Academy under Siegfried Anzinger, as a painter over the last three years you have managed to position yourself remarkably well in the art market. Seven solo exhibitions, participation in over twenty group exhibitions, two-time winner of the talent award of the Düsseldorf Art Academy.
The objective is to progressively and comprehensively list institutions occupied with the connections between science and art by whatever means. At that, distinctions are made