Helga Griffiths

Verbundene Person(en)
URLsWebsite Künstler_innen

Preis2003Erster Preis LichtroutenLichtroutenLüdenscheid
Stipendium2001AIR. Artist in ResidenceAIR. Artist in ResidenceKrems, Österreich
Stipendium1999Cité Internnational des ArtsCité Internnational des ArtsParis
Preis1998Georg-Christoph-Lichtenberg-PreisLandkreis Darmstadt-DieburgDarmstadt

Einzelausstellung2914BrainscapeNevada Museum of ArtReno, USA
Einzelausstellung2018C 18"C18" , Kunstmuseum Mülheim/RuhrMülheim/Ruhr, Deutschland
Einzelausstellung2017CorssingStädtische GalerieSaarbrücken
2014 - 2015Mirror MoveKunstmuseumRavensburg
Einzelausstellung2005Helga GriffithsKunstvereinUlm
Einzelausstellung2002Out - SIGHT - InPalais de TokyoParis, Frankreich

Stadt GillelejeGilleleje, Dänemark
TBS TV StationTokyo, Japan


Arbeitsorte / Ateliers

Frankfurt am Main, Deutschland

1992 - 1994

Forschung und Lehre

Stuttgart Helga Griffiths bewegt mit ihren Wahrnehmungs- und Verständigungsexperimenten auf der Grenze von Kunst Wissenschaft. Durch ihre frühere Arbeit am Max-Planck-Institut für Festkörperforschung in Stuttgart hat sie einen freien Umgang mit wissenschaftlichen Experimenten gelernt und bezieht seit längerem Experten aus verschiedenen Fachgebieten in ihre Untersuchungen ein.

1992 - 1994
1986 - 1994


New York / Stuttgart, USA / Deutschland
1986 - 1992 Residence in New York; 1991 Bachelor of Fine Arts (summa cum laude), Rutgers Uniersity, Mason Gross School of the Arts, N.J.1992 - 1994 Post-Graduate Studies Kunstakademie Stuttgart.

1986 - 1994
- 1959


Ehingen, Deutschland

- 1959

Christian Huther Interview with Helga Giffiths
How do you relate your work to the metaphor of Planet 9?
Planet 9 is the planet which has never been observed directly but could only be detected through its gravitational field and its resulting effect on the movements of neighboring planets. My work also concerns itself with invisible forces and their effect on the behavior and patterns of movement of visitors to the exhibition space.
What kinds of subliminal influence are employed in Dark Gravity?
First of all, the configuration of the floor allows the visitor to experience the attraction, or gravitation, of unseen bodies. Each person who enters the space and watches the video projection of a flight over the landscape of my brain − the brain is viewed from the perspective of an orbiting satellite − will find that his feet are guided unconsciously to the middle of the space. A further aspect is the scent Trust, which takes effect in an invisible dimension. Oxytocin is a well−known example of a hormone that affects emotional states, but I avoid using this substance for safety reasons. Trust has similar properties and also influences the social and spatial behavior of the visitors.
Why do you develop works that not only address the visual sense, but also other, "weaker" senses which are often neglected in art, such as the sense of smell?
My work with the sense of smell began in 1991 with my thesis exhibition at Rutgers University in the USA. I realized then that, by making use of earth and patinating substances such as vinegar, my work had a powerful effect on the visitors' perception of the show: their emotions and memories were evoked directly and they reacted much more strongly to the installation. We cannot simply switch off our sense of smell or hearing − instead, we are immersed in an experience space that expands perception.
My work Observatorium (2000), which was shown at CYNETART in the Deutsches Hygienemuseum (German Museum of Hygiene) in Dresden, was an opportunity to show the "Sniffman" of RUETZ TECHNOLOGIES to the public for the first time. The "Sniffman" was a portable apparatus which was capable of storing and releasing hundreds of different odors. This installation received recognition as a pioneering work in the area of olfactory art.
What is it that interests you about the project Dark Gravity?
One aspect of this project that interests me is the question of whether we could experience the world and the cosmos differently by developing new senses − a cosmos that extends far beyond our Milky Way. With our familiar senses and modern scientific instruments, we can still only observe less than 5 percent of the entire universe; the rest is dark matter and energy, which can only be detected indirectly.
You have cooperated with scientists during the development of the scent Trust and the video animation Brainscape. As an artist, how would you describe your relationship to science? 
Before beginning to study art, I worked at the Max Planck Institute for Solid State Research in Stuttgart. My function within the institute's organization gave me direct access to scientific experiments and discussions. I met my husband there, who is a chemist, and through him, I became part of a family of scientists. That prompted my interest in subjects like astrophysics, ornithology, chemistry, microbiology, and brain research. As I began to study art, I returned to these subjects, but with an entirely different point of view from the scientists, who observe the world and people analytically, with a certain distance. I see my strength in the ability to correlate themes and theories, which seem at first glance to have nothing to do with each other. The starting point for many of my works is man, his environment, and his perception of reality. My installations are "experience spaces," in which the observer sharpens his senses − or develops new ones − and perhaps, after leaving the exhibition space, is able to experience the world and him − or herself in an expanded way.






Microclimates photo Microclimates 2008 Helga Griffiths 
Turbulent Souvenirs/Memories photo Turbulent Souvenirs/Memories 2012 Helga Griffiths