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. So it is important that the Brain Space Laboratory (Station 1) should decode and re-examine these past artistic approaches in the light of contemporary artistic practices.
Above and beyond the visual effects of optical kinetic art, the often threedimensional works summoned here have generated a new relation to space through their immersive dimension, the introduction of light and movement as raw materials, and also inducing hypnotic or “waking dream” effects (appliances of Nicolas Schöffer, Brion Gysin…). In an apparently more metaphysical mode and following on from Lucio Fontana, James Turrell also undertakes the conquest of the infinite, decreeing perception to be a medium in itself.