Latest Entries
Peter de Cupere’s “Smoke Flowers” in Venice
cultural production

Peter de Cupere’s “Smoke Flowers” in Venice

A site-specific scent-installation presented at Command Alternative Escape in Venice, Italy from May 6 – 13, 2017 (curated by Natasha Pradhan):   “Peter de Cupere is arguably the most innovative olfactory artist of our time. His previous works have inspired refugees to confront and heal seated traumas; provoked estranged intimacies by inviting the public to enter into … Continue reading

#COLLABORATION
announcement

#COLLABORATION

As mentioned in our previous post, Scent Art Net will be presented at the Experimental Scent Summit in Berlin on May 5, as part of New Projects, New Ideas. As implied by the last part of the name, Scent Art Net is first and foremost a network. And the cornerstone of any network is that most ground-breaking concept: #collaboration. … Continue reading

EXPERIMENTAL SCENT SUMMIT
cultural production / roundtable / talks & presentations

EXPERIMENTAL SCENT SUMMIT

Friday May 5th, 2017 @ 11am – 7pm Silent Green Kulturquartier, Berlin Curated by Klara Ravat + Saskia Wilson-Brown Scent Art Net advisors/associates Klara Ravat & Saskia Wilson-Brown (The Institute for Art and Olfaction) are teaming up to present a full day of informal talks, round tables and workshops relating to experimental practices with scent. The first … Continue reading

Animalic Roots
cultural production

Animalic Roots

We’ve all lost touch with our humanity; or so goes the post-truth pre-Trump ‘Instabook’ millennial thesis. This proposition has even been extended to perfumery, its primal communication finding affinity for some with the notion of the ‘noble savage’. The idea that a revival in animalics is caused by the attempted rejuvenation of feeling human in a digital age is very compelling but I do not believe it to be the stimulus of animalic themes in fragrance. Continue reading

The Phenomenon of Olfactory Time
academic publication / research

The Phenomenon of Olfactory Time

Perfume is a time art in the same way that film and music are time arts. In order to qualify as perfume or film or music, each must engage its medium with transitions, displacements, and modifications that indicate a debt with time. Without time’s passing, perfume would have no means to realise itself, leaving two options: either existing as unrealised potential on the skin (or bottle, or blotter) that never reaches the nose, or pervading as an omnipresent flat sensation that never changes. Transience, development, and diffusion are absolutely fundamental to the olfactory experience. Whilst perfume has to testify to time, what kind of time and how it does so is the subject of this discourse. Continue reading

OLFACTORY EXHIBITION #4: HOW DOES EVIL SMELL?
cultural production

OLFACTORY EXHIBITION #4: HOW DOES EVIL SMELL?

10. December 2016 – 22. January 2017 Kunstmuseum Thun / Projektraum Enter During the entire year, the question ‘How does art smell?’ was approached differently in the project room enter and presented in the experimental exhibition series Olfactory Exhibition. With works from the collection of the Kunstmuseum Thun, the series devoted itself to fragrance in … Continue reading