It was around 1940 that Frederick Kiesler developed his Vision Machine, an exhibition design conceptualized to provide new ways of approaching art. Many years of research on the faculties of vision and fantasy as well as on the categories of pictorid representation went into Kiesler’s three-dimensional haptic model. Because of the recent preoccupation with innovative means of exhibition display, Kiesler’s Vision Machine served as a reference point for the presentation of “Timewave Zero/The Politics of Ecstasy,” in which artist-curators Lionel Bovier and Jean-Michel Wicker proffered the artistic equivalent of psychedelic space-cookies with the vigorous intent to dissolve, under the influence of mind-altering substances, the barricades of our rational (read: barren) Western mode of thought. This was the exhibition as work of art, and the work of art as “drugstore” for the unattainable mystery
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