Within the framework of the Station 12, The Space brain laboratory proposes to re-evaluate our relationship with the environment through concrete practices that are inspired by a desire and will to become part of it. Founded on a vital co-existence of the multiplicity of beings that inhabit the universe, the philosophies of the Far East have found a striking resonance in the face of collective aspirations driven by the Anthropocene. Liberated from the constituting dualism of Western thought, that considers Man and Nature as distinct and separate entities, their unifying principles offer other points of reference, shifting us towards a world that is common to both human and non-human entities.

For Station 11, the Brain Space Laboratory is invited to the Center Pompidou-Metz for the exhibition Infinite Garden. From Giverny to the Amazonia. In approaching new practices and conceptions (immersion, participation, symbiosis, compositions, becoming and metamorphoses), participants and guests of the laboratory try to find the answer to the following question: What happens when the cosmos is no longer seen from Earth, but when the earth is crossed itself by the cosmos ?

From stage 1(0) on, the Lab initiates a new cycle, widening the scope of its research field in such a way as to include the organic bonds that connect man with cosmos. Issues raised by the Anthropocena are indeed a strong incentive for man to acknowledge its relative position within the life chain. (...) 

Resulting from a discussion between Yann Chateigné and Joachim Koester, The curtain of dreams. Hypnagogic visions consists of a series of incursions in research devoted to ‘visual images’ – using Henri Michaux’s expression, from whom the title has been borrowed in part –, perceived by the spirit in a state of changed awareness. (…)

Starting from Brion Gysin’s Dreamachine, Station 4 focuses on art experiments conducted on the effects of stroboscopic light and their effects on neuronal perception.

From the late 1950s, many artists put into practice new approaches to the relationship with the viewer-visitor. From an egocentred posture, which conveyed their feeling in plastic terms, they moved on to propositions of the “allocentred” type, in which the perception of the world was then as it were given to be shared, following a process whereby the “self” and the other blended together, making room for the emergence of the experience per se. (...)