Blue Morph was shown in relation to the Art and Science conference in St John´s church, Gdansk.
What is the Blue Morph?
In short- it is a light and sound installation placed in a church in Gdansk, Poland.
In a less abbreviated version- a light and sound installation that cross-medially re-interprets the metamorphosis of a Morpho Peleides butterfly, or rather- its becoming a butterfly; an installation that turns the visitor into a performer.
The Becoming of Blue Morph
Victoria Vesna writes:
“The sounds [referring to sounds recorded from a pupa by nanoscientist James Gimzewski] were what we could interpret as pain, which is counter to the idea of the gentle, beautiful creature we have previously percieved as the butterfly. Indeed, I was not able to find any reference to anxiety and pain when researching metaphors and ideas around the butterfly. I did however discover that nature´s nano-photonics used in the blue colour of the wing was used in anti-counterfeiting technology. The link to the financial crisis that was starting to happen at the time, and continues to surface – in bursts – was not only with optics but with sound as well. The financial market patterns, drastically moving up and down, are almost identical to the graphs of the metamorphosis of the butterfly. Could it be that we are having a collective metamorphosis and the markets are our mirror?”
For the Blue Morph project Vesna was inspired by a structure in Landers, a small town in the California desert, about two hours away from Los Angeles. The name of the structure is The Integraton and it was designed by George Van Tassel, a former test pilot for Howard Hughes and Douglas Aircraft. He spent 18 years constructing the building. Van Tassel, a practitioner of meditation, claimed that he got instructions on how to construct the building during meditation-sessions in which he was in direct contact with alien designers.
Vesna writes: “As we both practice Kundalini yoga, Gimzewski and I discussed the idea of creating an environment where people could experience the interactivity by keeping still and/or moving from their center. Gimzewski suggested we use the meteorological balloons and I looked for ways and design to enclose the hanging. While showing him the tube I got manufactured in the Los Angeles fashion district, he jokingly rolled up the end into what looked like a turban and placed on his head. The jest became inspiration as we decided that this is exactly what needs to happen and integrated the idea of a “mad hatter” into the project. Alice in Wonderland so naturally fits into the complexity and absurdity of our projections and our realities. The Integraton turned out to be the ideal location for the development of this project as the audience brought their interpretations and guided us to how we may continue to interact. What we did not anticipate was the ritualistic nature that emerged with people seeing the installation as a place to release, albeit publically, their inner urges towards transformation and metamorphosis, The audience becomes the performer when in the center and witness when observing others in the center and the artist and scientist are on the sidelines – giving up the limelight. It is neither art nor science, neither theater nor reality, but a scene that is open to interpretation and allows for for an individualized ritual to take place. Non-sensical to a large degree, what emerged is possibly the closest to dada in the arts.
This dada in the arts moved into St John´s church in Gdansk at the 23d of May and moved out at the 5th of June. It can now found in New York.