...to my webside. My name is Lynn Pia Pook and I'm an artist. You're in the right place if you want to contact me, or if you're interested in my CV. Below you'll find a list of all my projects. Enjoy looking around!

S t i m u l i n e (2009)

STiMULiNE exploits the tactile dimension of sound and its transmission through the body of the listener. In a room, twenty-eight people equipped with futuristic interfaces make simultaneously the experiment of a synthetic music diffused directly on their body. The device makes it possible to create and transmit remotely tactile feelings. By combining the touch and hearing, the project tries
out a new perceptive dimension on the concert and use of the whole body as a perception interface. In the contemporary context of technically ultraconnected society, STiMULiNE creates "connected isolations" by materializing simultanius intimate and group experience.
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P a u s e ( 2005-2009)

A curious patterning, Pause is a set of intimate and contrasting sensations. It produces a reconsideration of the living body and, on a larger level, a reflection upon sonic and tactile distortion. Thus it brings forth a desire to explore a kind of perceptive airlock, of whether it is hearing and touch which are somehow hesitant, or whether the matter is dual. This duality, which perturbs the sensory organs, gives rise to an extra aspect of perception in the body, in which a normal sense of reality is lost to the skin and the ear and seems no longer to be fixed.
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A p t i u m (Berlin, 2004)

Aptium #01 was realised for the 2004 Kryptonale Festival, in Berlin and was presented in the Großer Wasserspeicher (Am Wasserturm, Prenzlauerberg) as part of the site-specific installation called Wipp Lounge.
Aptium is a term in the French colloquial language, referring both to physical flatness and to physical and emotional exhaustion. This sound installation brings about a perception of sound different from what is generally experienced. The participient is requested to lie in a hammock, wired in such a way as to make sounds resonate throughout his or her entire body.
Fourteen loudspeakers are positioned in the hammock, touching different parts of the extended body. In this way, the vibrations from the loudspeakers become manifest and the sounds are carried, via the bones, to the inner ear. Our most intimate space becomes a resonance body and a changing sound sculpture.
To our ears, this inner soundspace becomes linked to the sounds produced in the water tower. In contrast to the passive reception and perception of the soundspace in the hammock, the architectonic body of the watertower offers a space in which the participent has the opportunity to alter his or her viewpoint, so as to realise his or her own experience of the sounds. These two diametrically opposed soundspaces have also been used by composers Paul Modler, Henry Mex and David Monarcchi in their own 26-channel site-specific works.
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À Fleur de Peau - Soundsuit for a Body (2003)
Sound installation for 16 contact loudspeakers and 16-channel audiosystem.

This object is not designed to be looked at, rather to be felt and heard. The guest is fitted with earplugs, so as not to heard extraneous noises. Sixteen loudspeakers, without membranes, are attached to the body and then proceed to play a ten minute composition. S/he feels vibrations on the body and hears sounds coming from within.

The installation uses contact loudspeakers which, in contrast to regular loudspeakers, which are barely audible, vibrate strongly. They first become audible when attached to a resonance body. In this case, that is the body of the recipient. The sounds are carried by the bones to the inner ear. The multichannel composition means that the sounds and the vibrations which they produce are heard to be moving throughout the body.
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S l e e p e r s (Kaiserslautern, 2002)
Videoinstallation
"Kunst am Bau" award from the company tecmath in Kaiserslautern(D)

Two long objects made out of floral blankets lie around the atrium of the second and third floor of a company building. Televisions are wrapped in blankets, their screens showing a sleeping woman and a sleeping man. Occasionaly the sleepers move and change their position.
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In the Box (Berlin, 2001)
Video installation, Berlin, 2001, cardboard 50x80x170 cm, Monitor, DVD Player

A big monitor is hidden under a long cardboard tunnel, so that the visitor has to squat down, to be able to see it. On the monitor, a nude person is visible. The person is locked up in a long narrow room and explores the room she is in and the border to the room in front. Driven by curiosity, both seem to look at each other. Through the reduction of the room to the single object and the analogous posture a strong attention is created in the viewer, wich equals an intimate situation. The video takes up the role of a distorted mirror, which reflects the behaviour of the recipient.
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On and off (Berlin, 2001)
Videoinstallation, 2 Monitors, 2 DVD Players

I take my clothes off and on. My body is nude, but my trunk is not visible. It’s in between, in the empty space between the two monitors. On the upper monitor only my head and the shoulders are visible, on the lower monitor only my legs are visible, from the knees down. The space between is open to the imagination. My gaze interrogates the gaze of the viewer opposite.
It’s a game played with the viewer, it’s about display and observation, about the exhibitionist and the voyeuristic aspects of the relationship between artist and recipient.
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I Can’t Tell (Berlin, 2001)

When words fail, when communication goes awry or when you just lose the thread, you’re simply there, wanting to disappear. I clumsily play four characters with my fingers: a sexy woman, a timid woman, an old person and a drunk, who all walk disconsolately through a blanket-landscape.
(video : 10 min) for up-end monitor
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Gerade sitzen (Berlin, 2003)
Performance

This performance, inspired by the observation that we spend most of our time sitting, formed part of a larger project called "...sind im Park", realized in a public park in Berlin-Pankow.

Five chairs of different sizes (25 cm to 2.30 m) and some short texts I had written about the act of sitting were the material of the performance. I recorded myself, speaking the texts. Another element I used was radio. A second person controlled the sound. As with the children's game of "Musical Chairs", while the radio was on I moved and danced around; when the music was stopped, I ran to the next smallest chair and sat on it, whilst a text is played. When the radio starts again I stand up and move again, taking the chair witrh me. Little by little it becomes more difficult for me to move, since I am carrying more and more chairs with me. At the end I build a big tower with all the chair. while a text I wrote at the start of the war in Iraq is played. In this text I try to describe my incomprehension at the stupidity of this war, which I was barely able to follow sitting in front of a lying TV.
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Touch me (Tabor, 2002)
This sound installation was created in cooperation with Lina Faller (eggs), during the festival VIOlens in Tabor (CZ).

Two hundred hollow plaster eggs are scattered over the room. Their diameter
is between 15 and 35 cm. Six small speakers are hidden behind them. From different directions male and female voices in english or czech are heard, requesting or forbidding the touching of the objects by the audience - they whisper, threaten, shout, order, implore.The plaster eggs, perfect and fragile, fascinate and encourage touching, while liable to be crushed.Thus the eggs are gradually broken by the visitors.
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Shooting Gallery (2002)
Installation with sound in collaboration with Lina Faller.

Like in a shooting gallery, members of the public were able to shoot at plaster-eggs with plastic pistols. Small holes appeared until, finally, the object collapsed. A four-channel composition lends the piece a fairground atmosphere.
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Blindness Hide-out, Raised Up (2000)
Performance,15:00 min. video documentation

A raised hide-out allows a hunter an enlarged view on the surrounding landscape. But what happens if a blind person climbs up into it? With a video camera in my hands, pointed at my face, I climb with closed eyes up into the raised hide-out and listen to the landscape.
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Snowbags (2000)
Performance, 4:00 min. video documentation.

Three people are dressed in full-body suits, made out of white plastic bags glued together, so that the bags are open at the front and can be used as containers. On a vast snow-covered field, the performers use soup spoons to collect snow with which they fill the plastic bags.
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Umarmung (Berlin, 2000)
Foam object with wood structure, Hight: 2,30 m, Arm length: 6 m.

A monstrous, doll-like figure with exaggerated arms reaching out into the room, invites the viewer to an embrace. This gesture appears protecting and crushing at the same time.
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Sur mesure (Paris, 1998)
Fabric objects, needle, red marker, meathook, lifesize.

The empty encasements have been created directly from the bodies of five people. The suits fit the bodies so precisely, that they impede every movement made by the person.

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...sind im Park (2003)
Open-air Project

The exhibition space of Galerie Pankow was measured and their dimensions translated onto a 158 sq m (scale 1:1) wooden platform situated in the Pankow public park, between a café, open spaces and rosegardens. This "open-air" Galerie Pankow had no walls, two large trees offering protection from the sun and bad weather. The "Gallery in the Park" remained available around the clock. During five weeks this "open-air" galerie has been used by different artist.

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Neueröffnung (Frankfurt/Oder 2002)
Open-air Project

As part of the Heinrich von Kleist Festival in Frankfurt/Oder, Grit Steckmann, Susanne Weck and I daily took part in poetic interventions in Polish and German in the city center and suburbs of Frankfurt/Oder.

Project direction:  Prof Inge Mahn, Natascha Sadr-Highhighian, Olf Kreisel.
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Plume d'Ange/Angel Feather (2000)
Puppet Theater Project with "Tram-Theater".

A piece which confronts the dreamer with the gulf between reality and the truth experienced within dreams.  Video and puppets together combine to produce an almost exclusively visual drama, full of memorable and artistic images.
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L'enfant de la haute mer/Child on the High Seas (2001)
Puppet Theater Project with "Tram-Theater"

After a short story by Jules Supervielle.
All alone in a town in the middle of the Atlantic Ocean there lives a twelve-year-old girl.  This town is not shown on any map and no-one has ever seen it.  As soon as a ship comes near, the girl falls into a deep sleep and the town disappears into the sea....
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