SCENT IN CONTEMPORARY ART: An Investigation Into Challenges & Exhibition Strategies
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SCENT IN CONTEMPORARY ART: An Investigation Into Challenges & Exhibition Strategies
SCENT IN CONTEMPORARY ART: An Investigation Into Challenges & Exhibition Strategies
SCENT IN
CONTEMPORARY ART:
AN INVESTIGATION INTO
CHALLENGES & EXHIBITION
STRATEGIES
by Linda Solay
A Thesis Submitted in Partial Fulfillment
of the Requirements for the Degree of
Master of Arts & Cultural Management
at
LASALLE College of the Arts Singapore
Goldsmiths College, University of London
2012
AcknowlEdGEmEnt
I would like to thank my co-supervisors Audrey wong
and lee weng choy for their thoughtful advice and
support of my research.
my sincere gratitude goes to both the artists
and curators who shared with me their extensive
experience in most insightful interviews; namely
Robert Blackson, Peter de cupere, Jim drobnick, Erika
Ernawan, oswaldo maciá, Gayil nalls, Joyce toh, maki
Ueda and caro Verbeek.
Finally I owe deep thanks to my parents who always
fostered my critical thinking, and my ever-marvelous
partner Felipe.
PAGE ii
tABlE oF contEntS
AcknowlEdGEmEnt . . . . . . . . . . . . . . . . . . . . . . . . . ii
tABlE oF contEntS . . . . . . . . . . . . . . . . . . . . . . . . iii
lISt oF FIGURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vi
ABStRAct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x
1. IntRodUctIon . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.1. Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
1.2. Purpose of the research . . . . . . . . . . . . . . . . . . . . . .10
1.3. Significance of the research . . . . . . . . . . . . . . . . . . .11
1.4. Scope & limitations . . . . . . . . . . . . . . . . . . . . . . . . .12
1.5. definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
2. lItERAtURE REVIEw . . . . . . . . . . . . . . . . . . . . . . . 18
2.1. Experience of smell: the self, the artist, the space. .19
2.2. the use of scent throughout history . . . . . . . . . . . . .21
2.3. From the lowest sense to the white cube . . . . . . . . .23
2.3.1. Sex Stigma . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
2.3.2. class stigma . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
2.3.3. the white cube & art movements . . . . . . . . . . . .26
2.4. challenges and critique of scent art . . . . . . . . . . . . .28
2.4.1. lack of structure . . . . . . . . . . . . . . . . . . . . . . . .29
2.4.2. lack of cognitive awareness . . . . . . . . . . . . . . . .30
2.4.3. lack of language . . . . . . . . . . . . . . . . . . . . . . . .33
2.4.4. lack critical regard . . . . . . . . . . . . . . . . . . . . . . .35
2.4.5. lack of control . . . . . . . . . . . . . . . . . . . . . . . . . .36
2.5. Scent art methods . . . . . . . . . . . . . . . . . . . . . . . . . .38
2.5.1. Use of inherent odour . . . . . . . . . . . . . . . . . . . . .39
PAGE iii
2.5.2. coating/application on material surface . . . . . . .45
2.5.3. Use of closed containers . . . . . . . . . . . . . . . . . . .47
2.5.4. Use of scent dispensers . . . . . . . . . . . . . . . . . . .48
2.5.5. Use of microencapsulation . . . . . . . . . . . . . . . . .50
2.6. Possibilities and challenges of scent dispersion . . . .53
2.6.1. Scent dispensers . . . . . . . . . . . . . . . . . . . . . . . .53
2.6.2. digital scent technology . . . . . . . . . . . . . . . . . . .55
2.6.3. microencapsulation . . . . . . . . . . . . . . . . . . . . . .60
3. mEtHodoloGY . . . . . . . . . . . . . . . . . . . . . . . . . . 67
3.1. Semi-structured qualitative interviews . . . . . . . . . . .68
3.1.1. Samples for qualitative interviews . . . . . . . . . . . .69
3.1.2. Interview thematics . . . . . . . . . . . . . . . . . . . . . .70
3.1.3. Vision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
3.2. case study: “continuum of consciousness” . . . . . . .71
3.3. content analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . .73
3.4. limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
4. FIndInGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
4.1. Interview findings:
Practical experiences from artists and curators. . . . .76
4.1.1. Group exhibition strategies . . . . . . . . . . . . . . . .77
4.1.2. Flexibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
4.1.3. Air flow control. . . . . . . . . . . . . . . . . . . . . . . . . .86
4.1.4. maintenance and care . . . . . . . . . . . . . . . . . . . . .89
4.1.5. Safety considerations . . . . . . . . . . . . . . . . . . . . .92
4.1.6. Visitor experience. . . . . . . . . . . . . . . . . . . . . . . .93
4.1.7. developing acknowledgement . . . . . . . . . . . . . .94
4.1.8. Publicity and documentation. . . . . . . . . . . . . . . .95
PAGE iv
4.1.9. Funding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
4.1.10. critical discourse . . . . . . . . . . . . . . . . . . . . . . .99
4.1.11. collectability . . . . . . . . . . . . . . . . . . . . . . . . .102
4.1.12. more scent art in museums? . . . . . . . . . . . . . .105
4.2. case study findings: “continuum of
consciousness” . . . . . . . . . . . . . . . . . . . . . . . . . . .106
4.2.1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
4.2.2. observations . . . . . . . . . . . . . . . . . . . . . . . . . .107
4.2.3. Gallery sitter’s observations . . . . . . . . . . . . . . .109
4.2.4. Questionnaire results . . . . . . . . . . . . . . . . . . .110
5. conclUSIon And REcommEndAtIonS . . . . . . . 113
6. BIBlIoGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . 121
PAGE v
lISt oF FIGURES
1. “Il Vapore” (1975) by Bill Viola.
Source: James cohan Gallery
www.jamescohan.com/artists/bill-viola/selected-works-all/ . . . . . . . . . . . . 4
2. “living Galleries: Food Gallery” (2005) by wolfgang laib.
Source: momA
www.moma.org/collection/artist.php?artist_id=3342. . . . . . . . . . . . . . . . . 4
3. “Smell chess” (196~) by takako Saito.
Source: Artists’ Books and multiples
www.artistsbooksandmultiples.blogspot.sg/2012/02/takako-
saito-smell-chess.html . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
4. “Belle Haleine” (1921) by marcel duchamp.
Source: christie’s
www.christies.com/lotFinder/lot_details.aspx?intobjectId=
5157362 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
5. “olfactoscape” (2012) by maki Ueda.
Source: V2 Institute for the Unstable media
www.v2.nl/archive/works/olfactoscape . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
6. “martinete II” (2011-2012) by oswaldo maciá.
Source: oswaldo maciá
www.oswaldomacia.com/new%20martinete%20II.html . . . . . . . . . . . . . . . . 8
7. “Peppertreeduplicateballs (PtdB) - tree Virus” (2005) by Peter de cupere.
Source: It nose
www.itnose.blogspot.sg/2012/06/tree-virus-by-peter-de-
cupere.html . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
8. “Peppertreeduplicateballs (PtdB) - tree Virus” (2005) by Peter de cupere.
Source: It nose
www.itnose.blogspot.sg/2012/06/tree-virus-by-peter-de-
cupere.html . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
9. “the Fragrance of ma-I” (2009) by Goldie Poblador.
Source: todAY online - For Art’s Sake!
www.blogs.todayonline.com/forartssake/tag/philippine-art/ . . . . . . . . . . . 9
10. “ dal miele alle ceneri” (1984) by mario merz.
Source: Stedelijk museum Amsterdam
www.stedelijk.nl/kunstwerk/417-dal-miele-alle-ceneri . . . . . . . . . . . . . . . 40
11. “Just like drops in time, nothing” (2002) by Ernesto neto.
Source: Art Gallery of new South wales
www.artgallery.nsw.gov.au/collection/works/276.2002/ . . . . . . . . . . . . . 40
12. “His mother is a theatre” (1994) by Suzann Victor.
Source: todAY online - For Art’s Sake!
www.blogs.todayonline.com/forartssake/tag/suzann-victor/ . . . . . . . . . . 41
13. “Spring is on its way” (1979) by Jan Fabre.
Source: mHkA
www.muhka.be/toont_beeldende_kunst_detail.php?la=en&id=2652 . . . . 41
PAGE vi
14. “Being….. At HomE” (2009) by nipan oranniwesna.
Source: nipan oranniwesna
www.nipan2007.blogspot.com/2009/08/beingat-home.html . . . . . . . . . 41
15. “translation Vase” (2005) by Shin mee-kyoung.
Source: the women’s Room
www.thewomensroomblog.com/2011/02/27/we-saw-translation-by-
meekyoung-shin/ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
16. “Ruhe in Frieden” detail (2012) by Erika Ernawan.
Source: Erika Ernawan
Provided by the artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
17. “the SmEll of FEAR / FEAR of SmEll” (2005-2006) by Sissel tolaas.
Source: mediamatic
www.mediamatic.net/212279/en/the-smell-of-fea . . . . . . . . . . . . . . . . . . 44
18. “Ghost” (2010) by clara Ursitti.
Source: clara Ursitti
www.claraursitti.com/ghost.htm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
19. “the Smell of a critical moment” (2012) by Gayil nalls.
Source: Gayil nalls
www.gayilnalls.com/critical-moment.html . . . . . . . . . . . . . . . . . . . . . . . . 44
20. “Perfect Japanese woman” (2009) by maki Ueda.
Source: maki Ueda
scent-lab.blogspot.nl/2008/09/eau-de-parfum-perfect-japanese-
woman-no.html . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
21. “Eau claire” (1993) by clara Ursitti.
Source: clara Ursitti
www.claraursitti.com/eauclaire.htm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
22. “the Fragrance of ma-I” installation view (2009) by Goldie Poblador.
Source: todAY online - For Art’s Sake!
www.blogs.todayonline.com/forartssake/tag/philippine-art/ . . . . . . . . . . 46
23. "the opposite Is true #2. 2006" (2006) by lim tzay chuen.
Source: lim tzay chuen
www.universes-in-universe.de/car/singapore/eng/2006/tour/
city-hall/img-04-3.htm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
24. “Aire/Air” (2002) by teresa margolles.
Source: Emotional Systems
www.strozzina.org/emotional_systems/e_tm.htm . . . . . . . . . . . . . . . . . . 48
25. "Scratch & sniff the grass of the other side of the shore" (2012) by Peter de
cupere.
Source: Peter de cupere
Provided by the artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
26. "world Sensorium (First Record)" (1999-2000) by Gayil nalls.
Source: Gayil nalls
www.gayilnalls.com/world-sensorium.html . . . . . . . . . . . . . . . . . . . . . . . 50
27. Scent Beam™.
Source: Air-Scent
www.airscent.com/category-Scent-Beam.asp . . . . . . . . . . . . . . . . . . . . . . 53
PAGE v ii
28. Scentdiffusor Aircon Eco.
Source: Scentcommunication
www.scentcommunication.com/products/ambient-air/index.php . . . . . . 54
29. ScentScape (2011)
Source: Scent Sciences
www.scentsciences.com/products.html . . . . . . . . . . . . . . . . . . . . . . . . . . 55
30. iSmell prototypes (2001)
by digiscent
Source: tech-tonic
www.tech-tonic-blog.blogspot.com/. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
31. Scent Phone (2012) by ceroma ltd
Source: Jenny tillotson
www.slideshare.net/zahidtg/scent-phone . . . . . . . . . . . . . . . . . . . . . . . . 57
32. Scentsory design®prototype garment (2005)
Source: UAl Research online
www.ualresearchonline.arts.ac.uk/5467/ . . . . . . . . . . . . . . . . . . . . . . . . . 59
33. Fragrance printing samples.
Source: lipo technologies
www.lipotechnologies.com/fragrance-printing/ . . . . . . . . . . . . . . . . . . . . 60
34. Scent strip sample
Source: Reed Pacific media
www.reedpacificmedia.com/scented-media/scent-strip/ . . . . . . . . . . . . . 61
35. Gayil nalls’ laboratory (1999)
Source: Gayil nalls
www.gayilnalls.com/world-sensorium.html . . . . . . . . . . . . . . . . . . . . . . . 64
36. “miniature olfactology lab”, artwork installation (2011) by Peter de cupere.
Source: llamas’ Valley
www.lamuslenis.lt/llamas-valley-2012-02-18/ . . . . . . . . . . . . . . . . . . . . . 64
37. maki Ueda’s desk (2010)
Source: maki Ueda
www.ueda.nl/index.php?option=com_content&view=category&layout=
blog&id=98&Itemid=564&lang=en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
38. “If there ever was...” installation view 1 (2008)
Source: Reg Vardy Gallery
www.newton.sunderland.ac.uk/~vardygallery/If%20there%20ever%20
was/index.html . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
39. “If there ever was...” installation view 2 (2008)
Source: maki Ueda
http://www.ueda.nl/index.php?option=com_content&view=category&
layout=blog&id=99&Itemid=566&lang=en . . . . . . . . . . . . . . . . . . . . . . . . 78
40. living Galleries: Food Gallery installation view (2012) at the national
museum of Singapore.
Source: linda Solay
Image by author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
41. Sephora Sensorium installation view 1 (2011).
Source: the d4d
www.thed4d.com/sephora-sensorium/ . . . . . . . . . . . . . . . . . . . . . . . . . . 80
PAGE v iii
42. Sephora Sensorium installation view 2 (2011).
Source: the d4d
www.thed4d.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
43. odor limits installation view 1 (2008)
Source: Esther m. klein Gallery
www.flickr.com/photos/kleinartgallery/3292442905/in/photostream. . . 81
44. odor limits installation view 2 (2008)
Source: Esther m. klein Gallery
www.flickr.com/photos/kleinartgallery/3293261238/in/photostream. . . 81
45. If there ever was… exhibition catalogue.
Source: maki Ueda
www.ueda.nl/index.php?option=com_content&view=category&layout=
blog&id=99&Itemid=606&lang=en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
46. If there ever was… exhibition catalogue inside view.
Source: maki Ueda
www.ueda.nl/index.php?option=com_content&view=category&layout=
blog&id=99&Itemid=606&lang=en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
47. “moon Scratch Sniff” (2010) by we colonised the moon.
Source: we make money not art
www.we-make-money-not-art.com/archives/2012/08/we-colonised-
he-moon.php#.UkanAb9G-4A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
50. “continuum of consciousness” (2012) by linda Solay.
Source: linda Solay
Image by author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
51. “continuum of consciousness” exhibition scent dispenser installation
(2012) by linda Solay.
Source: linda Solay
Image by author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
52. Scent dispensers used for “continuum of consciousness” exhibition (2012)
by linda Solay.
Source: linda Solay
Image by author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
PAGE ix
ABStRAct
the purpose of this study was to investigate principal
challenges and exhibition strategies for scent art;
surveying current approaches and solutions used
and developed by today’s small, but growing number
of scent artists. Since such previously non-existent
practical information is essential for any artist seeking
to successfully exhibit their scent-based work and
institutions seeking maintain a high standard of
exhibition quality, this study focused on developing
an information framework for effective exhibition
practices in scent art, whilst simultaneously fostering
the building of awareness around scent art in principal.
whilst inherent characteristics of our limited scent
awareness and historical/sociological stigmatic
influences on our perception of scent amounted to an
understanding of underlying challenges of scent as
an artform, nine interviews were conducted with key
artists and curators in the field of scent art today to
draw from their extensive experience in the exhibition
of scent art; complemented by a case study on my
recent multi-sensory exhibition featuring scent as one
element.
Results from these enquiries revealed that practical
challenges are largely those of lack of control over
airflow with possible mixing of scents and influence
on other artworks. Solutions included working with
wall separations, low-volume dispensers, or selecting
artworks which inherently would not conflict with
one another, while further support could be given
by controlling temperature and directed airflow.
Special maintenance of scent exhibits was seen to
be required as well, yet not more complex in nature
than for more conventional works, although precise
PAGE x
instructions for such were deemed as essential due
to the lacking knowledge among gallery staff on the
handling of odourous artworks. the acknowledgement
and awareness of scent art also proved to be minimal
among both art certifiers and audience, which calls
for a dedicated, further development of the artform.
Such could also be supported by an increasing use of
micronecapsultated “scented” material for publicity
and documentation, to boost scent artist’s presence in
contemporary critical discourse.
conclusively, scent art’s variety in construction and
materials precedes equally different strategies for
dealing with the inherent challenges of scent diffusing
in air, whereas education about such approaches is
crucial for both artist, curator and art manager.
Although within a scope or reasonable manageability,
uninformed experimentation would present various
risks such as excessive odour spread or degeneration
of a purchased artwork. with our conditioning
being that of hesitation and threat towards
unknown smells, coupled with our neurologically
underdeveloped olfactory attention, the growth
and further development of scent art benefits from
increased exposure to and awareness of this young
medium’s particular characteristics, requirements and
possibilities.
PAGE xi
“
When nothing else subsists
from the past, after the people
are dead, after the things
are broken and scattered…
the smell and taste of things
remain poised a long time, like
souls… bearing resiliently, on
tiny and almost impalpable
drops of their essence, the
immense ediice of memory.
- Marcel Proust
1
1. IntRodUctIon
1.1. Background
In our fast-paced, hyper-real society of today, the longing for the total
experience might be at its greatest point since the Renaissance. Paradoxically,
by the means of continuous indoor living, entertainment through an endless
stream of gadgets, and re-calibration of our sensory palette via synthetically
created input, it is as if our increasing seclusion from nature’s natural
stimulation of the senses is taking an indirect backlash; causing us to seek the
all-immersive simulation of reality.
notably, museums are recognising the potential that varied sensory stimuli
carries for visitor engagement, such as in Singapore’s national museum
Living Galleries: Its food section, for example, provides an atmospherically
lit display of cooking items and artificial food ingredients, coupled with the
continuous sound of kitchen activity playing in the background. A large video
projection features footage of cooking pot contents during their preparation
process, and lastly, in addition to manually released scent dispensers
providing smell samples of individual ingredients, a faint odour reminiscent
of kitchen smells is diffused in the gallery air.1 In an experience-hungry
society, any thing, may it be material or immaterial, must provide immediate
1 “Singapore living Galleries – Food,” national museum of Singapore, http://www.nationalmuseum.sg/
Exhibitiondetail.aspx?id=2&cat=1 (accessed october 1, 2012).
PAGE 2
I n t R o dU c t I o n
involvement and participation for it to maintain its attractiveness. Seeking
to improve engagement strategies for their audiences, gallery tour guide
and workshop facilitator tessa Reijnders also notes how museums are eying
towards the artists themselves, eagerly anticipating their increased use of
media outside of the traditional realm. 2 with contemporary art increasingly
moving towards highly conceptual practices, today’s exhibition spaces
simultaneously aim to bring interactive experiences to new heights and to fill
the demand of today’s art patron for the “awakening of the senses”3, moving
from the contemplative to the interactive, the mental to the sensory and the
traditional to the innovative.4
As outlined in Pulh’s, marteaux’s and mencarelli’s 2008 study of consumer
trends in cultural institutions, “people are able to feel things more vividly
through their bodies than through their minds” and are increasingly looking
to be immersively involved in an artwork, rather than just be an external
spectator. As immersion is a powerful tool to engage visitors whilst aiding
their establishment of an opinion on the artwork, it is bound to become a
significant stronghold of today’s audience development practices; the path
for a future full-spectrum sensorama experience clearly lying ahead.
Strangely enough it is our most primal sense however, the sense of smell,
which is still largely overlooked both by major art institutions and the
artists themselves; making it a niche artistic medium full of potential: Scent
receptors in our nose connect right to the limbic system, the oldest part of
the brain, for processing.5 However, as the limbic systems operates almost
entirely independently from our cerebral cortex, a central hub in our brain
also allowing for will and decision, our sense of smell leaves us defenseless,
unable to intervene in our olfactory experience through logical thought,
will or reasoning6. As we smell, we react; usually based on memories stored
in the deepest corners of our subconscious, 7 or by shaping new neural
2 tessa Reijnders, “Snuffelen aan olfactieve kunst”, Tijdschrift KM, January, 2008, http://www.tijdschrift-
km.eu/65/geru.html (accessed may 2, 2012)
3 mathilde Pulh, Severine marteaux, and Remi mencarelli, “Positioning Strategies of cultural Institutions:
A Renewal of the offer in the Face of Shifting consumer trends,” International Journal of Arts
Management 10, no. 3 (2008), 6–7.
4 Janet marstine, New Museum Theory and Practice: An Introduction (wiley-Blackwell, 2005), 135.
5 Patrick nef, “How we Smell: the molecular and cellular Bases of olfaction,” Physiology 13 (1998): 1–5.
6 Rhawn Joseph. “olfactory limbic System,” In Neuropsychiatry, Neuropsychology, Clinical Neuroscience. 3
ed.(new York: Academic Press, 2000)
7 diane Ackerman, A Natural History of the Senses, 1st Vintage Books ed. (new York: Vintage Books, 1991), 11.
PAGE 3
1. “Il Vapore” (1975) by Bill Viola.
1 2 Source: James cohan Gallery
www.jamescohan.com/artists/bill-viola/selected-works-all/
2. “living Galleries: Food Gallery” (2005) by wolfgang laib.
Source: momA
www.moma.org/collection/artist.php?artist_id=3342
PAGE 4
3. “Smell chess” (196~) by takako Saito.
3 Source: Artists’ Books and multiples
4 www.artistsbooksandmultiples.blogspot.sg/2012/02/takako-saito-smell-chess.html
4. “Belle Haleine” (1921) by marcel duchamp.
Source: christie’s
www.christies.com/lotFinder/lot_details.aspx?intobjectId=5157362
PAGE 5
I n t R o dU c t I o n
connections through linking the currently perceived reality to the newly
discovered scent8.
In this light the associative power and immediacy of emotional impact of scent
becomes obvious, and hence it is surprising to see how only an utmost low
number of contemporary artists today are working with scent in order to more
effectively convey their artworks’ concept and subject matter. more artists are
engaging with new mediums such as sound art, particularly since artists like
John cage pushed our understanding of sound and randomness whilst notably
also having made significant contributions to trans-sensory artwork through
his development of graphic scores.9 other sound-video artists, such as Ryoji
Ikeda, also started creating physical experiences facilitating sound and sight;10
further exploring the realms of cross-sensory perception. Such increasing
recognition of inter media’s direct and communicative power coupled with
aforementioned current trends of immersive audience engagement - not
only in museums, but most exhibition spaces from community art centres to
commercial art galleries- could provide a most fertile ground for furthering
the development and practice of scent art; using our lost sense to support a
holistic perceptive experience of contemporary art.
Some major art institutions have already begun to embrace scent as a
relevant art medium, such as locally the Singapore Art museum by exhibiting
Goldie Poblador’s Fragrance Of Ma-I, a collection of scents associated to her
Filipino home11 or oswaldo maciá’s work Martinete II showing at this year’s
manifesta 9 in limburg, Belgium12.
the phenomenon of artists using scent in their practice is not new however,
and took its first notable upswing in 1921, when marcel duchamp created
the satirical tongue-in-cheek perfume Belle Haleine – Eau de Voilette13 (which
8 Jean-marc Fritschy, “Advanced course in neuroscience: the olfactory System” (neuroscience centre
Zurich, march 14, 2011), 11, http://www.neuroscience.ethz.ch/education/handouts_advanced_
course/olfactory_system_handout.pdf.
9 John cage, and Jeremy millar, Every Day Is a Good Day: The Visual Art of John Cage (london; new York:
Hayward Publishing, 2010)
10 Ryoji Ikeda, Ryoji Ikeda Home Page, http://www.ryojiikeda.com/ (accessed november 14, 2012).
11 Singapore Art museum, thrice Upon A time: A century of Story in the Art of the Philippines Exhibition
catalogue (Singapore, 2009)
12 “martinete II,” oswaldo maciá, oswaldo maciá Home Page, http://www.oswaldomacia.com/new%20
martinete%20II.html (accessed September 2, 2012).
13 “the olfactory dimension of duchamp’s ‘Belle Haleine’,” caro Verbeek, olfactory Art, July 22, 2011.
http://www.olfactoryart.net/index.php/olfactory-news/14-olfactory-news/99 (accessed September 2,
2012).
PAGE 6
I n t R o dU c t I o n
in 2011 was auctioned off for 11m US dollars14) and later filled a room with
burnt coffee grounds as part of a 1938 Surrealism exhibition in Paris15. with
the exception of Aldous Huxley describing an olfactory concert in Brave
new world in 193216, the next wave of scent artworks came in the late
1960’s: takako Saito created Smell Chess, a set of chess with bottle-shaped
pieces containing different scents of spices in 1965, whereby the players
had to smell the pieces before deciding their moves17. In 1975, Bill Viola
presented Il Vapore; a video installation of a woman dropping leaves into
a pot of boiling water, with an actual cauldron of boiling eucalyptus leaves
emanating its smell throughout the exhibition space18. these exhibitions,
and also wolfgang laib’s Passageway of 198819 consisting of beeswax
chambers made to create an aromatic ambiance of trust and comfort, set
the initiative for a new generation of artists to pursue scent in their artistic
practice. However, according to my findings, until today there are not many
more than sixty artists who have received notable acknowledgement for their
scent artworks or practice (see Appendix A for list of artists). It is notable
that in an artistic climate which encourages audience engagement and
immersion more than ever before, with a history of notable artists having
explored olfactory perception, and importantly, equipped with technological
and scientific advances which makes the medium of scent more accessible,
there is still no development of dedicated exhibition strategies for scent
art, despite it requiring an altogether different handling and consideration
compared to more traditional media.
14 “Sale 1209 / lot 37 marcel duchamp,” christie’s, September 2, 2012. http://www.christies.com/
lotFinder/lot_details.aspx?intobjectId=5157362 (accessed September 1, 2012).
15 caroline cros. Marcel Duchamp. (london: Reaktion, 2006), 100.
16 Aldous Huxley, Brave New World (new York; london: Harper Perennial modern classics, 2006).
17 midori Yoshimoto, Into Performance : Japanese Women Artists in New York (new Brunswick, n.J.:
Rutgers University Press, 2005), 127.
18 “Bill Viola - Selected works,” James cohan Gallery, http://www.jamescohan.com/artists/bill-viola/
(accessed September 2, 2012).
19 “wolfgang laib, the Passageway,” momA, 2010. http://www.moma.org/collection/browse_results.
php?object_id=81801 (accessed September 2, 2012).
PAGE 7
5. “olfactoscape” (2012) by maki Ueda.
5 Source: V2 Institute for the Unstable media
www.v2.nl/archive/works/olfactoscape
6. “martinete II” (2011-2012) by oswaldo maciá.
6 Source: oswaldo maciá
www.oswaldomacia.com/new%20martinete%20II.html
PAGE 8
7. “Peppertreeduplicateballs (PtdB) - tree Virus” (2005) by Peter de cupere.
7
Source: It nose
www.itnose.blogspot.sg/2012/06/tree-virus-by-peter-de-cupere.html
8 8. “Peppertreeduplicateballs (PtdB) - tree Virus” (2005) by Peter de cupere.
9 Source: It nose
www.itnose.blogspot.sg/2012/06/tree-virus-by-peter-de-cupere.html
9. “the Fragrance of ma-I” (2009) by Goldie Poblador.
Source: todAY online - For Art’s Sake!
www.blogs.todayonline.com/forartssake/tag/philippine-art/
PAGE 9
I n t R o dU c t I o n
1.2. Purpose of the research
caro Verbeek, an art historian and curator at the Rijksmuseum in Amsterdam
and an expert in the field of scent art puts it clearly: “museums aren’t
designed for containing, controlling and dispersing different scents”20.
Exhibition spaces principally handle scent-based works with similar care
as any other more traditional media, which naturally can lead to less than
optimal outcomes; a status quo which has led scent artist Peter de cupere to
routinely include a clause in exhibition contracts defining the minimum scent
molecule density value which must be maintained inside the exhibition space
at any given time - otherwise he will have the installation removed21. Beyond
architectural considerations such as airflow and wall separations, this also
indicates a certain lack of education about the presentation requirements of
scent art, even among art professionals.
An extreme example is that of clara Ursitti’s scentsorship in which a gallery
director attempted to tune down the exhibition scent, yet without Ursitti’s
consent. It turned out that the director, despite being enthusiastic about the
idea, felt the smell would be too strong for the public.22
with new York’s museum of Arts and design opening its first exhibition titled
The Art of Scent, 1889–2011 curated by former nY times Perfume critic
and now curator of olfactory Art chandler Burr in late november this year23,
due attention and care is given to perfume and its importance to society
throughout history. can this, however also direct us towards an increased
openness and respect for scent as an artistic medium, capable of conveying
both message and meaning?
with scent being a most powerful sense, its potency in delivering artistic
concepts relies on adequate presentation strategies for exhibition spaces,
whether museums, community art centres or commercial galleries. with
practical and technical information on the optimisation of a particular scent
set-up, conventional spaces can be fitted to accommodate for such in a most
efficient manner, without compromising odour distribution and hence also
visitor experience.
20 caro Verbeek, Interview with Linda Solay, (Amsterdam-Singapore via Skype, may 20, 2011)
21 Peter de cupere, Interview with Linda Solay, (Antwerp-Singapore via Skype, may, 2012)
22 Jim drobnick, “Scents of a woman: clara Ursitti,” Tessera - The Senses/Les Sens (2002): 90.
23 “Perfume as an Art Form at museum of Art and desig,” carol kino, New York Times, march 16, 2011.
http://www.nytimes.com/2011/03/17/arts/design/perfume-as-an-art-form-at-museum-of-art-and-
design.html?_r=0 (accessed April 2, 2012).
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I n t R o dU c t I o n
As, according to my knowledge, no research has been done to date to survey
existing scent art exhibition strategies, little is known about such in the
art industry, and it appears as if each makes their own (sometimes fateful)
assessments and decisions through trial and error.
therefore this study aims to provide a survey of principal strategies and
challenges in the exhibition of scent art, outlining practical and conceptual
factors critical to artists’, curators’ and exhibition managers’ successful
scent-related practices.
Research questions:
1. what practical, technical and conceptual challenges do artists and
curators experience in scent exhibition and preservation?
2. How are such challenges dealt with and what are current solutions?
to encourage practice and exhibition of more scent-based art, it is essential
develop comprehensive knowledge on current methods for exhibiting,
preserving and documenting scent-based art; aiding its growth to a greater
presence in exhibition spaces and the art market.
looking towards the future we can expect a significant increase in the
exhibition of more widely sense-stimulating artworks, also including
the sense of smell. For this we require the collation and organisation of
strategies, in a similar vein as for more traditional media, to optimise
the artwork and exhibition quality, audience experience and artwork
preservation for the art world’s generation of tomorrow.
1.3. Significance of the research
Principally this research aims to act as an information reference framework
for arts professionals, whether curator, exhibition manager or artist, in
order to support their venturing into further engagement with scent art. As
an outline of current practices, options and challenges, it seeks to offset
insecurity and doubt in regards to the practicalities and even effectiveness
of exhibiting scent-based works. Ideally the information contained would
also inspire arts professionals with no prior interest in olfaction as an
artistic medium to further explore such, with a comprehensive presentation
PAGE 11
I n t R o dU c t I o n
of current scent art practitioners to reference. Specifically however, the
following significance can be noted:
Curators / exhibition managers
• Effective planning of solo or group exhibitions, whilst understanding
both the artworks’ and the exhibition space’s limitations
• Avoidance of unnecessary/unplanned errors in scent retention and
distribution
• Greater knowledge of the field’s scope when pitching exhibitions to
superiors
• Assurance of visitor safety and delivery of proposed visitor experience
• Increased community engagement, including potentially increasing
exhibition attendance through presenting more interactive art for
immersive art experiences
Artists
• Better overview of options available for the creation of scent-based
artworks
• Increased awareness of conditions to make works archivable and hence
establish/preserve their value
• Realistic assessment of exhibition venues’ capabilities
• Effective knowledge-sharing with their curators and exhibition managers
Audience
• Increased interest in and awareness of contemporary art in general
• Broadening of understanding about current creation methods in
contemporary art
• Renewed relationship to their sense of smell
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I n t R o dU c t I o n
1.4. Scope & limitations
the research will examine current practices for the exhibition of
contemporary scent-based art as detailed above and will hence not include
the following:
Outdoor scent-based artworks
Artworks placed in the open are much harder to conceptualise and control
due to the lack of scent containment and natural wind movement. Hence
there is not any noteworthy development in the field of outdoor scent works
at this time.
Scent performances
the practice of featuring scent in live performances of varying kinds, such
as in maki Ueda’s Sukebeningen24 or Peter de cupere’s Sweat25, has seen
some experimentation to date, yet the management of scent diffusion in
notably larger spaces with great visitor numbers requires vastly different
consideration in regards to technique and processes, which hence, due to
time constraints, lie beyond the scope of this thesis.
Perfume display
Although perfume is traditionally considered an artform, it is not in the
context of this thesis due to its production for sensory enjoyment rather
than conceptual engagement. with a heritage of perfume being distributed
in bottles, perfume exhibitions or displays are generally presented in this
format as well. this, as outlined further on, is the most straight-forward
and easily managed method, which is only occasionally used by some few
scent artists, particularly in the earlier phases of their artistic practice (such
as Poblador, Ueda and Ursitti). As it would most likely not provide any
significant additional information on exhibition practices as currently already
explored by artists, this topic has been omitted from the scope of the thesis.
24 “Sukebeningen Performance,” Maki Ueda, Maki Ueda Home Page, http://www.ueda.nl/index.
php?option=com_content&view=category&layout=blog&id=104&Itemid=593&lang=en (accessed
September 2, 2012).
25 Barbara Pollack, “Scents & Sensibility,” ARTnews, march 2011, 94.
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I n t R o dU c t I o n
Education strategies for scent art
Audience education is a vast subject of its own, and with the recent trend
towards increased audience engagement in the arts, a lot of research is being
done to optimise such. However to make valid suggestions for educational
strategies aimed at potential scent art audiences, it would require a much
deepened understanding of pedagogics, patron relations, and audience
building, which are both too vast as well as specialised to fit into the scope
of this study. As such it is still an integral part of supporting scent art in
becoming more known and accepted in the art and public world, it would
present a suitable subject for further research.
Curatorial concepts for scent art
originally meant to be included in this thesis, curatorial considerations
specifically for scent art were omitted from further research as little useful
information could be gathered to date. with scent art being a young medium,
presumably it requires more continuous exposure on the art market for
intellectual analysis to develop such medium-specific concepts of inquiry
and meaning-making. Subsequently no existing literature was to be found
on curatorial theory on scent art either, and to do enough solid research
in this field to establish scent-dedicated approaches to curation clearly lies
beyond the scope of this thesis. As above, since it is indeed a crucial element
for scent art to be regarded seriously by both certifiers, creators and the
audience, it would present a most suitable subject for further study.
1.5. definitions
Scent art
Scent art, or olfactory art, refers to artwork which uses a distinctive element
of scent to convey its meaning. Such a scent element may be (a) the sole
component of the artwork with no other elements visible or audible in the
exhibition space, (b) be the major component of the artwork, with individual
tangible/audible elements supporting it, or (c) be a supporting (albeit still
integral) element of the artwork which aims to further emphasise the artist’s
concept by complementing the main visible/audible components. the last
category raises the question whether any installation or sculpture containing
PAGE 14
I n t R o dU c t I o n
scent subsequently can be defined as “scent art”, irrespective of the smell
element’s conceptual weight. At what point does an installation artwork
become a scent artwork? In part due to the lack of critical discourse such has
not yet been further defined, and although this question will not be debated
here, I prefer to define scent art as any art in which smell carries a most
essential role in delivering the artwork’s concept.
lastly, it is important to note that for the sake of this study, perfume is not
considered to be scent art, as it is designed for sensory enjoyment rather
than intellectual or emotional audience engagement, and is principally
marketed as a commercial commodity.
Artist
For this study, the term artist refers to a person creating the idea and
concept of an artwork featuring scent, even is she may not necessarily create
the scent herself. the artist is hereby also seen as the overall manager of
the artwork creation process, of which the actual fabrication of scent may
just represent one part. the latter may be outsourced to a perfumer, whose
trade is to “produce or sell perfumes”26. Frequently the artist creates works
in collaboration with a perfumer by guiding him based on her wishes for the
character of the scent.
Diffusion
For this study, the term diffusion refers to the process of deliberate scent
distribution in an exhibition space. Such scent dispersion may be achieved
through the use of spray dispensers, wall coatings or other methods
(as outlined in the following chapters), and aims at spreading a select
odour either one-directional (for individual detection) or omni-directional
(for general detection). Scientifically, diffusion marks “the movement of
[…] molecules from an area of higher concentration to an area of lower
concentration”27, after which they slowly lose their potency, hence causing
the ephemerality of any scent effect.
26 “definition of perfumer,” oxford dictionary, http://oxforddictionaries.com/definition/english/
perfumer?q=perfumer (accessed September 2, 2012).
27 “definition of diffusion,” the American Heritage Science dictionary, http://www.thefreedictionary.com/
diffusion (accessed September 2, 2012).
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I n t R o dU c t I o n
Volatility
the term volatility refers to molecules’ high evaporation rate at room
temperature and regular air pressure; mixing readily with the surrounding
air.28 Scents are generally described as volatile and are kept in sealed
containers to minimize loss. when creating scent art, the scent’s degree of
volatility is of importance to maximize its detectability even after prolonged
exhibition periods.
Audience
For this study, the term audience refers to people with a distinct interest in
contemporary art, and who hence may also become exhibition visitors. It
does not include people who have not much care for art in general, or show
principally no interest in visiting contemporary art exhibitions. therefore
audience members include both people with and without prior experience of
scent-based artwork.
28 “definition of volatility,” the American Heritage Science dictionary, http://www.thefreedictionary.com/
volatility (accessed november 14, 2012).
PAGE 16
“
For exhibits to go beyond
the visual presentation of
objects, and engage with the
other senses, is to venture
into the dynamic realm of
becoming, rather than the
static domain of being.
- Jim Drobnick
l I t E R A t U R E R E VI E w
2
2. lItERAtURE REVIEw
the factors influencing challenges of and strategies for scent art today are
manifold and multi-layered, ranging from historical connotations and avant-
garde developments, over classical/pre-contemporary critique to practical
challenges of exhibition and technology.
the investigation of the relationship between the self and odour acts as
a foundation for comprehending the aims and reasons for using smell as
an artistic medium, whereas placing it in the appropriate historical and
sociological context enables us to understand underlying heritage and
stigmata which may affect our subliminal relationship to scent until today.
An outline of our interaction with and inherent properties of odour provides
essential background information relevant for the conceptual understanding
as well as practical implications of working with scent as an artistic medium;
some of which has also resulted in critique against its artistic validity.
A following categorised survey of artists working with scent today aims
to present a framework and mapping of practices; enabling us to better
understand the characteristics of various forms of creation, seeing the
aforementioned challenges in context, and to facilitate the discussion of
exhibition practices in the findings of chapter 4.
lastly, technical means of dispersing scent into a space are diverse in scope,
characteristics and possible application, wherefor an outline of current and
growing technologies aims to describe the tools of artists working with non-
inherently scented materials (such as soap etc). All artists and institutions
PAGE 18
however can equally benefit from new digital and print technology for the
publicity and documentation of scent art, which can be seen as essential for its
growth to greater common awareness, acknowledgement and prominence in
museums.
due to the virgin nature of the subject of research and multitude of
impactful factors, the following sections aim to serve as introductory outline
of essential considerations and encourage lateral comprehension.
2.1. Experience of smell: the self, the artist, the space.
Scent has the most potent capacity to evoke autobiographical memories,
emotion and sensations long lost; triggering involuntary reminiscence
by connecting us to our subconscious memory since childhood days.29
dubbed the “Proust syndrome”, as marcel Proust first brought it to public
attention through his elaborate description of such experiences, an odour
can suddenly evoke a strong sense of a time and space passed long ago, no
matter if encountered accidentally or deliberately30 like “a computer program
always running in the background”.31 our perception of and reaction to
scent stimuli is continuous as we must breathe and further cannot willfully
choose to not react to or subconsciously interpret olfactory stimuli. Such
immediacy in sensation stands in stark contrast to the distance and
detachment commonplace particularly in visual arts;32 “being performative
and interactive, both [the scent artwork] and we are transformed in the
process of inhalation”.33 Hence scent art also presents the opportunity for an
increased level for self-reflection; both personal as on the very act of sensory
perception, the difference in interpretation from one person to another, and
the utilisation of our bodies.34 no matter how reduced or explosive a scent
29 margaret morse, “Burnt offerings - Body odors and the olfactory Arts in digital culture”, (ISEA2000,
Forum des Images, Paris, december 10, 2000)
30 J. douglas Porteous, “Smellscape,” in The Smell Culture Reader, ed. Jim drobnick (oxford; new York:
Berg, 2006), 101.
31 “Art exhibition is a feast not for your eyes, but your nose,” New Castle News, may 25, 2006, http://www.
ncnewsonline.com/features/x681188491/Art-exhibition-is-a-feast-not-for-your-eyes-but-your-nose
(accessed April 14, 2010)
32 Jim drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary
Art,” Parachute 89, no. winter (1998): 14.
33 Jim drobnick and Jennifer Fisher, “Perfumatives: olfactory dimensions in contemporary Art,” The Aroma-
chology Review VII, no. 1 (1998): 4.
34 Patchen Barss, “Art that’s led by the nose,” National Post, June 15, 2000, A17.
P A G E 19
l I t E R A t U R E R E VI E w
work may be, it will certainly be most revelatory, yet less about its subject
than about ourselves and our relationship to the world around us.35 Blurring
the distinction between perception and the perceived, both are united in the
urge to lose oneself and become the other. “when we see we remain what we
are; but when we smell we are taken over by otherness”.36
this corporeally triggered effect transforms the role of the artist from the
autonomous creator to a suggester of influence, drawing out a full spectrum
of odourous, polysemic potential beyond our common simplistic dichotomy
of fragrance and stench.37 Furthermore today new molecular combinations
can be crafted outside of nature’s natural occurrences. confusion, alarm,
intrigue or captivation - how will these unprecedented smells affect us, and
what kinds of new associations may be built?38
Both for the exhibition venue and the artist the objective is to have
visitors feel as if they are inside the artwork; making the experience more
“immersive and conversational than passive and professorial”. Particularly
for museums such approaches will prove crucial to connect to generations
raised on distanced instant internet information.39 Artworks can now be
encouraged to establish territory rather than place in a gallery space40, and
while odour is shared with everyone in immediate proximity, it becomes an
associative-private and receptive-collective experience all at once.41 therefore
artists engaging with the volatility and pervasiveness of odour tend to seek
a vehement and immediate visitor involvement; breaking with traditional
expectations about restriction and permanence.42 Such potency yet
elusiveness of scent displays most diverse potential for artistic creation also
through its both/and or neither/nor status;43 leaving the inhaler questioning
and reflecting, immersed in the process, seeking neither goal nor answer.
35 caroline A. Jones, ed., Sensorium: Embodied Experience, Technology, and Contemporary Art, 1st mIt
Press Ed. (the mIt Press, 2006), 102.
36 max Horkheimer and theodor w. Adorno, dialectic of Enlightenment (new York: continuum, 1989),
184.
37 Jim drobnick, “Inhaling Passions: Art, Sex & Scent,” Sexuality & Culture (2000): 52–53.
38 Ewa wisten, “HeadSpace: on Scent as design”, Seed Magazine, march 23, 2010
39 marstine. New Museum Theory and Practice: An Introduction, 141.
40 Brian o’doherty and thomas mcEvilley, Inside the White Cube: The Ideology of the Gallery Space, 1st ed.
(University of california Press, 2000), 27.
41 dennis d. waskul and Phillip Vannini, “Smell, odor, and Somatic work: Sense-making and Sensory
management,” Social Psychology Quarterly 71, no. 1 (2008): 55.
42 larry Shiner and Yulia kriskovets, “the Aesthetics of Smelly Art,” the Journal of Aesthetics and Art
Criticism 65, no. 3 (2007): 278.
43 drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary Art,” 15.
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l I t E R A t U R E R E VI E w
2.2. the use of scent throughout history
the utilisation of scent for human self-expression is certainly not a new one,
albeit fragrance was used primarily in spiritual or religious rituals or for
personal beautification, and not as a sole-standing artform.
Ancient usages of scent range from burning incense in mesopotamia as
offerings to gods in order to sweeten the smell of smoldering animal flesh
during sacrifices, over Amazonia sage-scented skirts, to modern Victorian
ladies ingesting a few drops of violet oil to freshen their breath. the first
commoditisation of scent evolved during Egypt’s Golden Age, particularly
under the reign of Queen Hatshepsut (1508-1458 Bc) who levered fragrance
from an exclusively ritualistic use to a personal one, whilst also discovering
enfleurage, the pressing of aromatics into fatty oils.44
during the European middle Ages the burning of witches, heretics and
traitors also facilitated the revelation of the “malodours of their crimes”,
whereas during the late Renaissance perfume was used to sweeten the
stench of feces in the Palace of Versailles, before the hygiene revolution
of the 19th century moved perfumes out of pharmacies and into cosmetic
shops.45 where living spaces inside a residence used to be less segregated
in use due to a mere lack of space, now they became separate rooms even
for commoners46 and were assigned their individual smells associated with
kitchen, toilet and dressing, all of which were not to mix.47 As the personal
body space became cleared of unwanted odours, it could increasingly be
filled with the scent of potions and perfume, defining hierarchy and status.48
Both hierarchical and racial discrimination based on odour has been common
throughout the centuries and stubbornly remains until today, whether
between musty aboriginal tribes and sour-smelling colonialists, or European
urban youth and Afro-Indian immigrants.49 50 51
44 diane Ackerman, A Natural History of the Senses (new York: Vintage Books, 1991), 55–59.
45 constance classen, david Howes, and Anthony Synnott, Aroma: the cultural History of Smell (london,
new York: Routledge, 1994), 51–92.
46 Filip luyckx, the collector’s House Exhibition catalogue (St.-lucas Stichting Brussels, 2003)
47 caro Verbeek, “kunst Inhaleren - Het Gebruik Van Geur in Hedendaagse kunst” (University of
Amsterdam, 2003), 10.
48 Ibid., 17.
49 constance classen, “the odor of the other: olfactory Symbolism and cultural categories,” Ethos 20, no.
2 (1992): 133–166.
50 Benjamin Aldes wurgaft, “Incensed: Food Smells and Ethnic tension,” Gastronomica: The Journal of Food
and Culture 6, no. 2 (2006): 57–60.
51 Alain corbin, The Foul and the Fragrant: Odor and the French Social Imagination (cambridge, mass.:
Harvard University Press), 1986.
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l I t E R A t U R E R E VI E w
However scent still also carries deep societal and spiritual significance among
indigenous tribes in new Guinea, colombia, Senegal, the Andaman Islands
and others, which has resulted in unique codes of smell classification and
interpretation for each tribe. Here smell recognition and assessment is part of
daily life not only for geographical orientation and food preparation, but for
the identification of individual, class and tribal personality, the selection of a
mating partner, and for the transmission and interpretation of messages from
spirits and gods.52
today scent possesses a wider range of use in the western world than ever
before - from scented car interior fittings, over the smell of freshly baked
bread being dispersed into shopping malls, 53 to the promotion of alleged
human pheromones.54 there having been important scientific findings,
including that of “lock and key” odourant receptors by Richard Axel and
linda Buck which was awarded the nobel Prize in 2004,55 yet scientific
debate on the functioning of smell perception is ongoing: Alternative models
include that of a vibrational theory for scent molecules’ recognition, as
proposed by luca turin.56As research is still striving for answers on how
exactly smell stimuli triggers the reaction it does, how the brain synthesises
such information into a coherent smell-picture and why will-based thought
is easily interrupted by smells,57 the critique and limitation of scent as an
artform is less neurological than associative and conceptual in nature:
Given our sense of smell being evolutionarily the oldest of all senses, and
the one still most closely related to our sense of health and well-being (in
food selection and indication of disease), it is surprising to see the degree of
rejection it has received throughout the centuries, as will be outlined in the
following paragraphs.
52 classen, Howes, and Synnott, Aroma: The Cultural History of Smell, 97–122.
53 G. neil martin, “Smell: can It Be Used to Influence Behaviour?” RSA Journal 147, no. 5490 (1999): 82–83.
54 Bijal trivedi, “the Hard Smell”, New Scientist, december 15, 2006, 36-39.
55 “Press Release: the 2004 nobel Prize in Physiology or medicine,” nobel Assembly at karolinska
Institutet, nobel Prize, october 4, 2004. http://www.nobelprize.org/nobel_prizes/medicine/
laureates/2004/press.html (accessed September 24, 2012)
56 luca turin, “A Spectroscopic mechanism for Primary olfactory Perception,” chemical Senses 21, no. 6
(1996): 773-791
57 Rachel S. Herz, “Scents of time,” The Sciences (2000): 34–39.
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2.3. From the lowest sense to the white cube
In the western world the sense of smell has undergone exceptional scrutiny
from a variety of perspectives, whereas those of aversive sexuality and
class distinction feature most prominently in our subconsciously hoarded
preconceptions even until today. Even for most liberal thinkers smells of
sweat and other bodily secretions evoke associations of dirtiness, whether
in a literal or metaphorical sense, when passing by a supposed immigrant
or sex worker. the taboo of smell was only reconsidered by the avant-garde
art movements of the early 20th century, who pioneered the acceptance and
active use of smell parallel to the peaking hygiene revolution.
2.3.1. Sex Stigma
with sexuality being principally already a taboo subject in itself, it comes
to no surprise that perfumers tend to fiercely guard their compositions - in
actuality many contain diluted approximations of sweaty, urinous or fecal
odours.58 despite our obsession with the ideal of complete inodourateness
it must be acknowledged that our bodies are designed to produce
excretions characteristic of each person’s olfactory code: Every bodily
secretion (exception for tears) carries a unique fragrance. Such awareness
raises complex issues of how body perception is socially regulated in our
odourphobic societies, with natural body odour suggesting transgressive
notions of both sexuality and pleasure.59
this trend experienced a significant upswing over a century ago when Richard
von krafft-Ebing took a particular interest in odours and declared olfactophilia
to be the condition of anyone with more than a passing concern for odour.
Pronounced attraction to smells, particularly when related to sexuality,
was considered a sign of dementia, disease and degenerescence.60 In 1942
Havelock Ellis reassured that if one should experience any sign of fragrance
infatuation, this was not to be seen as any acute risk as most people would fall
under the influence of smells occasionally, even if they were not the “olfactory
type”. the latter was explicitly described as neurasthenics, or peculiar and
abnormal persons (i.e. poets or artists), sexual inverts, and people living in
58 trygg Engen, Odor Sensation and Memory (new York: Praeger, 1991), 73.
59 drobnick, “Inhaling Passions: Art, Sex & Scent,” 44.
60 Richard von krafft-Ebing and Franklin S. klaf, Psychopathia Sexualis (new York: Bell Publishing company,
1965), 44.
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tropical climates.61 Sigmund Freud moved even beyond such grave stigmatism
by declaring that smell was not only the least essential for survival and quality
of life,62 but a most powerful sense directly linked to primitivism, sexuality
and our animalistic evolutionary history,63 before our rise to walking upright
and using sight as our civilised, primary sense64 - smell, he argued, had to
be subliminated in order to not hinder the overall development of modern
civilisation65. Such emerging morality also resulted in young women being
warned against using perfumes, as this may awaken their libidos and cause
them to “lose control of their virtues”.66
2.3.2. Class stigma
the power of smell and in turn the elevation of sight as the “noblest of the
senses” established itself in ancient Greece since the time of Plato,67 whereas
Socrates already maintained that slaves and free men had different odours
and hence opposed the use of perfume as it may mask such distinction, vital
for regulated operations of society.68 69
christianity at first rejected scents as they were linked to the quest for
pleasure in both ancient Rome, Greece and pagan cultures, however it was
reintroduced in the form of incense to connect to the god above by around
4 A.d.70 - from then on sin was associated with malodours, and contrarily
the holy spirit was thought to emit a sweet scent.71 odour grew notably in its
spiritual significance and also became closely connected to physical health, as
it was seen as an indication truth about the individual - a paradox, for while
the sense of vision grew increasingly predominant and valued, smell was seen
as an “authenticator for socially generated and politically motivated truths”.72
61 Havelock Ellis, Studies in the Psychology of Sex (new York: Random House, 1942), 111.
62 Anthony Synnott, The Body Social (new York, london: Routledge, 1993).
63 Sigmund Freud and James Strachey, Civilization and Its Discontents (new York: norton), 1961.
64 Barss, “Art that’s led by the nose”, A17.
65 david Howes, “Freud’s nose: the Repression of nasality and the origin of Psychoanalytic theory,” in The
Nose Book, ed. Victoria de Rijke (london: middlesex University Press, 2000).
66 corbin, The Foul and the Fragrant: Odor and the French Social Imagination, 184.
67 drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary Art,” 10.
68 constance classen, Worlds of Sense: Exploring the Senses in History and Across Cultures (london; new
York: Routledge, 1993), 17–18.
69 Plato and Xenophon, Socratic Discourses, ed. Alexander d. lindsay (london: J. m. dent, 1910).
70 mark Smith, Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History (Berkeley:
University of california Press, 2007), 62.
71 Susan Ashbrook Harvey, Scenting Salvation: Ancient Christianity and the Olfactory Imagination
(Berkeley: University of california Press, 2006), 25–26, 60–64.
72 Smith, Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History, 59.
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this also led to mark the ‘other’; maintaining segregation between local/
recessive and host/dominant societies, as well as internal class segregation
within an otherwise uniform society. Increasingly smell became an
acknowledged indicator of the difference between the wealthy and the poor;
the powerful and the weak. the less one’s natural body odour, the higher
the regard and class; with artificial fragrance such as perfumes becoming
a growing indicator of status. Social control played an important role, as
people were not encouraged with mix with lower social groups,73 even
though malodour had less to do with cleanliness that with social standing.
Here George orwell stated that even from lower class people who were
known to be rather clean, such as servants, an unpleasant smell seemed to
emanate. He summarised “the real secret of class distinctions in the west”
quite frankly in “four frightful words … the lower classes smell”.74
Principally malodours became associated with the masses, corruption, sin
and the corporeal, whilst deodorisation created a sensory calm enjoyable
and controllable by the growing middle class.75 Hereby even kant and
Hegel agreed on smell being of the lowest instincts and declared its sole
usefulness to be the alert of the foul and contaminated, as “a negative
condition of well-being”.76 commentators during the 19th century went as
far as declaring their discontent over the presence of lower-class citizens in
publicly accessible museums in which “empyrean air” was to be breathed,
since, beyond disrupting aesthetic absorption, their malodours were “falling
like vapour upon the pictures” and so supposedly threatened to destroy the
artworks.77
Such stigmatisation and discrimination based on odour are clearly much
less prevalent today, and from an ethical perspective even frowned upon.
nonetheless a millennium of cultural branding does not pass without
leaving traces, where it would be naïve to assume for us to have entirely rid
ourselves of such paradigms in our socio-cultural heritage. Subconsciously
we do still respond to triggers of smell of dirt or sex by associating them to
73 classen, Howes, and Synnott, Aroma: The Cultural History of Smell, 166–167.
74 George orwell, The Road to Wigan Pier (San diego: Harcourt Brace, 1958), 128.
75 corbin, The Foul and the Fragrant: Odor and the French Social Imagination, 85, 214–216.
76 Annick le Guérer, Scent: The Mysterious and Essential Powers of Smell (new York: Random House,
1992), 175.
77 colin trodd, “culture, class, city: the national Gallery, london and the Spaces of Education,” in Art
Apart: Art Institutions and Ideology Across England and North America, ed. marcia R. Pointon (new
York: manchester University Press, 1994), 42–43.
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our notions of lower class and subversiveness, which is instantly reflected
in our physical or verbal reaction of expressed disgust. Any smell not of
distinctly pleasant aroma we tend to see as repulsive, and subliminally as a
threat to our physiological or class safety.
Although indicating a somewhat strained relationship to surprising scents,
such does however not present a consequentual doom for scent art (which
may at times involve less pleasant aromas): today we largely carry an
intellectual attitude of openness, curiousity and acceptance, which is a first
stepping stone for the primary experience. Further, particularly in western
society, static pre-conceived ideas and prejudice reflect negatively onto us,
which in turn ca force us to be open to the experience. therefore I see the
challenge to lie with artists, curators and gallery staff to develop exhibitions
which not only aim to shock or simplify, but to educate their audience in a
considered, multi-layered approach towards the appreciation of scent art.
2.3.3. The White Cube & art movements
the white cube, the perfect exhibition space still hailed and carefully
maintained until today, fulfils this demand of complete focus on the
contained artwork: Viewing pleasure is heightened through the complete
abolishment of any kind of outside sensory information, creating an
aesthetically sterile space, sensorially independent of not only the outside
world, yet with increasing deodorisation also of its visitors.78 In Brian
o’doherty’s 1976 essays eventually collated as Inside The White Cube, he
famously compared such ascetic exhibition architecture to that of religious,
legal and scientific realms, and by speaking the unspeakable, caused great
commentary and debate about the purpose and functioning of exhibition
spaces in general79. contemplating artworks at a safe distance in a pristine
environment has been suggested to have developed out of our inability to
cope with our body - and with it any sensory stimuli it may produce - as
external stimuli can be seen as less exposing and hence threatening.80
78 drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary Art,”
12.
79 o’doherty and mcEvilley, Inside the White Cube, 14.
80 david Howes, “Hearing Scents, tasting Sights: toward a cross-cultural multi-modal theory of
Aesthetics,” Making Sense of Art, Making Art of Sense Conference, (Science oxford, october 28,
2006),
http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=h-arthist&month=0608&week=d&msg=y
271%2Bmz9avhaIcVSjatlHA&user=&pw= (accessed november 3, 2012)
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through such separation of both the source of input as well the senses,
museums have grown to present a sanitised experience dubbed by drobnick
81
as “blandscapes”; spaces so empty of stimuli they lead to an alienating
sense of placelessness. Porteous names this a “sensuous death”: Because all
environmental smells cannot be pleasant, we will have none at all”.82
Regarding scent in exhibition spaces, drobnick subsequently notes how
“in contemporary art conservation discourse smells are pathologised as a
form of pollution or symptomatic of pests, a threat to both the collection
and personnel, thus rendering olfactory artworks immediately suspicious,
if not dangerous”.83 Further he summaries how “countering the primacy of
the visual opens museums to behaviours, activities and identities that are
not necessarily western, privileged and masculine, and which fail to produce
84
collectible artefacts”; with the latter being potentially problematic for
scent artists working with ephemeral materials engaging in less literal and
directive ways with the exhibition visitor.
Such deadening of the senses in interaction with artwork was a major
concern of 20th century avant-garde art movements, such as dadaism,
Surrealism and in particular Futurism, which sought to awaken, reinvigorate
and shock our senses back into consciousness. F.t. marinetti, the founder
of Futurism, credited the smell of oil and gasoline spilled in a car accident
with inspiring him to create a new artistic movement. 85 As suggested by
drobnick, “their recurring interest in total artworks could be understood
not only as a desire to cross arbitrary disciplinary boundaries and combine
disparate media, but also to restructure the sensory hierarchy and utilise
all of the senses”.86 Although manifestations of olfactory art appeared
only intermittently, the use of smells, along with noise and tactility was
encouraged: Among other practices, the futurists were known for the use
of sneezing powder during their soirées.87 despite their initial ridicule and
81 Jim drobnick, “toposmia: Art, Scent, and Interrogations of Spatiality,” Angelaki: Journal of Theoretical
Humanities 7, no. 1 (2002): 34.
82 Porteous, “Smellscape,” 368.
83 Barss, “Art that’s led by the nose”, A17.
84 Jim drobnick, “Volatile Effects, olfactory dimensions of Art and Architecture,” in Empire of the Senses:
The Sensual Culture Reader (oxford: Berg Publishers, 2005), 272.
85 classen, Howes, and Synnott, Aroma: The Cultural History of Smell, 1, 10.
86 drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary Art,”
12.
87 drobnick and Fisher, “Perfumatives: olfactory dimensions in contemporary Art,” 4.
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haltering over time, such movements have certainly paved the path for
today’s more liberal and inclusive perception of both conceptual and sensory
possibilities of art.
on the other hand the question arises why the use of scent did not grow
to greater prevalence even in such art movements, and what kept it from
being picked up by subsequent artistic developments. Although many forms
of contemporary art have seen a significant widening of their scope in both
concept (e.g. excessive violence or explicit sexual content) and form (e.g.
performance art, use of ephemeral materials, such as light and fog), smell
is rarely included despite its strong associative power, potential for visitor’s
involvement and instant response.
the following paragraphs outline conceptual and experiential characteristics
of scent; some as defined by its critics and disputable in the light of today’s
highly liberal contemporary art practices, others due to scent’s inherent
nature or its lacking embeddedness in our culture. As such may indicate
pointers towards a possible answer, they also provide a first basis for
understanding the challenges in the exhibition and preservation of scent-
based art.
2.4. challenges and critique of scent art
Being so primal to the perception of our environment, one would think scent
be most well-suited as a medium for artistic creation, yet even food and wine
have never been accepted as a true artform.88 nonetheless parallel literature
as early as J.k. Huysman’s Against Nature of 1884 stipulated how it is no
less justified to select and arrange odours for an artwork than ordering
sound waves or composing the visual impact of variously coloured rays.89
overall, arguments against the use of scent as an artform are largely based
on overly simplified or errors interpretations of its ephemerality, purity and
its allegedly purely sensuous, non-cognitive character. drobnick summarises
such arguments as the following: Smell are supposedly more biological
than cultural, they are only able to evoke but not to represent, whilst being
ephemeral and lacking definition or vocabulary. the stimuli that scents
88 Harold osborne, “odours and Appreciation,” British Journal of Æsthetics 17, no. 1 (1977): 37.
89 Joris-karl Huysmans, Against nature (north charleston: createSpace, 2011), 119, 159.
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provide appear as too simple or sensuous and without elaborate sequences,
and finally olfactory artworks do not permit a detached and controllable
viewing experience. whilst seeing these assessments are archaic and
discretionary, he outlines that some are patently false, and how the ones that
are accurate embody a significant part of the charm and power of scent art.90
taking a closer look at such reasoning, from the arbitrary to the practical, is
most essential for understanding underlying thought structures contributing
to the scarce presence of scent art until today.
2.4.1. Lack of structure
Scent being a utilitarian faculty of the human body and strongly connected
to self-preservation has been used to reason that it doesn’t lend itself to the
detached contemplation required for cultural expression,91 and that smells
hence can only summon primal sensations and emotions, but not represent
a concept or idea.92 In this light, smells can quickly be judged as mostly too
banal and sensuous to carry any more developed meaning and that hence
our interaction with smells quickly becomes too shallow or overt. Scents
being seen as too simple renders them as “not aesthetic” since aesthetic
pleasure is defined as pleasure derived from the contemplation of relations.93
monroe Beardsley famously describes how smells cannot function as an
artistic medium since, although there is some classification, they cannot be
arranged in a serial order (such as musical notes) “to construct objects with
balance, climax, development or pattern” and hence lack intrinsic relations
among themselves.94 Similarly david Prall found that smells are incapable of
“sustaining structural relations to one another, relations of contrast, balance,
rhythms sequence; form in general”95 and hence smells have been seen as
incapable of being combined into elaborate structures or sequences.96 (See
Appendix B for scent arrangement diagrams.)
90 drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary Art,”
18.
91 monroe c. Beardsley, Aesthetics, Problems in the Philosophy of Criticism (Indianapolis: Hackett
Publishing, 1981), 111.
92 A. t. winterbourne, “Is oral and olfactory Art Possible?,” Journal of Aesthetic Education 15, no. 2 (1981):
96–97.
93 Sidney Zink, “Esthetic Appreciation and Its distinction from Sense Pleasure,” The Journal of Philosophy
39, no. 26 (1942): 706.
94 Beardsley, Aesthetics, Problems in the Philosophy of Criticism, 99.
95 david wight Prall, Aesthetic Judgment (new York: crowell Publishing, 1929), 66.
96 osborne, “odours and Appreciation,” 43.
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Hereby it has to be noted that perfumers in fact actively work on structuring
fragrances to release their odour in particular and controlled sequences,
employing short lived top notes, middle notes, and slower, lingering base-
notes to create a climax in odour behaviour and create harmony between
elements, or accords.
nonetheless is has to be asked if it is necessary in the first place for smells
to contain an intrinsic order to be a useful tool for artistic creation - the
variety and depth of artistic exploration in the field of scent art suggests that
this is not the case, with drobnick noting that such are rather part of “the
very qualities that make olfactory artworks interesting”.97
Ironically however, a scent organ was proposed by Huxley in Brave New
World98 and in 2004 Belgian scent artist Peter de cupere developed a scent
organ called Olfactino to perform scent concerts.99 In 2009 Green Aria
premiered at the Guggenheim museum new York and Bilbao; a sold-out
and well-received scent opera featuring a complex and highly controlled
composition of scent and sound; co-created by renowned fragrance designer
christophe laudamiel.100
today it appears as if the argument of an insufficient structure and
controlled relationship in scent does not necessarily hold up, whereas the
concern for principally a lacking awareness of surrounding scents does
manifest a notable consideration.
2.4.2. Lack of cognitive awareness
Scent is most powerful in that it affects us on both physical, psychological
and social levels: It has the ability to influence our emotional states and
hence our reactionary behaviour through associations with pleasant or
unpleasant odours, it is crucial for our survival by warning us of unhygienic
conditions, and with it spoilt or certain poisonous foods, and even activates
salivary and gastric secretions upon the perception of pleasant food odours,
to name a few. Yet we mostly breathe surrounding air dense with odour
97 drobnick, “Reveries, Assaults and Evaporating Presences: olfactory dimensions in contemporary Art,”
18.
98 Huxley, Brave New World.
99 “olfactino,” Peter de cupere, http://www.scentconcerts.com/ (accessed october 27, 2012).
100 Anthony tommasini, “’Green Aria - A Scentopera’ - the Guggenheim Presents an opera to Sniff”, New
York Times, June 1, 2009.
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molecules without paying attention to its sensation. we tend to be so
“odour-blind” that unless a strong smell is immediately surrounding us, we
remain unaware of its presence or impact, classen points out.101 Such lack
of distinction can be seen as a significant hindrance of the engagement
with scent as an artform, as it is most unlikely for us to recognise potential
artistic value in something we are largely ignorant of; having not trained
our capacities of remaining aware of surrounding odours. Although such
is possible to a certain degree, the olfactory system is also subject to a
rapid habituation of only a few minutes, after which an odour is no longer
consciously perceived,102 also called “smell fatigue”. contrarily, our conscious
perception is spontaneously alerted by sudden, unfamiliar, or highly
concentrated odour molecules (although smells perceived subliminally still
exude a profound influence,103 and a dedicated warning system alerts us to
dangerous volatile chemicals even in the absence of attention). compared
to visual experiences, olfactory experiences are very rare, yet paying
attention to our sense of smell almost always results in a conscious olfactory
sensation.104 while various studies confirm that deliberate attention is
required to bring the presence of a subtle or common smell to our olfactory
consciousness,105 106
the threshold level for the perception for ambient odour
remains unclear.107
this neurological predisposition may appear unsurpassable, as it can be
seen as a chicken-and-egg scenario about the growth of scent art (little
scent awareness = little scent art; little scent art = lacking pointers to build
awareness). notably though a growing acknowledgement and resulting
presence of scent art could be brought about by the art creator and audience
consciously choosing to pay attention to their sense of smell to develop
an increased olfactory engagement, a decision which can be made on an
individual level. other conditions of smell are more dependent on societal
101 classen, Howes, and Synnott, Aroma: The Cultural History of Smell, 1, 10.
102 nef, “How we Smell: the molecular and cellular Bases of olfaction,” 1.
103 lee Sela, and noam Sobel, “Human olfaction: a constant state of change-blindness,” Experimental Brain
Research 205, no. 1 (2010): 21-23.
104 Andreas keller, “Attention and olfactory consciousness,” Frontiers in Psychology 2, no. 380 (2011):
9–11, doi:2011.00380.
105 tyler S. lorig, “cognitive and ‘non-cognitive’ Effects of odor Exposure: Electrophysiological and
Behavioral Evidence.” In The Psychology and Biology of Perfume, Edited by Steve Van toller and
George H. dodd (Amsterdam: Elsevier, 1992),161–173.
106 Joachim degel, and Egon Peter köster, “odors: implicit memory and performance effects,” Chemical
Senses 24 (1999): 317–325.
107keller, “Attention and olfactory consciousness,” 10.
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The act of smelling
something, anything,
is remarkably like the act
of thinking itself.
- Lewis Thomas
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constructs and hence cannot be affected my mere individual choice, such as
the lack of a common language for scent.
2.4.3. Lack of language
A commonly experienced phenomenon by laymen and fragrance
professionals alike is the near-impossibility to explain how something smells
to someone who hasn’t smelled it.108 this non- discursiveness of smell was
outlined already more than half a century ago by perfumer Edward Sagarin
who wrote about his profession as a “science in search of a language”, due
to our inability to describe smell by means of exact terms.109 Although there
have been great technological advances in the measurement of odours
in recent decades, there is still an absence of a universal vocabulary of
independent terms (such as for colours or sounds) in western languages. 110
this condition remains problematic and leaves us to rely on approximating
material analogies or of their source (“fruity”, “floral”, “like …” etc), or on
metaphors borrowed from other senses (“green”, “warm”, “loud” etc),111 thus
“leaving us at the level of the grunt, limited to broad terms like good, bad,
ugh, and sweet”.112.
Various diagrams aiming to depict interpretations of fragrances’ possible
relationships to one another have been developed over the course of the
past 150 years (see Appendix B for examples); still all of them rely on
such borrowed descriptive terms, and no cohesive system of arrangement
has been found, of which appropriate language could be derived. while
winterbourne aptly points out how this simplistic language of assessment
and criticism […] is either too literal to be helpful or too florid and
metaphorical for effective use,113 Aspria further emphasises how “these
descriptors are intertwined with the specific cultural context in which they
are produced. In a structuralist analysis of odours, one must therefore
not overlook the contextual differences in which the nomenclature and
classification were produced.114
108 Ackerman, A Natural History of the Senses, 8.
109 Edward Sagarin, The Science and Art of Perfumery (new York, london: mcGraw-Hill Book company,
1945), 137.
110 classen, Howes, and Synnott, Aroma: The Cultural History of Smell, 3.
111 Ackerman, A Natural History of the Senses, 6.
112 Ewa wisten, “HeadSpace: on Scent as design”.
113 winterbourne, “Is oral and olfactory Art Possible?” 99.
114 marcello Aspria, “cosmologies, Structuralism, and the Sociology of Smell” (november 7, 2008), http://
www.scentedpages.com/pdf/sociology.pdf (accessed April 10, 2010)
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Hereby it must be noted that certain indigenous tribes mentioned before do
maintain specific scent vocabularies, such as the Serer ndut of Senegal115 or
the kapsiki of cameroon,116 as described in classen’s, Howes’ and Synnott’s
book Aroma: The Cultural History of Smell (see tables 1 and 2).
table 1. olfactory classification system of the Serer ndut of Senegal
table 2. olfactory classification system of the kapsiki of cameroon
the reasons for the absence of such terminology in the western world is
unclear, yet caro Verbeek suggests that it might be related to smell leaving
little room for intellectual contemplation due to it’s immediate reactive
feedback from the limbic system, whereas images and sounds can be and
reflected upon with a certain mental distance.117
115 classen, Howes, and Synnott, Aroma: The Cultural History of Smell, 103.
116 Ibid., 111.
117 Verbeek, “kunst Inhaleren - Het Gebruik Van Geur in Hedendaagse kunst,” 64.
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Irrespectively, Sissel tolass emphasises the importance of teaching coming
generations the interaction with scent beyond good and bad, in order to
develop more conscious sensitivity towards odours, and herewith also a
growing discourse.118
Such discourse on scent is still marginal, and larry Shiner with Yulia
kriskovets reason that “the paucity of terms and their ambiguous semiotic
status could be considered evidence that smells lack the settled identity
requisite to support critical description and analysis of the kind typical for
arts such as painting or music.119
2.4.4. Lack critical regard
this leads us to the missing education of both art professionals and the
general public in the appreciation of olfactory stimuli, whereby Shiner and
kriskovets suggest that eventually critics will have to develop their olfactory
sensibilities together with learning theory and technique of scent art just as
they have done for visual or musical arts. they remind us how Helen keller
remarked that “the sensations of smell which cheer, inform and broaden my
life are not less pleasant merely because some critic who treads the wide
pathways of the eye has not cultivated his olfactory sense”.120 Shiner and
kriskovets further note that such lack of education leads critics to largely
focus on the visual and audial elements of multimedia installations featuring
scent, and further suggests investigation into “purely olfactory” artworks
to stay clear of the claim that audiovisual aspects are such multimedia
artwork’s main bearers of meaning.
However Shiner and kriskovets also acknowledge that scent-featuring
multimedia exhibitions additionally containing audiovisual elements might
make the artwork more accessible to an uninitiated audience; coupled with
artist statements for increased comprehension and interpretation.121
118 Parsons School of design, “the Accidental Perfumer: toshiko mori with Yves cassar, Anna Barbara and
Sissel tolaas, in conversation with chandler Burr”, (new York: Headspace 2010 - on Scent As design
Symposium, march 26, 2010), www.youtube.com/watch?v=nc4iV1Za4y8 (accessed october 5, 2012)
119 Shiner and kriskovets, “the Aesthetics of Smelly Art,” 276.
120 Ibid., 282.
121 Ibid., 278–282.
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2.4.5. Lack of control
the lack of scent education relates to art institution’s concern of varying
audience reception of scent art, since even in a controlled exhibition setting
one may react in unpredictable ways to both new and familiar olfactory
stimuli,122 and might also “get unwanted memories into the bargain - nobody
is in total control.123 not only is there no predictable uniformity in odour
interpretation, yet institutions may even be weary of scent artworks due to
their inherent nature of ingestion: Unpleasant pictures can be experienced
at a distance, yet scent provides no such security as we cannot choose not
to inhale, and hence the scent experience becomes a proposition some
exhibition visitors might refuse outright.124
In addition to intrusiveness, art institutions may further be reluctant to
accommodate scent art for the physical changes imposed on the gallery
environment125 in order to effectively address its inherent ephemerality -
which in turn presents a quality “most attractive to artists seeking to define
aesthetic experience”.126 Shiner and kriskovets encourage us to not regard
the aggressiveness and ephemerality of scent art as a hindrance, but as an
opportunity for museums and galleries to investigate exhibition methods
which engage their visitors differently and more intensely.127
these five conditions of structure, cognitive awareness, language, critical
regard and control in regards to scent art all deserve attention and carry
influence on a range of exhibition modalities, such as considerations for
curation, documentation, collectability, perception of value, and the overall
development as an artform. Particular attention however ought to be given to
our lack of awareness and the lack of a suitable language, as these are most
primary conditions influencing our relationship to and interaction with scent
as a sensory channel, and resultingly with scent as an artform.
Being aware of our given system of cognitive smell awareness is most crucial
for building a suitable and realistic curatorial strategy for the engagement
122 melanie townsend, Beyond the Box: Diverging Curatorial Practices (Banff: Banff centre Press, 2003),
155.
123 luyckx, the collector’s House Exhibition catalogue.
124 Jones, Sensorium, 98.
125 Shiner and kriskovets, “the Aesthetics of Smelly Art,” 282.
126 drobnick, “toposmia: Art, Scent, and Interrogations of Spatiality,” 32.
127 Ibid., 282..
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l I t E R A t U R E R E VI E w
with odours. whether by curatorially circumventing this inherent condition
of our olfactory system, or confronting it directly, it bears great impact
on how to bridge the idea of exhibiting scent to an uninitiated audience,
and secondly how the artwork’s concept is communicated to the visitor
in an exhibition setting. Attention to and hence awareness of smell can
naturally be fostered by repeated exposure, also in the form of scent art
documentation for visitors to keep, share with friends and reference at a
later date. Although natural laws of evolution prohibit us from growing our
scent awareness overnight, by the means of increasing the frequency of our
conscious decision to smell, we can grow increasingly aware of the smells
surrounding us; as if training our “scent muscle”. Repeated external impetus
for this, through exhibitions and documentation among others, can help to
slowly crack our cycle of olfactory ignorance, and in turn allow for a gradual
build of value.
As we primarily communicate our ideas, thoughts and concerns through
language, the lack of such to adequately describe olfactory sensation
further poses a significant challenge to the growth of scent art, as every
verbal recount remains a vague approximation usually expressed among
commoners with hesitation and noticeable (albeit understandable) lack
of confidence. Even if composed with care and educated consideration,
curatorial essays may still sound clumsy and callow; possibly even
detracting from the actual scent contained in the documentation via
microencapsulation.
language being the primary mean of spreading information over distance
and ages, it would further support the establishment of critical discourse;
building a new written history of scent art useful as a reference to any
member of the art community. In most of today’s societies, critique and
discussion act as distinguished tools of validation, without which it is hardy
for any subject to establish and eventually emancipate itself.
making the best of the existent vocabulary (for now), one may as a
compromise however take references from, for example, the language
employed in wine gustation, which has developed a certain level of
refinement and connoisseurship of its own right. Awareness, engagement
and care pre-empt any kind of development of linguistic categorisation
and description, wherefor it would be futile to target the development of a
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new, widely accepted olfactory language without first having developed our
conscious awareness of and attention to even ambient smells as a form of
ongoing decoding of our environment.
conclusively, a growing presence of odourous artworks is required before
all, to in turn generate more acknowledgement and enhanced linguistic
expression for scent as an artistic medium.
2.5. Scent art methods
the role of the artist is that of the questioner, the investigator, the
challenger and the pusher of boundaries, wherefor it comes to no surprise
that there are indeed artists willing to confront these inherent and most
profound conceptual difficulties in working with scent as a medium.
due to the widening range of accepted practices in contemporary art, it’s
ongoing drive for innovation and ambition to push the cutting edge, as well
as the increased access to both time-tested and in-progress technology,
an growing number of artists work with scent in a variety of approaches;
from controlled laboratory methodologies to spontaneous combinations of
organic materials.
At a most basic level scent art can be divided into materialistic and gaseous
works, with the former referring to inherently odourous materials use for
artwork creation, and the latter to works consisting solely of the fragrance
itself, dispersed into a space by varying means. different methods of scent
dispersion can be equaled to different languages for conveying a message,
so commonly the same artist may choose a variation of dispersion methods
for their artworks, depending on which is most suited to its concept.
Exhibition duration and scale of the exhibition space may also contribute to
the choice of technique, as scent is affected both by temperature, humidity
and airflow, and can change its character even before reducing in intensity
over time. Since there is very little established information available about
scent behaviour over longer time periods, most artists working with scent
have to automatically also assume the role of a researcher, or at least
experimenter, on their chosen method/s of scent dispersion.128
128 kornelija cesonyte, “Strawberry and cardamon”, Llamas’ Valley, February, 2012, 86-97
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the following categories of artists’ use of scent were defined for this thesis
to outline different approaches’ various applications and to develop a
methodological framework for the comprehension of their suitability, scope
and possible implications, as described in the eventual findings.
2.5.1. Use of inherent odour
the most common approach for working with odour in art is that of using
materials which inherently carry a distinct odour, whether natural or artificial
(i.e. spices or baby powder), and hence continuously give off their smell
at an intensity strong enough for the visitor to perceive. Ernesto neto’s
enormous nylon fabric sculptures filled with spices such as turmeric, curry,
clove and pepper are a most prominent example, due to the grandeur
and intensity of the enveloping experience. For artworks such as Just like
drops in time, nothing or Anthropodino neto usually has the spices sourced
locally and makes discerning choices on quality to maximise the final scent
definition.129 the wax igloo titled Dal Miele Alle Ceneri by mario merz is an
outstanding example of the sometimes surprising longevity of the naturally
contained scent. merz’s trademark igloo built entirely of sheets of dense
beeswax still maintains a significant intensity in its warm and soft odour,
nearly three decades after its construction.130 more temporary in nature is Jan
Fabre’s Spring is on its way, an installation featuring a sea of condoms filled
with onions and potatoes suspended from the ceiling. As the vegetables are
slowly spoiling throughout the exhibition period their rotten smell is growing
increasingly dense inside the gallery, resulting in visitor complaints and
romantic notions of spring and reproduction alike.131
Suzann Victor is a Singaporean artist who combines the man-made material
of charred bread with the faint whiff of human hair in her dramatic
installation His Mother Is a Theatre, speaking of morality, power, desire,
sexuality and obscenity. the suggested homeliness of the bread which
stands in stark contrast to the oversized, imposing black fabric ribbons they
are placed on, locks of hair arranged on the floor below; juxtaposing existing
129 “olfactieve kunst; daar zit een luchtje aan,” caro Verbeek, CrossLab Multimedia, April 13, 2010. http://
nikicrosslab.blogspot.com/2010/04/kunst-inhaleren.html (accessed march 1, 2012).
130 “From Honey to Ashes - An olfactory adventure at the temporary Stedelijk, Amsterdam,” caro Verbeek,
Olfactory Art, August 4, 2011. http://www.olfactoryart.net/index.php/olfactory-news/14-olfactory-
news/100 (accessed march 1, 2012).
131 “Jan Fabre’s Art Installation talk of the town,” condomunity, november 5, 2008. http://condomunity.
com/jan-fabre-condom-installation-spring/2008/11/05/ (accessed october 24, 2012).
PAGE 39
10. “dal miele alle ceneri” (1984) by mario merz.
10 Source: Stedelijk museum Amsterdam
www.stedelijk.nl/kunstwerk/417-dal-miele-alle-ceneri
11. “Just like drops in time, nothing” (2002) by Ernesto neto.
11 Source: Art Gallery of new South wales
www.artgallery.nsw.gov.au/collection/works/276.2002/
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12. “His mother is a theatre” (1994) by Suzann Victor.
12 Source: todAY online - For Art’s Sake!
www.blogs.todayonline.com/forartssake/tag/suzann-victor/
13. “Spring is on its way” (1979) by Jan Fabre.
13 14 Source: mHkA
www.muhka.be/toont_beeldende_kunst_detail.php?la=en&id=2652
14. “Being….. At HomE” (2009) by nipan oranniwesna.
Source: nipan oranniwesna
www.nipan2007.blogspot.com/2009/08/beingat-home.html
PAGE 41
15. “translation Vase” (2005) by Shin mee-kyoung.
15 Source: the women’s Room
www.thewomensroomblog.com/2011/02/27/we-saw-translation-by-meekyoung-shin/
16. “Ruhe in Frieden” detail (2012) by Erika Ernawan.
16 Source: Erika Ernawan
Provided by the artist
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l I t E R A t U R E R E VI E w
associations of comfort and dominance against one another.132 Another artist
moving close to the man-made in scent material is Shin mee-kyoung whose
Translation-Vase soap sculptures reminiscent of giant korean and ming
porcelain are a re-contextualisation of traditional meaning. Placed in the
bathrooms of the exhibition venue, the actual artwork becomes its very own
co-creation, or -destruction.133 the multi-modal, large-scale installation Ruhe
in Frieden by Erika Ernawan features among sculpture, video, photography
and watercolour paintings also a large shallow floor basin filled with
consumer-grade mouthwash, contributing an overarching sense of false
cleanliness tying together the gesamtkunstwerk. critiquing the
growing levels of contamination of Indonesia’s drinking water and rice fields,
Ernawan makes a sarcastic statement by confronting the visitor with their
own simplified perception of perfected cleanliness.134
lastly, in Being….. at homE, nipan oranniwesna covers entire gallery floors
in Johnson & Johnson baby power; filling the space with a smell many
associate with personal nostalgia. Speaking of home and identity at a
national level, as well as growing global cross-referencing by depicting 13
major metropolitan cities of the world as interconnected, a flat relief of baby
powder sprawls like a birds-eye city view below - as far as the eye (and nose)
can reach.135
working with materials of pre-existent smell appears to be the most common
choice for artists who do not frequently use scent in their artistic creation -
understandably so, considering the level of expert understanding it requires
to, for example, distill one’s own fragrances. notably however, using
inherently scented materials can also be the most challenging method due to
the lacking precision in predictability of intensity and lifespan of the original
odour note.
132 Singapore Art museum, “Suzann Victor: His mother Is A theatre,” In Classic Contemporary Exhibition
Catalogue (January, 2010), 40-41.
133 “Shin mee-kyoung’s Soap Sculptures at kukje,” cathy Rose A. Garcia, the korea times, April 12, 2009.
http://www.koreatimes.co.kr/www/news/art/2011/04/148_56674.html (accessed April 14, 2010).
134 ArtSociates, Ruhe in Frieden - Erika Ernawan Exhibition catalogue (Bandung: ArtSociates lawangwangi
Art and Science Estate, 2012)
135 “thai chinese artist nipan oranniwesna shows installation art made of baby powder in Hong kong,”
Erin wooters, ArtRadar, August 25, 2009. http://artradarjournal.com/2009/08/25/thai-chinese-
artist-nipan-aranniwesna-shows-installation-art-made-of-baby-powder-in-hong-kong-review/
(accessed April 13, 2010).
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17. “the SmEll of FEAR / FEAR of SmEll” (2005-2006) by Sissel tolaas.
17 Source: mediamatic
www.mediamatic.net/212279/en/the-smell-of-fea
18. “Ghost” (2010) by clara Ursitti.
18 19
Source: clara Ursitti
www.claraursitti.com/ghost.htm
19. “the Smell of a critical moment” (2012) by Gayil nalls.
Source: Gayil nalls
www.gayilnalls.com/critical-moment.html
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2.5.2. Coating/application on material surface
coating or soaking 3d objects or 2d wall surfaces in controlled dosages of
scented liquid is approached in a variety of inventive ways: with her work
The Smell of a Critical Moment Gayil nalls remains close to naturally fragrant
materials by harnessing the sweat of wall Street protesters. Featuring 40
t-shirts distributed and re-collected from individuals wearing them around the
clock during the 2012 protests in new York, nalls creates a vivid image of the
atmosphere and intensity of contemporary new emergence movements and
gives them a voice by attaching the bearer’s personal statement on motivation
and belief to each of the collectively exhibited t-shirts.136
clara Ursitti’s interactive installation Ghost re-brands an old, unwanted
toyota carina by drenching its interior with an approximation of the
signature scent of Rolls Royce luxury cars, as well as optimising its
suspension system. Festival guests chauffeured across the art festival grounds
hence experience a contradiction of sensory input, and are left to ponder its
meaning through a scented business card advertising “Silver cloud taxis... the
essence of Rolls Royce”.137
As a reflection on the metaphorical and functional role of half-parasites,
Peter de cupere constructed a hemisphere seven meters in diameter
containing an artificial tree on a giant parasite-like ball emitting the strong
scent of peppermint and pepper titled Peppertreeduplicateballs (PTDB) - Tree
Virus. to reach the desired intensity, de cupere embedded the essences in
the surface material of the ball, bringing people close to tears.138
Another example of scent artwork resulting in strong visitor reaction is
Sissel tolaas’ The SMELL of FEAR / FEAR of SMELL consisting of nothing but
an exhibition space featuring walls painted with a synthetic replication of
armpit sweat from men in a state of fear. Irrespective of the men’s ethnic
differences, the installation provoked a strong reaction particularly among
female audience members who immediately and repeatedly responded to the
smell of certain men with great emotional expression.139
136 “the Smell of a critical moment,” Gayil nalls, http://gayilnalls.com/critical-moment.html (accessed
September 25, 2012).
137 “Ghost at tatton Park Biennial,” clara Ursitti, Clara Ursitti Home Page, http://www.claraursitti.com/
ghost.htm (accessed September 16, 2012).
138 “Peppertreeduplicateballs PtdB-tree Virus,” Peter de cupere, Peter De Cupere
Home Page, June, 2008. http://www.peterdecupere.net/index.php?option=com_
content&view=article&id=26:exoten&catid=14:featuredartworks (accessed october 24, 2012).
139 Jones, Sensorium, 100–102.
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20. “Perfect Japanese woman” (2009) by maki Ueda.
20 Source: maki Ueda
scent-lab.blogspot.nl/2008/09/eau-de-parfum-perfect-japanese-woman-no.html
21. “Eau claire” (1993) by clara Ursitti.
21 22 Source: clara Ursitti
www.claraursitti.com/eauclaire.htm
22. “the Fragrance of ma-I” installation view (2009) by Goldie Poblador.
Source: todAY online - For Art’s Sake!
www.blogs.todayonline.com/forartssake/tag/philippine-art/
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In a more discrete approach titled Recent addition to the permanent
collection, nadia wagner covered walls with a solution featuring the molecule
Evernyl; a synthesised component characteristic for oak moss extract.
with significant growing grounds of oak moss situated around chernobyl
and hence it becoming close to unobtainable since 1986, the artwork
interrogates concepts of change and decay, juxtaposed against rarity and
prestige.140
2.5.3. Use of closed containers
An effective way of containing scent spread and longevity is that of
presenting it in a closed container, to be opened manually by the exhibition
visitor to smell the enclosed fragrance. oswaldo maciá facilitated this
method for his installation 1 Woodchurch Road, London NW6 3PL, featuring
five metal garbage bins each containing synthesised essence of provocative
smells he found to be most characteristic of his blue-collar apartment
complex in northwest london. Referencing distinct cuisine preferences,
consumer practices, grooming habits and domestic situations, the artworks
invites for reflection upon how a sense of community develops from a
heterogeneous mix of identities.141
Another approach of reflecting on cultural associations is that of christina
Goldie Poblador in the aforementioned Fragrance Of Ma-I, a series of
smells she formulated and crafted, inspired by a specific locale or aspect of
Philippino land, city and social environment. Referencing the pre-colonial
name of the Philippines, the fragrances presented in elaborately hand-blown
glass bottles embody inescapable metaphors dealing with corruption and
politics, but also memory and collective conscience.142
An olfactory self-portrait, Eau Claire was also created by clara Ursitti using
her own vaginal and menstrual secretions secured in a solution of alcohol
and coconut oil. Placed in a hand-blown glass container reminiscent of
commercial perfumes which draw part of their essence from the glands of
140 “oakmoss and nadia wagner at cabinet,” lucy Raubertas, Indieperfumes, July 27, 2009. http://
indieperfumes.blogspot.com/2009/07/oakmoss-and-nadia-wagner-at-cabinet.html (accessed
october 23, 2012).
141 “woodchurch Rd nw6 3Pl,” oswaldo maciá, http://oswaldomacia.com/new%20woodchurch.html
(accessed September 2, 2012).
142 “christina Poblador: 2009 Ateneo Art Awards Short-listed,” karen ocampo Flores, Artepinas,
September 4, 2009. http://artepinas.blogspot.sg/2009/09/goldie-poblador-2009-ateneo-art-awards.
html (accessed 2012).
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23. "the opposite Is true #2. 2006" (2006) by lim tzay chuen.
Source: lim tzay chuen
www.universes-in-universe.de/car/singapore/eng/2006/tour/city-hall/img-04-3.htm
24. “Aire/Air” (2002) by teresa margolles.
Source: Emotional Systems
www.strozzina.org/emotional_systems/e_tm.htm
cats, deer, beavers etc, the artwork makes a statement to honour our own
body’s glandular production rather than attempting to mask it with others’
secretions.143
2.5.4. Use of scent dispensers
For a controlled dispersion of scent in the exhibition space, artists facilitate
manual, motion detector- or timer-based diffusers, as well as continuously
emitting diffusers, depending on the requirements of the scent and
exhibition space.
teresa margolles facilitates nothing but an air humidifier in her minimalist
installation Aire/Air, with the contained water having been used to wash
the corpses of narcotics war victims in mexico. with its smell remaining
reduced, the installation is completed by the visitor’s capacity for interior
visualisation; exploring the taboo of death without the need for literal
representation.144
Further, in the aforementioned installation Martinete II, oswaldo maciá
reanimates the defunct waterschei mine in Porto Alegre, Brasil by the
sounds of striking hammers and an olfactory stereo composition: Fragrance
143 drobnick, “Scents of a woman: clara Ursitti,” 98.
144 “teresa margolles,” Strozzina, Emotional Systems, http://www.strozzina.org/emotional_systems/e_
tm.htm (accessed october 5, 2012).
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l I t E R A t U R E R E VI E w
dispensers situated on the left draw metaphorically on emotion and the right
on rational consciousness. created in collaboration with perfumer Ricardo
moya, cool metal notes seek to evoke ‘the smell of failure’.145
maki Ueda presents a tongue-in-cheek commentary on Japanese housewives’
submissiveness by creating four distinct essences representing her
traditionally appropriate conduct, namely those of miso soup, soap, tatami
and nukamiso (salty pickle paste). Each of the scents speak of the Perfect
Japanese Woman, as the work is titled, presented in four fine flacon
atomisers; suggestively inviting modern women to give their men the
sensation of the perfect Japanese wife.146
Further Udea has also deconstructed the world’s most famous modern
perfume into a surround-smell setup titled Olfactoscape - Deconstructing
Chanel No. 5: Accompanying the visitor inside a round curtain chamber three
meters in diameter, she manually sprays the individual fragrance elements
in separate locations onto the fabric; allowing you to smell individual tones
as well as the harmony when standing in its centre - from deconstruction to
reconstruction.147
Venturing even further into deconstruction is Singaporean artist lim tzay
chuen with his work The Opposite Is True #2. 2006, presented at the
inaugural Singapore Biennale of the same year at city Hall. Before any
other SB artworks were installed, lim, equipped with a portable thermal
fogger, sprayed the entire building with alleged human pheromones after
it had been evacuated. By implying the subliminal conditioning of visitors
wandering through during the following SB weeks, an imperceivable scent
successfully orchestrated large-scale suggestive desire.148
145 “oswaldo maciá,” manifesta 9, Manifesta 9 Online Catalogue, 2012. http://catalog.manifesta9.org/en/
macia-oswaldo/ (accessed october 23, 2012).
146 “Perfect Japanese woman,” maki Ueda, Scent Laboratory, http://scent-lab.blogspot.nl/search/
label/%5BPerfect%20Japanese%20woman%20%20%28eau%20de%20parfum%29%5d (accessed october
26, 2012).
147 “A multi-sensorial perception of space - ‘olfactoscape’ by maki Ueda,” caro Verbeek, Olfactory Art,
march 18, 2012. http://www.olfactoryart.net/index.php/olfactory-news/14-olfactory-news/109
(accessed march 2, 2012).
148 clara chow, “Scent of an artist - lim tzay chuen,” The Straits Times, September 8, 2006, 7.
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25. "Scratch & sniff the grass of the other side of the shore" (2012) by Peter de cupere.
Source: Peter de cupere
Provided by the artist
26. "world Sensorium (First Record)" (1999-2000) by Gayil nalls.
Source: Gayil nalls
www.gayilnalls.com/world-sensorium.html
2.5.5. Use of microencapsulation
lastly, a more tangible form of working with scent is that of
microencapsulation of smell molecules, commonly used for scratch and
sniff media. According to my findings, such artworks are very rare, yet the
following four examples are fitting representations:
this year Peter de cupere presented Scratch & sniff the grass of the other
side of the shore, installed at the banks of the river leie. Upon rubbing the
translucent surface the smell of grass would be released and simultaneously
the view of the grassy riverbank behind the artwork would become
increasingly clear. After continued rubbing throughout the exhibition
period, the smell would dissipate and the artwork be left with nothing but
fingerprints, reminiscent of the artwork’s co-creators.149
de cupere further developed the technology for coating his epoxy sculpture
Flower Fragum Cardamomi entirely in a substance releasing its cardamon
and strawberry odour only upon touch, with a proposed scent release
lifespan of at least a decade.150
149 “Efemeer (Ephemeral): Scratch & Sniff the nature,” Peter de cupere, Peter de cupere, http://
www.peterdecupere.net/index.php?option=com_content&view=article&id=120:efemeer-
ephemeral&catid=2:upcoming-exhibitions&Itemid=98 (accessed September 28, 2012).
150 kornelija cesonyte, “Strawberry and cardamon.”
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this year the artist duo we colonised the moon presented an unusual
installation experience in which visitors could enter a film-set like test
chamber replication a hypothetical moon setting in which periodically a
suited astronaut would re-spray an array of “authentic” moon rocks with
synthesised lunar aroma. titled Republic of the Moon, the exhibition’s
scent was developed in conjunction with Apollo 16 astronaut charlie duke
who likened the odour of moon dust-residue on his space suit to “spent
gunpowder smell”. By attaching to the visitor’s clothes the scent was carried
out from the gallery into the city; complemented by moon smell-impregnated
postcards which allowed visitors to enjoy the scent of the moon back into
their homes.151
As a most arresting artistic use of microencapusulation technology on
paper, Gayil nalls released a rain of scented cards among the midnight
confetti during the 1999-2000 new Year’s Eve celebration at new York times
Square, titled World Sensorium (First Record). the UnESco endorsed project
consisted of nalls conducting dialogue with 225 countries over five years to
establish each one’s most characteristic natural scent. of each, the essence
was mixed with all others proportionally according to the statistical world
population data of the year 2000, and subsequently applied to the released
cards; acting as an olfactory imprint of the collective world population.
the project evolved out of a three-decades-long artistic exploration of the
interface between humankind and nature, as well as the loss of cultural
practices, natural orders and ecosystems.152 As habitat and lifestyle are
changing at an ever-increasing rate, nalls has already begun to collect data
for World Sensorium (Second Record).153
Being a recent development in paper-bound scent distribution, Eduardo kac’s
Aromapoetry artist’s book facilitates nanotechnology binding to each page
an extremely thin layer of porous glass (200 nanometers), trapping the scent
molecules and releasing them slowly over time. the reader interprets each
of the twelve poems based on its smell and title, whereas in some cases a
single poem has multiple olfactory zones on each page; all poems ranging
151 “Republic of the moon exhibition explores lunar living,” Philippa warr, Wired Magazine UK, January
6, 2012. http://www.wired.co.uk/news/archive/2012-01/06/republic-on-the-moon (accessed
September 25, 2012).
152 “the world Social olfactory Sculpture,” Gayil nalls, World Sensorium, http://www.worldsensorium.com/
(accessed october 24, 2012).
153 Gayil nalls, Interview with Linda Solay, (new York-Singapore via email, may 21, 2012)
PAGE 51
“
In a culture dominated by
technologically mediated
information, scent provides
a subtle counterpoint.
At a time when the body
is overwhelmed by digital
and virtual media, odour
reintroduces the physicality
of experience.
- Jim Drobnick
l I t E R A t U R E R E VI E w
widely in their material structure and semantic resonance. the book come
in an edition of 10 with a complete set of small fragrance refill bottles for
the reader to top-up each individual page as required. notably, the book’s
summary also presents the key molecules of each poem to facilitate future
reproduction.154
2.6. Possibilities and challenges of scent dispersion
For scent art to be presented to and received by the audience as intended,
use of the appropriate technological devices is crucial (naturally this
excludes inherently odourous materials). with an increasing number of scent
technology variations available on the market almost exclusively intended for
commercial or domestic use, such can also be facilitated for scent artworks.
to facilitate education on such technology available for the creation of scent
art, as well as to contextualise the discussion on technical considerations
during artistic creation and artwork exhibition (as in the research findings
of chapter 4), the following sections aim to comprehensively illustrate the
scope of diverse methods, conceptual innovations and technologies both
currently under development and already generally available today; from
cutting-edge innovation to trialed and tested mechanic mechanisms.
2.6.1. Scent dispensers
Electric scent dispensers are principally
loaded or filled with an odours
substance, which is subsequently
dissipated into the surrounding space
in gaseous form. the dispenser may
contain an inbuilt or retrospectively
added timer or motion detector, which
limits odour emission to triggered or
regular intervals, and scent intensity
can usually further be regulated. Since 27. Scent Beam™.
Source: Air-Scent
natural scents diffuse faster, most www.airscent.com/category-Scent-Beam.asp
dispensers are built for synthetic scents.
154 “Aromapoetry,” Eduardo kac, http://www.ekac.org/aromapoetry.html (accessed August 12, 2012).
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(therefore Ueda constructs her own dispensers or modifications thereof
dedicated to natural essences.155)
A number of devices emit the odour via different technologies:
Atomizing diffusers (liquid spray dispensers) are the most simple of
diffusers; spraying the scented liquid in the form of mist. with such
dispensers being inexpensive and widely available even on the consumer
market, there have also been successful attempts in hacking pre-filled units
and refilling them with one’s own odourous liquid.156
Professional liquid/gel cartridge dispensers use an inbuilt fan to emit the
released scents, yet usually have to be filled with the manufacturer’s pre-
blended scents packaged liquid/gel sachets/cartridges only. dry substance
dispensers are similarly using an inbuilt fan, and are also usually built to
only carry the manufacturer’s pre-blended scents in the form of compressed
bars or blocks. (For my exhibition Continuum of Consciousness, replicas
of such commercial dry dispensers were built with simple materials, and
filled with crushed natural ingredients such as dried berries and spices.
they maintained excellent function throughout the exhibition period.) Some
manufacturers also provide hybrids dispensers which can hold both dry
blocks or material, as well as liquid/gel sachets/cartridges. Principally, both
carry potential to be hacked successfully for alternative artistic use.
Hot or cold air vaporisers disperse smell by
breaking up odourous solutions into small aerosol
droplets diffused in the air as vapour, where they
can remain suspended for several hours. notably,
if therapeutic properties of natural essential oils
are to be maintained, only cold air diffusion does
not compromise their structure and effect.
Variations of the above technologies are used in
air conditioning bypass units which, by connecting
it to the air conditioning itself, spread the odours
28. Scentdiffusor Aircon Eco.
generously through an entire space. Further some Source: Scentcommunication
www.scentcommunication.com/products/ambient-air/index.php
155 maki Ueda, Interview with Linda Solay.
156 “Everything I know about interaction design I learned by making a scratch-n-sniff television,” Alexander
kaufmann, let’s Interact, october 15, 2010. http://chinaalbino.com/alex/?p=1515%A0For%20
your%20scentjoyment (accessed october 1, 2012).
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29. ScentScape (2011)
Source: Scent Sciences
www.scentsciences.com/products.html
diffuser manufacturers also offer custom engineered solutions built to the
customer’s particular requirements.
when choosing a scent dispenser, it is important to consider the size of the
room, the desired interaction with the scent, any noise generated by the
dispenser, the average air flow in the space, the required duration of scent
dispersion, as well as the desired scent saturation level.
Examples of diffuser manufacturers are Air Aroma,157 Air-Scent
International,158 mint digital,159 ScentAir160 and Scentcommunication.161
2.6.2. Digital scent technology
Research into the use of digital scent has permeated numerous fields today’s
technology, including the internet, television and mobile phones. Principally
not complex in its structure, digitised scent emission is based on mixing
a fixed number of individual odourous liquids, just as a printer would mix
primary colours. Such oil-based fragrances are stored in cartridges inside a
compact device and combined in its mixing chamber before being fanned
out into the room; usually replicating common natural and man-made
157 Air Aroma, Products, http://www.air-aroma.com.au/products (accessed october 1, 2012).
158 “Scent Beam™,” Air-Scent International, http://www.airscent.com/cateory_large_area_systems.asp
(accessed August 29, 2012).
159 “olly - the web connected Smelly Robot,” mint digital, november 3, 2011. http://www.ollyfactory.
com/ (accessed november 5, 2011).
160 “Solutions,” ScentAir, http://www.scentair.com/why-scentair-solutions/ (accessed october 1, 2012).
161 “Products,” Scentcommunication, http://www.scentcommunication.com/products/ambient-air/index.
php (accessed october 2, 2012).
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odours. Individual cartridges need be replaced as needed to maintain the
scent accuracy. the signal to trigger a scent combination and release is
transmitted digitally via a file-embedded code. Software to write and read
such codes is currently under development, whereas only limited models
of hardware are still available due to repeated business failures over the
past decade. one company who has been involved in the most recent
development of such hardware and software is Scent Sciences.162
Internet
digital scent dispensers connected to the internet
or other digital information systems can be used to
intensity or conflict visual and audial information
presented simultaneously, or also on its own. For
example, computers fitted with according software
and a digital scent device could recognise smell by
identifying custom-made or generic codes embedded
in an email or web page, or also in an mp3 file playing
through a connected audio system. devices developed
for internet use are usually desktop-sized and contain
30. iSmell prototypes (2001)
anywhere from 20 to 128 cartridges of primary odours by digiscent
to mix thousands of everyday scents; indexed based Source: tech-tonic
www.tech-tonic-blog.blogspot.com/
on their chemical structure and their place on the scent
spectrum.
looking ahead, using the same technique one could not only download
scents but can also print out the flavours to be tasted. this technology,
originally proposed by triSenx as the device UltraSenx, would be facilitated
in a taste printing device to print out smells onto edible wafers dispensed
from the machine.163
In addition to currently operational manufacturer Scent Sciences and it’s
device ScentScape, previous models of digital scent software and devices
were iSmell by digiScents,164 Pinoke by AromaJet165 and Scent Dome by
162 “ScentScape,” Scent Sciences corp., http://www.scentsciences.com/ (accessed october 25, 2012).
163 “what’s next; A Sense of taste online, But First take a Sniff,” Anne Eisenberg, new York times,
december 21, 2000. http://www.nytimes.com/2000/12/21/technology/what-s-next-a-sense-of-
taste-online-but-first-take-a-sniff.html (accessed october 25, 2012).
164 charles Platt, “You’ve Got Smell!,” Wired Magazine, no. 11, november, 1999
165 “Pipeline,” AromaJet, http://www.aromajet.com/pipe.htm (accessed october 25, 2012).
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triSenx.166
Internet applications of digital scent technology could be used by new
media artists as an alternative tool or medium, as well as for publicity and
documentation purposes of scent-based exhibitions.
Mobile phones
creative uses for the field of
scent art could also be found
in developments in the mobile
phone technology, with multiple
manufacturers having developed
scent-emitting phones over
the past years. most of these
attempts failed however, due to
leakage, the electronic control
of liquids, storage issue, claims
31. Scent Phone (2012) by ceroma ltd
of skin irritation etc, although
Source: Jenny tillotson
www.slideshare.net/zahidtg/scent-phone
this year a non-fluid storage,
stimuli-responsive phone was
presented by ceroma ltd, a promising spin-out company from the University
of cambridge.167 the earliest scent mobile phones came from Japan and
korea in 2005: The SO703i Sony Bravia “aroma phone” contained changeable
scented sheets, whereas Hyundai’s MP 280 “perfume phone” included a built-
in perfume container releasing scent during use. A replaceable fragrance
strip located near the central hinge was featured by Sony Ericsson’s DoCoMo
SO703i “scented phone”, whereas Fujitsu simply embedded a ceramic
fragrance chip on the back of the phone. Further plans were announced in
2008 for the development of a “smellophone” chip card by the Institute of
Sensory Analysis and marketing consultancy and convisual, suggesting that
chips with as many as 100 scents should be on the market soon. Shaped
like existing Sd-cards, these could be used to send scented text and picture
messages as well as for smelly ringtones or games. Visionaries see that with
166 “In the best possible taste: Sending smells over the internet,” Sean mcmanus, http://www.sean.
co.uk/a/science/trisenx.shtm (accessed october 25, 2012).
167 Jenny tillotson, “Scent Phone”, 4th Future of wireless International conference, (cambridge: 4th Future
of Wireless International Conference, June 26, 2012), http://www.slideshare.net/zahidtg/scent-
phone
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further developments in smell recognition technology, mobile phones could
one day be used for taking scented photographs or to send the exact smells
of one’s surroundings via a “smell message”.168
Television
triSenx’s 2007 innovation Scenttv, the first scent-enabled multimedia portal
available only in the U.S.A., facilitated the emission of smell-coded content
of movies, games, music videos etc and when linked to their Scent dome,
also that of smell-online content, such as scented websites. Although not
well received due to cost and lacking available digital scent content on the
consumer market,169 Samsung is currently working on an alternative version
of a scent television: their inbuilt device made of rubber is divided into
chambers containing liquid odours. Released through air pressure triggers,
and both leakage and size still pose engineering challenges.170
Video games
Video game technology is another field which carries wide potential for
the interactive use of scent, with technical developments also becoming
applicable to artists working with interactive media art. Smell can become
a new interface for concept communication or play beyond mere smell
illustrations for enhanced enjoyment, such as for example decision making
based on occurring odours, remembering scents for further navigation etc.
mei-kei lai171 from the macau Polytechnic Institute is collaborating with
mixed Reality lab Singapore to develop such a gaming device in which
“players can communicate by triggering aromas, deciding when and what
scents to be emitted during the virtual navigation”.172
168 “digital scents,” mico tatalovic, Cosmos Online Magazine, January 12, 2010. http://www.
cosmosmagazine.com/features/online/3230/digital-scents (accessed october 25, 2012).
169 “Scenttv ~ perfume in the news,” Robin, Now Smell This, march 22, 2007. http://www.nstperfume.
com/2007/03/22/scenttv-perfume-in-the-news/ (accessed october 25, 2012).
170 “Scent tV: the Future of the medium may Really Smell,” mary Staub, Scent TV: The Future of the
Medium May Really Smell | TechNewsDaily.com, June 20, 2011. http://www.technewsdaily.
com/2758-scent-released-television.html (accessed october 25, 2012).
171 “does it make scents to have fun?” mei-kei lai, Make Scents Studio, 2008. http://www.
makescentstudio.com/ (accessed September 30, 2012).
172 “does it make scents to have fun?” mei kei lai, ISEA2008 Juried Exhibition, July, 2008. http://www.
isea2008singapore.org/exhibitions/air_scents.html (accessed September 30, 2012).
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Clothing
dr. Jenny tillotson, engaged in the above mentioned
cambridge smell phone project, is also developing
prototypes for fabrics and clothing for wide variety
of applications featuring mood-responsive digital
scent technology titled Scentsory Design.173 For
garments, small incorporated body sensors detect
stress based on body temperature, heart rate,
environmental sound etc. and interpret such data
to initiate fragrance delivery from the inbuilt chip-
based microfluidics as nano-droplets of scent,
without causing odour fog.174 As in this example 32. Scentsory design®
prototype garment (2005)
soothing scents may be released when stress levels Source: UAl Research
online
exceed established thresholds, such technology www.ualresearchonline.arts.ac.uk/5467/
could also be used by artists working with fabrics
and human interaction.
Scratch and Sniff TV
Although not distinctly categorisable as digitally composed scent, the
“Scratch and Sniff tV” developed by Alex kaufmann in 2010 presents
and interesting example of commercial scent dispensers being hacked
and adapted to alternative purposes:175 to allow users to smell the scent
of a corresponding digital image when scratching the screen, kaufmann
used nothing but the transistor-based model of Glade’s Flameless Candle
automatic air freshener coupled with an Arduino processing board. Aligning
those with Glade’s scent dispensers re-filled with non-oil based scents of
orange, rubber, turpentine etc. under a touch screen, users could scratch
the screen, to trigger smell atomisation the whilst seeing the image fading,
just as scratch-n-sniff stickers do after vigorous scratching. Visitors would
“approach it, read the description, raise their eyebrows, begrudgingly scratch
the screen, lean over and then be totally overwhelmed and surprised”,
173 Jenny tillotson, “Scentsory design”, 4th Future of wireless International conference, (cambridge: 4th
Future of Wireless International Conference, June 26, 2012), http://www.slideshare.net/zahidtg/
scent-phone
174 Jenny tillotson, “Scentsory wave: [re]active clubwear for wider waves of Feeling.” In (Re)Actor: The First
International Conference on Digital Live Art (london, September 11, 2006)
175 “Profile: Alex kauffmann,” John Seven, Archive 7, April 23, 2010. http://johnsevencollection.wordpress.
com/2010/04/23/profile-alex-kauffmann/ (accessed october 1, 2012).
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kaufmann said176. Although such clearly highlights scent’s potential for
interactivity, in can also serve as a reminder to artists to not compromise
content and concept for gimmick effects.
Although only some products have passed the stage of early development,
digital scent clearly provide outstanding capacities both for artwork creation
and its publicity or documentation. Although the latter relies on digital scent
technology becoming commonplace before serving as an effective tool for
information dissemination, artists themselves can make modification to
existing products to suit their need and ambitions for creating olfactory art
with both strong interactive elements and conceptual value.
2.6.3. Microencapsulation
due to demand from the
fragrance industry, methods
for the dissemination of scent
information on paper have
seen much development and
optimisation over the past
decade. with humble beginnings
in white tester strips as well
as scratch and sniff cards as
entertainment particularly
33. Fragrance printing samples.
for younger audiences, Source: lipo technologies
www.lipotechnologies.com/fragrance-printing/
today a number of different
microencapsulation procedures
allow for the distribution of scent samples via printed media. Such scent-
printed matter could be used for artwork creation itself, or also for publicity
and documentation of scent-based art, such as by we colonised the moon
who used their moon smell both for their aforementioned moon scratch
and sniff cards, which became part of the artwork.177 Gayil nalls’ World
Sensorium microencapsulated cards release above new York’s times Square
constitute the artwork themselves; to be caught and kept by attendees.
176 “Everything I know about interaction design I learned by making a scratch-n-sniff television,” Alexander
kaufmann.
177 “moon, Scratch and Sniff,” Sue corke, Betzwieser H, We Colonised the Moon Home Page, 2012. http://
www.wecolonisedthemoon.com/index.php/work/moon-scratch-a-sniff.html (accessed September 25,
2012).
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Eduardo kac in his smell-microencapsulated poetry book embodies both
the artwork and documentation of scent, and the exhibition catalogue for If
there ever was… seems to have almost become an artwork in itself due to its
unique place in the artworld and fine craftsmanship.
the three main forms of scent microencapsulation technologies for paper
can be summarised as follows:
Scented peel strips
Scented peel strips consist of a gelatine-based slurry mixed with glue
enveloped inside a thin, dual-layer paper flap which, upon being peeled
apart, breaks open the enclosed fragrance’s polymer capsules. Although
suitable for magazine perfume advertisements, the scent usually dissipates
quickly and is oftentimes even released prematurely due to excess pressure
during production or transport.
Scratch and sniff
“Scratch and sniff” technology became
popular in the 1980s under the comic
boom and has been mainly used for
children’s stickers/cards and pressure
sensitive labels attached to supermarket
products. Herefor the scented capsules
are distributed in a water-based slurry
and applied to the carrier surface.
disadvantages relate both to its quality
and longevity: the applied slurry may
blur or obscure graphics printed on the
34. Scent strip sample
carrier paper beneath and also require Source: Reed Pacific media
www.reedpacificmedia.com/scented-media/scent-strip/
extensive drying periods, whilst its
scent-releasing capability reduces rather
quickly due to the vigorously scratching required.
Scented varnishes and inks
this nontoxic technology adds polymer capsules containing the desired
fragrance molecules to ink or varnish, whereas the latter can be used on
top of conventionally printed papers with virtually no visual impact to the
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printed graphics beneath due to a clear mixture. this process accelerates
the process of completing a printed product and eliminates the risk of the
scent being released prematurely or bursting due to the heat of the printing
machine. despite the fragrance capsules also have to be broken open by
mechanical means such as scratching, only little force is required; yielding
only minute destruction of the surface layer. depending on the mixture of
the microencapsulated varnish or ink the scent can last long periods. In the
2007 paper Scent Encapsulated in Printed Products Heike Rose quotes Ali
westcott, director marketing & communications for concord litho, stating
that “a product with this scented varnish can be stored on retail shelves for
more than five years”, whereas micro-Scent Inc. claims that “the fragrance will
remain intact inside its microcapsule waiting to be released for forty years or
longer”. to her estimate the technology is furthermore about 40 to 50 per
cent cheaper than that for scented peel strips178.
Printers and manufacturers of these and other modified technologies
include, among others, celessence,179 concord litho,180 Ideair,181 lipo
technologies,182 Reed Pacific media183 and Scentisphere.184
microencapsulation technology is further available for a number of materials
which could be used in artistic creation: Paint Scensation185 offers fragrances
to be mixed into conventional paint for interior wall covering (whereas
suitable results may also be achieved through dIY testing of mixing paints
with carrier-identical odourous liquids), and Flavor Paper186 provides both
standardised and custom solutions for visual and scent combinations to
be produced as wallpaper. celessence also developed an application for
178 Heike Rose, “Scent Encapsulated in Printed Products”, thesis. (University of Applied Sciences Berlin,
September 6, 2007), 6.
179 celessence technologies, Celessence Home Page, http://www.celessence.com/ (accessed october 26,
2012).
180 “All About Scented Varnishes,” concord litho, http://www.concordlitho.com/about-us/resource-center/
all-about-scented-varnishes (accessed october 2, 2012).
181 “Scent marketing, powerful communication,” Ideair, http://www.ideair.fi/print.html (accessed october
2, 2012).
182 “Fragrance Printing,” lipo technologies, http://www.lipotechnologies.com/fragrance-printing/
(accessed october 2, 2012).
183 “Scented Advertising,” Reed Pacific media, http://www.reedpacificmedia.com/scented-media/ (accessed
october 2, 2012).
184 “other products,” Scentisphere, http://www.scentisphere.com/other_products.htm (accessed october
2, 2012).
185 “Scented Paint Additives,” Paint Scensations, http://www.paintscentsations.com/paint-scentsations-1/
(accessed october 23, 2012).
186 “custom,” Flavor Paper, http://www.flavorpaper.com/wallpaper/category/56/custom (accessed
october 2, 2012).
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clothes in which the movement of wearing breaks the embedded fragrant
oil’s polymeric shell and hence releases scent very slowly, while even
withstanding washing.187 Fragrance designer christopher Brosius188 provides
fragrancing for interior decoration of absorbent materials, such as curtains,
carpets, upholstery and linen, as well as for stone, concrete and marble
surfaces.189 Similar to celessence’s method, smell molecules encapsulated
in tiny beads are mixed with an agent that binds them to certain materials;
creating a variable release mechanism which minimises a smell’s possible
oppressiveness, as well as the risk of a diminishing effect due to perceived
neutralisation of continuous ambient scents.
Although exceeding the scope of this research, there are multiple ways for
artists to acquire odourous liquids for their art making processes. If financial
resources are available to hire a fragrance designer, businesses specialising
in custom creations such as Air Aroma,190 demeter,191 dreamair,192 omega
Ingredients,193 ScentAir194 or Smartnose195 can be consulted.
those who seek to collect their own smell samples can do so using
headspace technology196 and could also have the sample evaluated by
laboratory technology such as olfactometers197 (some of which can disperse
exact combinations of pre-defined scents, primarily for experimental use) or
gas chromatographs198 and mass-spectrometers.199
187 “micro-encapsulation technology - an interview with Ross Emerick from celessence,” Grant osborne,
Basenotes - Micro-encapsulation Technology, February 21, 2011. http://www.basenotes.net/
content/675-micro-encapsulation-technology (accessed october 2, 2012).
188 christopher Brosius, cB Home Page I Hate Perfume, http://www.cbihateperfume.com/ (accessed
August 21, 2011).
189 “A nose with An Eye,” Julia Szabo, New York Times, Home Design Magazine, April 1, 2001.
http://www.nytimes.com/2001/04/01/magazine/the-home-front-a-nose-with-an-eye.
html?pagewanted=all&src=pm (accessed october 7, 2012).
190 Air Aroma, Products.
191 demeter, Demeter Fragrance Library Home Page, http://www.demeterfragrance.com/ (accessed
october 25, 2012).
192 “Air Sculpture,” dreamair, http://dreamair.mobi/air-sculpture/ (accessed September 30, 2012).
193 omega Ingredients, omega Home Page, http://www.omegaingredients.co.uk/ (accessed September
30, 2012).
194 “Solutions,” ScentAir.
195 Smartnose, Smartnose Home Page, http://www.smartnose.net/ (accessed September 25, 2012).
196 “Headspace technology,” Paul Bennet, The Curiosity Chronicles, June 4, 2011. http://
curiositychronicles.tumblr.com/post/6171760725/curious-about-headspace-technology (accessed
September 12, 2012).
197 “olfactometer,” wlU cognitive neuroscience lab, Washington and Lee University, http://www.wlu.edu/
x48852.xml (accessed october 26, 2012).
198 AcRF, Gas Chromatography, http://www.gas-chromatography.net (accessed october 26, 2012).
199 “mass Spectrometer,” carl Rod nave, HyperPhysics, http://hyperphysics.phy-astr.gsu.edu/hbase/
magnetic/maspec.html (accessed october 26, 2012).
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35 35. Gayil nalls’ laboratory (1999)
Source: Gayil nalls
36 www.gayilnalls.com/world-sensorium.html
36. “miniature olfactology lab”, artwork installation (2011) by Peter de cupere.
37 Source: llamas’ Valley
www.lamuslenis.lt/llamas-valley-2012-02-18/
37. maki Ueda’s desk (2010)
Source: maki Ueda
www.ueda.nl/index.php?option=com_content&view=category&layout=blog&id=98&Itemid=564&lang=en
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Although some artists such as Gayil nalls,200 maki Ueda201 and Peter de
cupere202 have acquired the skill to collect, mix and extract their own
essences through distillation, enfleurage and synthesisation, they commonly
also collaborate with perfumers, fragrance houses or flavoursists203 204 205
as
scent creation can be highly time-consuming and laboursome. In some cases
a synthetic smell is also preferable as it may be significantly less expensive
than the use of scented raw material, such as the toothpaste used for de
cupere’s Big Smile Room installation.206
other artists such as oswaldo maciá207 and clara Ursitti208 have entered long-
term collaborations with fragrance designers or biochemists to support their
creation of smells part of their installations.
clearly the variety and availability of technology today for the creation,
presentation and publicity of art using scent as a medium are
unprecedented. nonetheless it is crucial both for artists, curators and
exhibition managers to familiarise themselves with the applicable method
and technology through research and test the chosen materials and
systems according to applicable parameters before planning an exhibition
installation.
Although cost of some methods may be prohibitive, there are alternative
avenues for creating scent-based works with simpler materials without
compromising efficiency. As indicated by recent developments in the It
industry, it is a rapidly expanding field which is likely too see significant
innovation in the coming years - innovation which can conceptually inspire
artists whether they’re working in high-tech or traditional scent creation
methods.
200 “the world Social olfactory Sculpture,” Gayil nalls, World Sensorium, http://www.worldsensorium.com/
(accessed october 24, 2012).
201 maki Ueda, Scent Laboratory, http://scent-lab.blogspot.nl/ (accessed october 26, 2012).
202 kornelija cesonyte, “Strawberry and cardamon,” 87-88.
203 Gayil nalls, Interview with Linda Solay.
204 maki Ueda, Interview with Linda Solay.
205 Peter de cupere, Interview with Linda Solay.
206 “Art Brussels Artist Project,” Peter de cupere, Peter De Cupere Home Page, http://www.
peterdecupere.net/index.php?option=com_content&view=article&id=79:art-brussels-artist-
project&catid=1:exhibition-news&Itemid=98 (accessed november 8, 2012).
207 oswaldo maciá, Interview with Linda Solay.
208 “clara Ursitti,” Sensuous Knowledge Conference, november 23, 2005. http://sensuousknowledge.
org/2005/11/clara-ursitti/ (accessed october 26, 2012).
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In conclusion, this review of literature, including methods and current
technology speaks of the extensive scope of factors influencing the creation,
presentation and perception of scent art today:
Although we value traditional appreciation and meaning of fragrance,
many of our present associations have been shaped through societal
developments relating to class, sin and hygiene. the avant-gardists of the
early 20th century carried forth the sense for experimentation we experience
in contemporary art today, and with it also propelled scent and immersive
approaches to our awareness, past the peak of the hygiene revolution.
Artists today use a variety of approaches in working with scent; both facing
and circumventing the challenges that come with the ephemeral medium.
However with technology for the use of scent in everyday life and growing
increasingly wider in its scope, and with both its growing affordability as
well as artistic ingenuity in developing their own alterations or innovations,
we can expect the field of scent art to grow and mature by the means of
creativity and originality beyond its unique challenges.
nonetheless available literature shows a distinct lack in the field of
exhibition challenges and practical considerations: Scent art presentation
and preservation strategies, including considered approaches to publicity/
documentation and collectability are essential prerequisites for this medium
to gain presence in contemporary art practices and its acceptance on the art
market, wherefor this thesis seeks to contribute to filling such gap.
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m E t H o do l o G Y
3
3. mEtHodoloGY
For this research, qualitative research methods were used, in the form of
one case study with a focus on ethnographic observation, as well as data
gathering through nine semi-structured qualitative interviews with five with
artists and four with curators, all experienced in having worked with scent in
an exhibition context.
this qualitative semi-structured research method was used due to the
unique and rare nature of the subject, as scent art is still a niche field even
in contemporary arts, and hence only a small number of practitioners and
experts are available for data gathering. In Social Research methods, Alan
Bryman points out that in such cases quantitative strategies are hard to
employ, since there’s a lack of “literature from which to draw lead”. He
recommends an exploratory approach through qualitative research, as the
latter leads to the generation of theory rather the testing of theory.209
the topic of scent art principally is a little explored field, with no traceable
formal research having been done specifically on its exhibition strategies.
Hence this subject calls for qualitative enquiry as a “never-ending process,
interpreting the interpretations of others”210 as it is more suited to explore
subjective, individual experiences211 according to clive Seale.
209 Alan Bryman, Social Research Methods (oxford; new York: oxford University Press, 2012), 41.
210 clive Seale, Social Research Methods : A Reader (london; new York: Routledge, 2004), 502.
211 Ibid., 511.
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m E t H o do l o G Y
through this approach, I sought to learn about exhibition conceptualisation
processes, various scent diffusion methods, airflow control, maintenance,
funding, as well as views on the archivability and collectability of scent art.
3.1. Semi-structured qualitative interviews
Further semi-structured qualitative interviews were a most useful resource,
as hardly any common knowledge in the field is yet available, and a certain
flexibility in structuring, re-phrasing, and re-ordering questions allowed
for molding of the interview content towards directions the interviewee
was most knowledgeable of. As interviewees had rarely or never been
interviewed on their scent-based practice before, this approach also
allowed them to use their words to explain their “point of view”.212 Also it
allowed interviewees to raise subjects that I had been unaware of before, or
to guide me towards a deeper understanding of particular matters they saw
to be of major importance.
the open-ended questions and their structure were developed out of
research on available literature of previous scent art exhibitions, and
reflection on the challenges and implications thereof. Both content and
structure were adjusted over time, after each interview, to accommodate
for new insight and to optimise the following interview with the next
interviewee. By this method I arrived at an interview of 11-18 semi-
structured open-ended questions, which at times where re-phrased or
extended on for improved communication with the interviewee.
(see Appendix c for sample interview.)
the first interview was completed in writing on the 20 may 2011 by caro
Verbeek. As it provided both most insightful responses to my initial
questions and guided my following revision of interview content, it made a
valuable contribution to the data analysis.
the subsequent eight interviews took place between 21 April 2012 and
11 november 2012 and were conducted and recorded via Skype, with the
exception of one artist (Gayil nalls) and one curator (Jim drobnick), who
chose to return my prepared questionnaire by email.
212 Bryman, Social Research Methods, 319.
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m E t H o do l o G Y
the interview duration ranged from 50 minutes to 1 hour 40 minutes,
depending on the interviewee’s availability; with an average interview time of
65 minutes.
3.1.1. Samples for qualitative interviews
Both artists and curators having worked with scent would be able to
provide interpretative and experiential insight into the conceptualisation-,
installation- and maintenance processes, as well as observations on scent
retention/distribution, interaction with gallery staff and possibly even on
audience responses.
Purposive sampling hence led to the following selection criteria:
Among the small number of art industry professionals having worked with
scent, the five individual artists were selected based on their extensive
experience with scent art by having widely exhibited their scent works and/
or lectured in educational institutions about their artistic practice involving
scent, or on scent perception itself:
• Peter de cupere (Belgium)
• Erika Ernawan (Indonesia)
• oswaldo maciá (colombia/Uk)
• Gayil nalls, Phd (USA)
• maki Ueda (Japan/Holland)
(See Appendix E for artists’ biographies.)
one artist (Erika Ernawan), although not fulfilling the above criteria, was
selected based on her gallery staffs’ notable reaction to and interaction with
the scent element in her installation artwork.
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m E t H o do l o G Y
the selected four curators and art historians have curated dedicated scent
art exhibitions and/or hold reputable university positions:
• Robert Blackson, director of Exhibitions & Public Programs at the tyler
School of Art, temple University, Philadelphia
• Jim drobnick, Phd, Associate Professor and director of mA Program in
contemporary Art History, ontario college of Art & design, toronto
• Joyce toh, Senior curator at Singapore Art museum
• caro Verbeek, art historian of the other senses, affiliated to the
Rijksmuseum in Amsterdam and the Art-Science Interfaculty in the Hague
(See Appendix F for curators’ biographies.)
3.1.2. Interview thematics
the general interview data sought included:
Theory
• the conceptualisation of a scent art exhibition, including particular
curatorial considerations and challenges due to the medium
• the current level of understanding and acknowledgement of scent art,
among both contemporary art professionals and audiences
Practical
• methods of artwork creation considering the characteristics of the
exhibition space
• methods used for the spatial distribution and retention of scent,
including diffusion types and gallery interior design
• Interaction with and maintenance required by gallery staff
Visitorship
• challenges of scent perception by exhibition visitors, including deliberate
scent moderation
• Audience familiarisation with scent art
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m E t H o do l o G Y
3.1.3. Vision
• options for publicity and documentation of scent art exhibitions
• Archivability and collectability of scent art
• the ‘ideal’ exhibition space and curatorial support
the interview with oswaldo maciá presented an exception, as it focused on
practical and technical questions pertaining scent creation, installation and
maintenance. (see Appendix d for interview questions).
3.2. case study: “continuum of consciousness”
In Fischler’s landmark article Case Studies for Planners at Work which
analyses how researchers have used case studies for planning theory, he
highlights how “case studies that explore the behaviour and experience of
innovative practitioners and innovative organizations [...] should be placed
high on our agenda.213 However as at the time of research there was no
announcement of current or upcoming scent art exhibitions regionally
or internationally my own exhibition titled Continuum of Consciousness,
containing sight, scent and sound elements, served as the case study
subject. Exhibited from the 12th to 25th october 2012 at the Institut
Francais Bandung, Indonesia, it provided me with such first-hand technical
and ethnographic observation and resulting experiential understanding.
As I was present on site for its installation as well as exhibition opening,
there was the opportunity for close observation of all proceedings, including
challenges in the scent’s installation, understanding of/interaction with
staff members, scent retention, maintenance requirements and visitors’
experience.
As a single-case embedded instrumental case study, it focused on
observation in the following fields:
• own observation on staff response and handling of scent during
installation
• own observation on efficiency of scent distribution, on suitability of
architecture and fittings
213 Raphael Fischler, “case Studies for Planners at work,” Journal of Planning Literature 15, no. 2
(november 2000): 194.
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• Gallery sitter’s observation on scent retention, staff maintenance of scent
and visitor’s behaviour after my departure from site
Units of analysis were hence (a) workings of the scent inside gallery setting,
(b) the gallery staff and (c) the exhibition visitor.
General Ethnographic Recording Sheets (GERS) were used to record the
observed information and serve as the basis of the case study’s analysis,
as recommended by tony l. whitehead;214 containing both first hand
impressions as well as observations discussed with the curator and
assistants in order to minimize overly subjective bias (see Appendix G for
GERS sheets).
the gallery sitter was instructed both verbally and in writing about the
daily setup and maintenance tasks, particular points of control (such as
detecting a fading scent to determine the time/s of refill) as well as visitors
interaction (explanations about the work, handing of questionnaires etc.).
Although the gallery sitter did not take written notes during the exhibition
period, he provided insightful feedback both in conversation and succinctly
via email throughout the exhibition period, and after its end (see Appendix
H for written feedback). A short written survey (translated into Indonesian)
about the visitors’ exhibition experience with regards to the scent in
particular was conducted by the gallery sitter; providing quantitatively
collected information on audience perception within the context of a major
Indonesian city with a long-standing reputation in the field of contemporary
art. the survey consisted of four close-ended profiling questions, and seven
feedback questions; one open-ended and six by ranking from the weakest
to the strongest “yes”. the gallery sitter provided all visitors with a room
leaflet and separate questionnaire to fill in after their exhibition visit, with an
average response rate of 22% (approximately 250 total visitors, 56 returned
questionnaires).
(See Appendix I for survey questions and Appendix J for survey results.)
214 tony l. whitehead, Workbook for Descriptive Observations of Social Settings, Acts, Activities & Events
(University of maryland college Park, July 17, 2006), 4.
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3.3. content analysis
After transcribing all interviews, both the case study and interview data were
analysed using the principle of grounded theory coding215 as explained by
Alan Bryman: After initially reading though all material without taking notes,
first open code reading is performed by compiling an index of key words,
namely codes. thereafter all material is carefully re-read to refine the codes.
In the second phase focused coding will be applied by identifying narrowed
key content through codes which included air control, maintenance, safety,
visitor experience, acknowledgement, publicity, funding, critical discourse,
collectability and future prospects.
the resulting codes aided in identifying concepts and common opinions,
which lead to both the final principal and particular insights gathered from
the research.
the case study findings were generated (a) by the analysis of the General
Ethnographic Recording Sheets (GERS) containing two day-long observational
notes on my experiences during the Continuum of Consciousness exhibition
installation and exhibition opening, as well as (b) through the gallery sitter’s
responses to my feedback questions asked at the end of the exhibition
period; inquiring about the perceived scent retention/distribution, staff
maintenance of the scent and audience interaction.
3.4. limitations
Interviews
due to the variety of working practices in scent art and the continuous
development of alternative methods and technologies, all experiences
and opinions given by interviewees were collated and organized to give an
overview of such, however current new approaches and technologies are
under development on an ongoing basis.
As quantitative data on audience responses to the artists’ scent art
exhibitions was unavailable or inaccessible, such was not included in the
methodology.
215 Bryman, Social Research Methods, 401–415.
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Case study
As no scent professionals will be contracted to assist during the exhibition
installation, potential problems experienced herein may not be applicable
to institutions or artists who choose to arrange for the assistance of such
professionals.
As the exhibition was only installed for two weeks at an established art
centre, albeit not a major national institution, a large enough sample number
to establish an even cross-section of age groups responding to the survey
could not be guaranteed.
PAGE 74
“
As something of an
end-game strategy,
scent is the ultimate medium
for denying objectness
as an ontological
necessity for art.
- Jim Drobnick
F I n dI n G S
4
4. FIndInGS
4.1. Interview findings:
Practical experiences from artists and curators
Principally scent-based artworks face a variety of challenges for their
exhibition and recognition on the art market, some unique to the medium,
and others amplified due to it although otherwise generically found in other
media as well. In their essay Smelly Art Shiner and kriskovets briefly noted
some of such considerations to be scent artworks’ required maintenance,
their preservation, funding and principal acceptance by institutions,216
yet to develop a cohesive understanding of these and further challenges
and to examine possible strategies for dealing with them, I conducted
nine interviews with industry professionals experienced in the field of
scent art. the five artists (Peter de cupere,217 Erika Ernawan,218 oswaldo
maciá,219 Gayil nalls,220 maki Ueda221) and four curators/art historians
216 larry Shiner and Yulia kriskovets, “the Aesthetics of Smelly Art,” the Journal of Aesthetics and Art
criticism 65, no. 3 (2007): 274.
217 de cupere, Peter, Interview with Linda Solay (Antwerp-Singapore via Skype, may, 2012)
218 Ernawan, Erika, Interview with Linda Solay (Berlin-Singapore via Skype, August 5, 2012)
219 maciá, oswaldo, Interview with Linda Solay (london-Singapore via Skype, november 7, 2012)
220 nalls, Gayil, Interview with Linda Solay (new York-Singapore via email, may 21, 2012)
221 Ueda, maki, Interview with Linda Solay (Amsterdam-Singapore via Skype, April 6, 2012)
PAGE 76
(Robert Blackson,222 Jim drobnick,223 Joyce toh,224 caro Verbeek225) shared
their knowledge of working with scent and contributed their experiences
on its exhibition. the following section will discuss findings from these
interviews, which yielded new insights in the fields of maintenance and
airflow control, group exhibitions, museum’s responses, institutional
challenges and collectability, critics’ understanding of and respect for scent
art, as well as notes on funding and the publicity/documentation of scent-
based artworks. cumulating in a comprehensive yet complex structure of
evaluated source information, these findings seek to provide a valuable
resource for individuals and institutions to confidently engage with scent art
in exhibitions; encouraging immersive experience and critical discourse.
All information is sourced from the author’s interviews, unless indicated
otherwise.
4.1.1. Group exhibition strategies
Exhibition spaces today, whether a national institution or artist-run gallery,
are not designed with specialised interior architecture elements to facilitate
the presentation of artworks which are transmitted through the air, such
as scent in the form of volatile molecules. As air circulates, the smell of an
artwork tends to travel and may not only interfere with visitor’s and staff’s
comfort levels, but other artworks by influencing the viewer’s overall sensory
perception. For smells spreading to other artworks or even rooms of the
exhibition venue, caro Verbeek draws the analogy of “a magritte is suddenly
being ‘contaminated’ by a Picasso”. this clearly challenges the integrity of
other artworks on site, yet the same problem also exists for solo shows with
multiple artworks. As Jim drobnick points out, this can also be particularly
challenging for scent artwork which has a temporal dimension, such as
featuring a sequence of different scents that emerge over time, yet needs to
maintain each individual odour’s integrity without creating a “smell soup”, as
Robert Blackson notes. certain technologies are available to limit or redirect
uncontrolled airflow, such as the interactive smell system developed by Haque
design+Research,226 which that allows for three-dimensional placement of
222 Blackson, Robert, Interview with Linda Solay (Philadeplphia-Singapore via Skype, August 8, 2012)
223 drobnick, Jim, Interview with Linda Solay (toronto-Singapore via email, october 23, 2012)
224 toh, Joyce, Interview with Linda Solay (Singapore via Skype, September 12, 2012)
225 Verbeek, caro, Interview with Linda Solay (Amsterdam-Singapore via Skype, may 20, 2011)
226 “Scents of Space,” Haque design and Research, 2002. http://www.haque.co.uk/scentsofspace.php
(accessed november 3, 2012).
P A G E 77
F I n dI n G S
38. “If there ever was...” installation view 1 (2008)
Source: Reg Vardy Gallery
www.newton.sunderland.ac.uk/~vardygallery/If%20there%20ever%20was/index.html
39. “If there ever was...” installation view 2 (2008)
Source: maki Ueda
http://www.ueda.nl/index.php?option=com_content&view=category&layout=blog&id=99&Itemid=566&lang=en
fragrances by the use of diffusion screens to provide smooth and continuous
laminar airflow only selectively scenting an area rather that the entire space.
Another effective method stemming from laboratory use is that of controlling
smells by creating different air pressures in adjoining rooms. Upon opening
the door the scent contained in one room would not escape, although fresh
air would still enter and hence maintain light airflow to enhance molecule
distribution. Such technology however requires a highly controlled setting and
is further currently not financially feasible even for well-funded institutions.
therefore artists and curators have devised alternative strategies for
controlling the distribution of scent within multiple-artwork exhibition
settings via three principal approaches, outlined through the following group
exhibition examples:
1. Localised low-volume diffusion
Hereby a localised low-volume, individually triggered diffusion of scent is
generated either via generously spaced manual release or motion detector
diffusers, or through the opening of closed containers containing scent.
Example: If there ever was: An exhibition of extinct and impossible
smells, curated by Robert Blackson, at Reg Vardy Gallery, Sunderland, U.k.
in April-June 2008.227
227 “If there ever was: An exhibition of extinct and impossible smells,” Reg Vardy Gallery, http://newton.
sunderland.ac.uk/~vardygallery/If%20there%20ever%20was/index.html (accessed April 4, 2010).
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F I n dI n G S
40. living Galleries: Food Gallery installation view (2012) at the national museum of
Singapore.
Source: linda Solay
Image by author
All eleven scents were evenly distributed through motion-detector scent
dispensers placed at regular intervals across the rectangular gallery space’s
three walls; located behind a slim, wall-length white board for aesthetic
uniformity. As the visitor approached to read the smell’s descriptive text on
the board, the corresponding scent was released in a small burst, triggered
via motion detection.
the aerators were dialable to control their output volume, and Blackson
recalls how by working with the manufacturer’s technician each one of them
was regulated to achieve a balanced output between the dozen individual
odours, without any one dominating or lingering significantly longer due to
the chemical attributes of its note. Average foot traffic of the exhibition was
around 4 visitors per hour, which led to a generous time intervals between
the triggering of scent; a precondition for this method to work and not
result in excessive odour mingling. Exhibition openings can hence create a
situation in which the integrity of each smell is compromised by too frequent
triggering of scent, which remain in the space, blend, further of course also
mix with a not insignificant amount of body odour.
A sold-out book of encapsulated smells accompanied the exhibition: If
there Ever was: A Book of Extinct and Impossible Smells. Sunderland, U.k.:
Art Editions north, 2008 by Robert Blackson, Joanna deans, and Reg Vardy
Gallery.
A related approach was used in the aforementioned artwork olfactoscape
by maki Ueda in which a sequence of individual fragrance diffusers were
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F I n dI n G S
41. Sephora Sensorium installation view 1 (2011).
Source: the d4d
www.thed4d.com/sephora-sensorium/
42. Sephora Sensorium installation view 2 (2011).
Source: the d4d
www.thed4d.com
released manually for each visitor, as well as Goldie Pobaldor’s Fragrance
of ma-I, where delicately handcrafted glass bottles discouraged smells from
co-mingling. the national museum of Singapore’s Food Gallery further
uses trumpet-like scent dispensers to be manually released on demand,
accompanied by mason jars containing artificially scented materials to be
opened by the visitor.
2. Wall separation
Hereby scents/artworks are isolated in separate spaces, separated through
preferably static walls to minimise contamination.
Example: Sephora Sensorium, joint pop-up museum exhibit by cosmetics
form Sephora and fragrance house Firmenich, 414 west 14th Street, new
York, in october-november 2011.228
the exhibition featured a number of “scent rooms” with various themes, and
hence scent themes were well contained within themselves; mostly separated
by doors. this method requires either large-sized exhibition space to be
separated into smaller sections, or alternatively the construction of little
scent chambers or “cubicles”; each of which might require additional funds.
228 “Sephora Sensorium,” the d4d, http://thed4d.com/sephora-sensorium/ (accessed october 1, 2012).
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F I n dI n G S
43. odor limits installation view 1 (2008)
Source: Esther m. klein Gallery
www.flickr.com/photos/kleinartgallery/3292442905/in/photostream
44. odor limits installation view 2 (2008)
Source: Esther m. klein Gallery
www.flickr.com/photos/kleinartgallery/3293261238/in/photostream
Additionally, although there was sometimes more than one type of fragrance
in each theme room, the small and localised odour dispersions were mostly
only triggered through manual release of the visitor and therefore did not
face significant cross-contamination (method 1 and 2 were hence combined
for optimal scent separation).
3. Non-conflict selection of works
Hereby the curator chooses a selection of artworks which utilise different
means of distributing their scent , and hence will not create any notable
conflict among each other. Hereby the curator naturally has to remain most
mindful of the requirements of the selected artworks, considering both their
scent’s development over time and a balance of visitor attention, whilst
thinking creatively about their possible installation.
Example: odor limits, curated by Jim dorbnick and Jennifer Fisher, Esther
m. klein Gallery, Philadelphia, may-June 2008.229
229 “odor limits,” the Esther m. klein Art Gallery, http://www.kleinartgallery.org/exhibitions_
archive/2008_may.htm (accessed April 4, 2010).
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F I n dI n G S
Exhibited artworks:
oswaldo maciá, Smellscape (2006).
Plexiglas, scents, monitor, video
only freely dispersed scent element in exhibition, hence only limited
odour contamination
oswaldo maciá, 1 Woodchurch Road, London NW6 3PL (1994-95).
Scents, trash cans
Scent element inside close container which are opened briefly, hence
only limited odour contamination
Jenny marketou, SMELLYOU>SMELLME (2003).
Single-channel video with sound
Imaginative evocation without chemical scent element, hence no odour
contamination
Jenny marketou, Smell It: A Do-It-Yourself Smell Map (2008).
Interactive wall installation, wallpaper
Performative/interactive (visitor to create smell map), without chemical
scent element, hence no odour contamination
chrysanne Stathacos, Wish Machine (1997-2008).
Photograph, vending machine, scent multiples
Scent elements individually sealed and dispensed individually through
vending machine for individual “consumption”, hence no odour
contamination
clara Ursitti, Untitled (1995).
Single-channel video documentation of performance with police
Imaginative evocation without chemical scent element, hence no odour
contamination
clara Ursitti, Untitled (1995).
Single-channel video with dr. George dodd
Imaginative evocation without chemical scent element, hence no odour
contamination
PAGE 82
F I n dI n G S
Principally it may be a key curatorial concern to not let one smell
predominate, but rather offer the audience to experience a balanced range
of works and sensations in an exhibition. drobnick hereby outlines that, in
addition to factoring in a considered sequence of smells that keep visitors
engaged and vital, the choreographing of pauses or refresh areas in the
exhibition layout allows artworks a phase of attention and effect before
continuing on. Importantly, such breaks can also provide a respite for the
nose and discourage the onset of “smell fatigue”, a perceptual olfactory
numbing occurring due to repeated over-stimulation of the olfactory
nerve. Although coffee beans are commonly said to clean one’s olfactory
palette, maki Ueda finds their effect to be insignificant in comparison to the
breathing of clean fresh air, preferably with open windows or even outdoors.
(Interestingly, she also notes how a perfume seems to smell better outdoors
than indoors.)
It is important to note that no space is without its inherent scent, however
minute it may be, simply due to human activity and natural processes.
Such odour needs to be factored in from the beginning, with both artist
and curator considering whether the work can respond to such pre-existing
scent in a space or if it depends on particularly pristine conditions, drobnick
highlights. not only will the works invariably communicate with each other,
but also with the olfactory space, wherefore one has to decide whether to
allow this to happen or separate them to the space’s best ability. Although
some artworks may even rely on an intermixing and overlaying with ambient
scents, or in rare cases even with each other if agreed by all artists, Peter de
cupere warns that people may end up paying more attention to the fusion
of scents than the individual pieces. However, given that the message of
each artwork is honoured and preserved, he feels that there might not be a
problem even with some minor mixing of scent in certain areas. overall, the
priority is principally to protect the integrity of each artwork.
4.1.2. Flexibility
In exhibitions featuring both scent-based and visual or audial works,
communication among the artists and curator is equally important. Although
at times problematic, de cupere usually sees if the scent of his artwork
bothers any fellow, mostly non-scent exhibitor. If so, he initiates measures
to limit the spread of his work, usually thorough initially selecting manual
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F I n dI n G S
release technology, or otherwise through shields or a change of placement
in the exhibition venue. depending on the nature of the artwork the latter
may be possible, yet on the other end of the portability spectrum Ueda
mainly creates site-specific scent works. Such tend to be very challenging to
relocate without compromise; even if it was for another exhibition occasion -
Olfactoscape is her first portable work.
this contrasts the experience of oswaldo maciá whose installation Martinete
II inside as distinctive of a location as the waterschei mine in Porto Alegre,
Brasil was re-created for the manifesta 9 Biennal in Genk, Belgium this
year by constructing a long narrow corridor imitating the original mine’s
connecting bridge.230 working together with a perfumer experienced in
scenting spaces, a space is first assessed based on its overall conditions,
including measurements, air flow, temperature, materials etc. before the
scent installation, including required volume and dispersers, is recreation to
fit such new parameters. In this way, maciá feels a scent artwork can almost
always be adapted fit to a new exhibition environment.
whilst considering the flexibility of scent artworks, toshiko mori, an
architect with particular attention to smell in her designs, points out that
principally scents are scalable, can be compressed, and hence also become
practically portable.231 this opens up interesting considerations for the
possible creation of works inherently designed to be flexible in nature, and
responding to various environments in new and surprising ways. Either
way, a thorough inspection of a possible exhibition space is crucial for the
appropriate assessment of its suitability regarding air flow, inherent smell,
temperature and humidity, visitor transit etc. Although these factors bear
strong influence, a manual for the perfect scent art exhibition space can
hardly be given to the extremely varying nature of such works, as described.
Blackson recommends to start by investigating the artworks’ individual
requirements and subsequently selecting and constructing a suitable space
for them, orientated after the curators’ and artist/s’ vision and intention for
the exhibition.
230 “oswaldo maciá,” manifesta 9.
231 Parsons School of design, “the Accidental Perfumer: toshiko mori with Yves cassar, Anna Barbara and
Sissel tolaas, in conversation with chandler Burr”.
PAGE 84
“
Scents are involved in a
mutual struggle for power
to gain the upper hand [...]
Total control is never
guaranteed.
- Filip Luyckx
F I n dI n G S
4.1.3. Air flow control
there are different situational considerations for every exhibition, with some
requiring deliberate air movement regulation and others responding to the
inherent air flow within a space, as drobnick points out, yet the objective
is always to activate the scent and maintain it throughout the exhibition.
Activation hereby means having scent molecules traveling through the
exhibition space’s air in a manner which makes them easy for visitors to
detect. All interviewees experienced that such level of activity changes
continuously, for example by opening a door, or closing it again, changing
visitor numbers, rising temperatures through increase sunlight falling
through a window etc, and hence one can only aim to create conditions
as well as possible whilst being willing to accept slight fluctuations. Any
complete control of scent would require purpose-built interior fittings not
dissimilar to test chambers in olfactory research laboratories, and beyond
hurdles of practicality and financing, I also see it as important to not seek
to over-control the smell experience: we relate to odours subconsciously
as something fleeting yet personal, something intangible and at times even
mystical, and such an experience may lose part of its charm if executed
under too rigid controls (as they would be noticeable to the visitor).
Principally however, both Ueda and maciá highlight that professional
assessment of the space in which to potentially exhibit a scent artwork is
crucial, whereas such may be executed by a fragrance design practitioner or
also the artist themselves if they carry sufficient scent exhibition experience.
Based on my findings, overall criteria for the suitability of a space are its
support of the scent’s (1) reach, (2) perceived accuracy, and (3) dissipation
rate. Such would be influenced by the following factors; all functioning as
vital parts of an cohesive venue assessment:
Dimensions
the dimensions will define the space’s volume in cubic meters, which in
turn is to be filled with molecules in the desired density. If working with a
professional, such volume requirements and density are precisely calculated
in test chambers, yet as a principal guide it should be noted that high ceilings
take more scent to fill, and that enclaves and corners reduce even scent
distribution. without a volume calculation thorough testing is advisable. one
should however keep in mind that the scent of an artwork may navigate space
PAGE 86
in varying ways: Some exhibits may only release the smell locally (such as
nall’s The Smell of a Critical Moment), whereas others may seek to fill the
entire exhibition space (such as teresa margolles’ Aire/Air), and hence would
work effectively in differently sized spaces.
Temperature and humidity
different scent molecules may perform differently in hot or cold conditions,
yet principally it can be said that with increasing temperature the process of
scent diffusion occurs more rapidly, as molecules spread out and mix with
other air molecules more quickly. the colder the air, the more molecules are
slowed down and hence impeded in their volatility and spread (rubbish bins
in the sun smell more strongly, whereas if decomposing food is frozen, it
becomes odourless). Humidity also increased smell volatility, such as a car
can smell musty after rain. (Here the scent’s solubility is also an important
factor: chemicals that dissolve in water or fat are usually potent odourants.)
Practically this means that in cold weather one may need a fan to distribute
the scent, whereas in hot weather a pre-existing draft may be sufficient.
Vapourisers and ventilators can further support the smell’s spread and
intensification.
Access
If a space is open or only partly enclosed, a greater amount of scent will be
required than in a closed room. If there are no closable doors adjoining the
space, the temporary installation of curtains, or doorway flap covers can
further be considered to contain odour spread, although the scent may benefit
from a light, natural draft activating the contained molecules. doors are
principally the most immediate way to adjust smell density in a space, which
may become necessary in situations of unexpected overdose, or also to clear
and re-install a scent.
Orientation
Although most exhibition venues are nowadays climate controlled, attention
should nonetheless be paid to the spaces orientation as temperatures could
rise or fall temporarily during summer or winter months particularly through
the presence of windows; with effects as described above.
P A G E 87
F I n dI n G S
Pre-existing smells
Any noticeable pre-existing smells in an exhibition space are hard to combat,
since they normally originate from source continuously exuding its smell.
Such odours are hard to impossible to mask.
Air conditioning or heating systems
centralised air conditioning or heating systems can be used to create a
constant ambient temperature in the exhibition space, yet at the same time
they may also transmit odours to other parts of the building. tests should be
done to see such actual odour travel, determining their location of impact, as
well as staff responses who may be exposed to such smell for long periods.
modifications of centralised climate control systems can be costly. It should
also be assessed whether or not any resulting air streams would impact the
artwork.
Expected visitor numbers
with greater visitor numbers a increased density or frequency of diffusion
is also required. For example, under regular conditions time-controlled
dispensers may just release one spray every half hour, whereas during an
exhibition opening or high traffic a release every minute may be required.
Although greater crowds also consume more scent molecules, they also
contribute to a rising temperature which in turn will also increase the
molecule’s volatility.
the advantage of professionals’ support is not only their experienced
assessment of these factors, yet also their ability to create room-wide smells
which, through the controlled use of alcohol, will remain suspended in mid
air (on nose height) for optimal detectability. Heavier scent molecules tend
to collect around the floor and lighter ones around the ceiling, whereas an
alcohol solution can act as an agent to centrally balance those, as maciá
explains. this furthermore leads to a more controlled use with predictable
effects, in which the smell becoming overbearing is an improbable risk,
as opposed to a filling a room throughout with scent molecules. with the
extensive knowledge available in this field today, the fragrance designer
can act as a smellspace designer, being able to direct individual notes from
floor to ceiling; shaping a scent in space. Secondly, maciá notes that a scent
professional would complement the routine maintenance of gallery staff by
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re-visiting the exhibition space every eight to ten days to monitor the scent’s
development and make any necessary revisions in maintenance guidelines.
4.1.4. Maintenance and care
with a wide array of scent art creation methods, maintenance during their
exhibition is equally as diverse. Some works require no maintenance at all,
such as the smells in If there ever was…” as the amount of liquid filled in the
scent dispensers was sufficient for the entire exhibition period, or they may
be left unattended for their smell to gradually change over time or eventually
completely dissipate, such as was planned for Erika Ernawan’s Ruhe in
Frieden. others might rely on circulated air and an ongoing replenishing of
the scent, such as simply filling up a diffuser every day, turning on a fan, or
putting a handful of fragrant beads into a box, drobnick notes. clara Ursitti’s
smells sometimes change throughout the course of an exhibition and have
to be topped up regularly, although through the use of motion detectors the
frequency of required refills also depends on visitor numbers.232 due to the
unfamiliarity of the medium de cupere oftentimes experiences insecurity
among gallery staff about the expected difficulty of required maintenance,
yet most exhibitions are principally not too different from new media works
where various kinds of equipment need to be turned on or monitored.
As, for example, Job koelewijn’s Nursery Piece at Stedelijk museum lost its
menthol smell after only two weeks, caro Verbeek enquired if a top-up was
available for the occasion. Although she was informed that the dissipation
was part of the process, eventually the artwork was easily topped up with
some squashed menthol.
If there are particularly fragile or also pungent works however, such
as in Poblador’s Fragrance of Ma-I, extra measures of precaution may
also need to be taken. the exhibition’s curator Joyce toh recalls how
the pleasantly fragrant bottled scents were displayed on plinths in the
centre of the exhibition space, whereas more challenging odours were
further placed inside transparent glass boxes for added protection - both
of the visitor and the artwork. this set the stage for an extensive set or
maintenance procedures, as only gallery attendants were permitted to
handle the fragile glass bottles, and manually demonstrated each scent to
232 “the Phenomenology of olfactory Perception: An Interview with clara Ursitti,” Art & Research 2, no. 1
(2008): 9.
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visitors. Subsequently all gallery attendants underwent thorough training
in demonstration, handling and safety measures (such as warning visitors
of pungent smells and absolutely no skin contact due to the risk of allergic
reactions), but also in information dissemination as visitors sought extended
explanation, and group management: larger groups had to be broken up
and had to be guided through the exhibition displays without breakage.
toh highlights how the fragility of the works only permitted limited visitor
numbers at any one point in time, dedicated entry and exit points, floor
markings for directions and the continuous presence of gallery attendants.
In addition to topping up the fragrances and navigating breakages, such
requirements rendered this particular exhibition rather labour intensive
(although due credit must in part also be given to use of highly fragile,
sculpture-like fragrances bottles).
For the case of fewer exhibition staff being available to explain the artwork,
Ueda also composes instructions for exhibition visitors; noting how the habit
of expecting to see or hear something can render the them confused when
confronted with olfactory works. Such instructions aim not to give clear
answers (“what is this smell?”), but rather foster an ongoing curiosity and
element of play. Such play can take a critical role when attempting to open
people to a chemically invasive experience; one that can be seen to challenge
our primal urge to be in control of substances potential posing a threat to
our body.
Importantly, for a clear understanding of both artist’s, venue’s and visitors’
expectations, the particular requirements and implications of each artwork
should normally be communicated and agreed upon by both the artist and
exhibiting venue, whereby Ueda recommends creating a detailed instruction
manual for gallery staff outlining clear procedures and trouble-shooting
scenarios. A simple yet important question could even be how would the
scent dosage has to be adjusted for a crowded opening night vs. a mid-week
exhibition day? Herefor de cupere usually stipulates in exhibition contracts
the minimum measurable smell density which is to be maintained by the
exhibitor - and already twice had to remove an exhibit since this most crucial
requirement was not fulfilled. Such problems would however be more likely
to occur with alternative exhibitions spaces, as they may not always be
familiar with the stringent handling of an artwork. Professional exhibition
venues in turn tend to look after the artwork well in their experience,
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similarly to most commercial galleries. As the latter aim to sell the artwork
they usually would seek to maintain the piece’s integrity as well as possible.
Yet even here a lack of awareness of implications and effect of artworks
involving scent has led artist to see their works compromised, such as the
aforementioned incident of clara Ursitti’s case of “scentsorship”, as dubbed by
drobnick, in which a gallery director felt her olfactory self-portrait’s smell was
too strong and challenging for the opening night’s audience. Feeling justified
in negating the artwork based on a personal olfactory assessment, the director
covered the dispenser with a cardboard box and placed a cut onion in front
of Ursitti’s dispenser, yet notably without her consent.233 (Here reasoning
is merely speculative, yet the onion might have served in compounding the
odour, whilst also having helped to “domesticate the novelty of the olfactory
experience of Ursitti’s scentwork by masking it with a more familiar smell”, as
drobnick suggests.)
Erika Ernawan experienced an escalated situation with her recent exhibition
Ruhe in Frieden in an established Indonesian commercial art gallery: the
extensive exhibition installation spanned video projections, digital prints,
watercolour paintings, neon signs and 300 small electroplated resin skulls,
and well as two low basins filled with menthol-scented mouthwash, each 1.2
x 2.4 meters in size. thematically the exhibition sought to challenge the
Indonesian population’s blindness towards the pollution of their residential-
use waterways, wherefore the basins were meant to be filled with factory-
polluted stream water from nearby the artists home, adding an unpleasant
and telling stench to the exhibition composition (its toxicity values were
marginally acceptable). However after some consideration this proposal
was rejected by the gallery direction, claiming the water’s emitted odour
molecules might endanger other artworks inside the gallery complex, and
would further be harmful to visitors - even after the artist’s concession of
filling the basins for the opening night only, during which Ernawan also
sought to suspend herself from the ceiling upside down above one basin. As
both proposals were rejected she decided to fulfill the gallery’s requirement
of a “sterile” environment by replacing the stream water with a mouthwash-
alcohol solution for the entire exhibition period. while the opening night
was a success with most positive audience responses regarding the smell
233 drobnick, “Scents of a woman: clara Ursitti,” 90.
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element, gallery management informed her she was pushing the boundaries
too much, and in turn went to every effort to air out the exhibition space, as
Ernawan had to discover the next day. with all windows and doors opened
and fans turned on and all odour dissipated, the gallery took a clear stance,
however with Ernawan departing the country the following day, she was
aware of the futility of any claim from her side.
without pointing fingers, such scenarios highlight the importance of thorough
communication between both parties, and a cohesive familiarisation with the
benefits and risks involved in exhibiting an artwork involving scent before
coming to an agreement. while artist may want to enquire about the gallery’s
handling of “critical” exhibitions in the past, it is also the curator’s duty to
respond to an artist’s proposal in an informed and well-considered manner
before proceeding to further exhibition planning.
these examples do clearly present exceptions of the common dealings
even with more challenging media, and are only included here to serve as
illustrative real-life scenarios. Both toh, Blackson and drobnick emphasised
that principally, if an artwork is accepted by the gallery it generally knows
what to expect and agrees to maintain its integrity as well as possible.
4.1.5. Safety considerations
drobnick also mentions the case of catherine Bodmer who sought to
dispense the scent of Bounce fabric softener for an exhibition, yet was not
granted permission due to worries about the possible health impact on
gallery attendants; bearing the irony that the attendants were chain smokers.
no matter how valid such arguments are, they raise the important question
of how to handle the expectation of potential adverse physical reactions,
both by gallery staff and visitors.
the physical health of gallery attendants should not be overlooked, drobnick
says, as ongoing exposure to a scented works can generate intolerant
reactions even for benign scents. Attending to artworks for multiple hours
each day, attendants can “wear earplugs, for instance, to tune out sound, but
they can’t turn off their breathing. “
Gayil nalls highlights the importance for artists, curators or others handling
odourous material to know the properties and effects of the aromatic
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materials they are using; to understand concentrations and be aware of
protocol compliances. with any scent artwork there is “a minimum time
for effect or a maximum time before ill effect”, which presents a fine line
not equal to all persons. She notes that risk assessment is always a part of
public art projects, yet that in the USA there is further a policy to regulate
some materials used in scented artworks. Further, when creating the
artwork Smoke Room,234 de cupere had to consider that Europe’s health
and safety laws do not permit the toxicity created by the required 750.000
used cigarette butts in an enclosed space, and hence the smoke odour that
eventually emanated from the installation was purely synthetic.
whether a legally defined threat or not, by their very nature scented artworks
require the inhalation of chemicals which can affect us internally, wherefore
we should have the opportunity to provide voluntary, informed consent235
before engaging with an artwork. today we experience a substantial
chemical burden on our bodies and a notable prevalence of allergies as nalls
and drobnick agree, and hence signage should be present at the gallery
entry notifying visitors of the presence of odourous substances; allowing for
a choice whether or not to expose themselves to such influence.
4.1.6. Visitor experience
outside of health aspects, a major consideration of visitor experience is that
of the quality of the developed engagement with a scent artwork. For nalls,
the visitor’s ability to “make the choice to experience” is part of the artwork’s
inherent design, yet this is also where Blackson sees a pivotal challenge for
museums of the future, as “slowing people down is the biggest barrier”.
living in an ocularcentric society, the less we see, the easier we become
bored, both inside and outside the exhibition environment. therefore
indirectly encouraging patience in visitors to appreciate an odour beyond
established associations is crucial for a gradual increase of awareness
and appreciation of scent as an artform. Although the visual aspects in
material scent artworks can oftentimes serve as a bridge to a new audience,
Blackson also notes that artworks without visual information have the power
to strengthen such education by offering an increased immersion in the
234 “only “stale” is not enough,” marjorie trigg, Tubelight, September 15, 2010. http://www.tubelight.nl/
articles/985/alleen-muf-is-niet-genoeg (accessed April 23, 2011).
235 Peter damian, and kate damian, Aromatherapy: Scent and Psyche (Rochester: Healing Arts Press, 1995),
108-140.
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medium of scent, as one has to rely on the sole abilities of the nose, rather
than escaping to the comforts of visual perception. Herefor it can be useful
to hire gallery staff with applicable visitor experience skills, facilitating
both body- and verbal language effectively to encourage in visitors a sense
of patience and willingness to experience one’s sense of smell jointly
with suggestive concepts and meaning. Blackson further highlights how
supporting visitors to feel comfortable and fostering their sense of curiosity
has to become a priority, as they may not be used to conversation about
experiences as intimate and immediate as those of smell. de cupere
emphasises how each moment of smell leaves us momentarily vulnerable
and out of control, which is where well-trained gallery assistants can make a
fundamental difference in the development of an attitude characterised by a
curiosity and care. considering the focus exhibition spaces currently place
on interactive and immersive experiences (as mentioned in chapter 1), the
implementation of such revised visitor experience strategies and training
may be eminent, with Blackson pointing to the museum of contemporary
Art in denver, the Hammer museum in los Angeles and parts of the tate
Enterprise in london as forerunning positive examples.
4.1.7. Developing acknowledgement
Professional and public acknowledgement of scent as a valid artform has been
sparse; with drobnick and Verbeek acting as forerunners and ambassadors.
In 2000 drobnick co-coordinated a conference titled Uncommon Senses
in montreal dedicated to taste, smell and touch also in relationship to the
arts,236 and more recently in 2010 Verbeek organized do it - Smell it! in
Amsterdam, acting as an small symposium on scent in contemporary art;
237
with drobnick also part of the panel. this world of scent art is small
however, and although steadily progressing in its presence as an artform,
it still experiences a distinct lack of acknowledgement and present in the
field of fine art today. Reasons for this may partly be historically founded,
as outlined in chapter 2: Scrutiny of class, sexuality and language coupled
with a principal ocularcentrism led to non-visual senses being considered as
“visceral” modalities, and thus unavailable to higher cognitive or aesthetic
pursuits. A false assumption, drobnick notes, since vision is just as embodied
236 timmins, “conference to study overlooked senses,” daily Press ontario, April 26, 2000 19.
237 do it! Smell it!,” Stedelijk museum, ArtSlant, September 23, 2010. http://www.artslant.com/ams/
events/show/122784-do-it-smell-it (accessed September 25, 2012)
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as any other sense. nonetheless he sees how today’s main challenge is having
people believe that scent can have actual significance; with western societies
principally being anosmatic cultures, belittling the olfactory perception. Based
on his experience of the past 15 years of researching, exhibiting providing
theorisation for olfactory artworks, he sees when people are exposed to
creative and intelligent uses of scent, they are often impressed and can relate
to some aspect in their own history in which scent played an important role
If there is principally a positive audience response, artists establishing
themselves through engagement with the medium of scent have a strong
starting point. As a chicken-and-egg scenario, toh sees the main reason for
scent art’s lack of acknowledgement to lie in the lack of its presence; that an
increased number of scent artists are what would stimulate debate and build
awareness and hence lead us to “become educated and critical” olfactorially.
Verbeek and Ueda further agree that current art academy curriculums are
oftentimes rather traditional and hence devoid of such experimental sensory
media, whereas scent art’s inclusion in art teachings would manifest a
milestone in cultivating awareness by opening the playing field for creators of
tomorrow. Yet still, in a society where information is immediately disseminated
through personal and professional networks, an increased amount of scent-
based creation also needs to become better transmittable through improved
methods of documentation and publicity for scent art. with distributed
smell technologies still not en par with visual catalogues or audio files and
“the scent equivalent of a photographically illustrated text barely being on
the horizon today”,238 an increased focus on the creation of and funding for
publicity material using cutting-edge smell technologies (as described in the
following chapter) would significantly help to elevate awareness and build
common acknowledgement for olfactory artworks.
4.1.8. Publicity and documentation
Hereby Ernawan interestingly points out that the experience of smell
is usually a highly momentous process, in which interpretations and
associations rise instantly and without deliberation, and hence sees the
incorporation of smell into publicity material as risking a less genuine
and unprepared reaction towards the scent once experienced on site.
Such may be up to the discretion of the artist/curator, yet clearly there
238 Jones, ed., Sensorium: Embodied Experience, Technology, and Contemporary Art, 98.
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45. If there ever was… exhibition catalogue.
Source: maki Ueda
www.ueda.nl/index.php?option=com_content&view=category&layout=blog&id=99&Itemid=606&lang=en
46. If there ever was… exhibition catalogue inside view.
Source: maki Ueda
www.ueda.nl/index.php?option=com_content&view=category&layout=blog&id=99&Itemid=606&lang=en
lies significant benefit in facilitating Scratch and Sniff as well as other
distribution technologies for the documentation of scent-based works. As
an visual exhibition catalogue cannot copy the experience of witnessing the
exhibition in person, so would also scent documentation not be sufficient
to transmit an entire experience, and would have to be regarded as a tool
for communication and stimulation of interest, similar to documentation
of other media. In this light, the idea of communicating the experience of
smell via the written/spoken word and images appears somewhat abstract,
not unlike a conventional exhibition catalogue missing images to illustrate
the works. A main consideration, as Verbeek and toh point out, is however
the production cost of such smell-encapsulated media. Fortunately there
have been new, less expensive developments of such technologies in recent
times, and their increased use for the sampling of consumer products
in supermarkets is creating further spread, competition, and hence
affordability.
the aforementioned 2008 exhibition If there ever was: An exhibition of
extinct and impossible smells239 curated by Robert Blackson at Reg Vardy
Gallery, Sunderland U.k. published a cornerhouse hardcopy catalogue in
conjunction with this unusual collection of scents as artworks: Each smell
was presented on a double-page featuring both descriptive text about
239 Robert Blackson, Joanna deans, and Reg Vardy Gallery, If There Ever Was : A Book of Extinct and
Impossible Smells (Sunderland, Uk: Art Editions north, 2008)
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47. “moon Scratch Sniff” (2010) by we colonised the moon.
Source: we make money not art
www.we-make-money-not-art.com/archives/2012/08/we-colonised-the-moon.php#.UkanAb9G-4A
the its inspiration as well as the odour itself.240 the catalogue has long
been sold out and still remains as a rare benchmark example for scent art
documentation. of course it has to be considered that although common
“exhibitions come and go, yet the publication remains in perpetuity”,241
this may not necessarily be the case with microencapuslated content in
scent art exhibition catalogues. Archivability of such publicity has been
little researched, whereas nonetheless some time-limited dissemination
of information may be better than none; at least in the light of awareness-
building. Sniffing the exhibition catalogue, Blackson reports no loss of smell
until today after four years, without archival storage but having it simply
standing on a bookshelf. Such result may be preliminarily promising, yet that
most smells do exist in alcoholic solutions. with alcohol evaporating over
time, one may not be able to maintain the same note, balance or intensity,
whilst further suggesting that overall it may or may not be suitable for long-
term documentation. Although principally a good catalogue can “double the
experience of the [artwork]”,242 without controlled trials on longevity one
may (for now) take the optimistic stance of seeing something as better than
nothing, whilst keeping a plastic sleeve or two handy for storage to contain
the most volatile of molecules.
Archivability may however not always be of primary concern: Although
240 “Smelly book,” maki Ueda, Maki Ueda Blog, october 24, 2008. http://scent-lab.blogspot.sg/2008/10/
smelly-book.html (accessed September 27, 2012).
241 townsend, Beyond the Box, 63.
242 nicholas Birns, “Sites of desire: the Shape, the Scent, the Feel of things,” PAJ: A Journal of
Performance and Art 29, no. 2 (2007): 75.
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48. Aromapoetry book (2011)
Source: Eduardo Kac
www.ekac.org/aromapoetry.html
49. Visionaire 42: Scent (2003)
Source: Visionaire Magazine
www.vfiles.com/vfiles/965/media/62135
indirectly becoming part of the overall artwork rather than mere publicity, we
colonised the moon’s aforementioned moon scratch and sniff cards, sold in
a limited edition of 300 postcards and 7 posters, contained a scent coating
said to last not for decades, but for one year.243
other avenues were explored by Eduardo kac in his smell-microencapsulated
poetry book which featured the ingredients of each scent poem in the
appendix,244 as well as Visionaire magazine who equipped one issue with a
set of 21 miniature scent bottles,245 or the museum of Art and design’s new
catalogue for the upcoming exhibition The Art of Scent, 1889-2012, which
will include “samples of works featured in the exhibition, each contained
in an identical 5ml lab bottle, free of logos and commercial packaging”,246
although these may be considered less efficient, practical and cost-effective
methods.
drobnick further highlights the importance of using all forms of
documentation, whether photographs, video, sound etc, depending on the
243 “one small sniff for man: Artists create posters ‘that smell like the moon’,” Daily Mail Online, october
13, 2010. http://www.dailymail.co.uk/sciencetech/article-1320115/one-small-sniff-man-Artists-
create-posters-smell-like-moon.html (accessed october 1, 2012)
244 “Aromapoetry,” Eduardo kac.
245 “Visionaire No. 42 Scent,” Visionaire Publishing, LLC, Artbook D.A.P, February 12, 2003. http://www.artbook.
com/1888645423.html (accessed April 13, 2010)
246 “the Art of Scent Press Release,” museum of Arts, design, June 1, 2012. http://www.madmuseum.org/
press/releases/museum-arts-and-design-present-first-museum-exhibition-exploring-design-perfume
(accessed April 2, 2012).
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nature and requirements of the artwork. For a performative scent piece, for
example, video would be naturally best suited, coupled with the actual smell.
4.1.9. Funding
depending on the chosen working method, scent creation and
documentation can be financially demanding; at times not dissimilar and
comparable to elaborate sound installations, as maciá suggests.
Verbeek and nalls hereby see financial support as a major factor to support
the further development of scent art, as few grants are available for
media falling outside of established art categories; with nalls calling for
a demonstration of artistic and creative innovation in olfactory art to be
rewarded just like in any other discipline. Private funding of projects is not
uncommon, whereas only few artists, like de cupere, have the possibility to
successfully self-fund their full-time practice after leaving commercial gallery
representation. In contrast, most of Ueda’s artworks are project-based and
hence receive the financial support of the exhibition institution (such may in
turn therefore also have to fulfill the institution’s requirements or direction).
Fortunately there have been numerous scent art projects which received
generous financial or in-kind support from the fragrance industry and smell
research centres, such as If there ever was… from International Flavors &
Fragrances Symrise, and Givaudan, Scent is Life from the monell chemical
Senses centre and Sense of Smell Institute, Odour Limits from the monell
chemical Senses centre, maki Ueda for start-up support from a Japanese
cosmetics company and recently also from omega Ingredients, or oswaldo
maciá and Sissel tolaas from International Flavours & Fragrances, among
others. due to the established wealth of the smell industry, such support can
usually be regarded as clean, without further obligations or attachments for
the artist.
4.1.10. Critical discourse
According to drobnick who has researched more than 500 olfactory
artworks, there are more artists creating scent art now than have ever done
so in the history of modern art, wherefore “we’re at a kind of explosion at
the present time”.247 Hence it is surprising to witness the acute lack of their
247 Barss, “Art that’s led by the nose,” A17.
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critical review and discussion in professional literature. with drobnick having
contributed numerous essays, reviews and investigative literature on the
subject over the past 15 years, he still remains mostly the only writer actively
publishing on scent art, and without the spread of appropriate critique
and debate it will be difficult for the medium to establish itself on the
contemporary art market. drobnick himself further notices how “journalists
are often quick to make bad puns and trivialising comments about smell,
which betrays a certain nervousness about considering scent in art. Smells
do challenge ocularcentric thinking and the hierarchy of the senses […]
and is belittled by making prejudicial comparisons, such as the mona lisa
versus dirty socks”. de cupere adds how writing on smell usually only deals
with its surprise factor and novelty existence, without providing proper
context or notable conceptual analysis. maybe such lack of depth in regard
and critique is partly due to scent art’s lack of an established historical
framework: while visual art has undergone a millennium of aesthetic
discourse and development, olfactory aesthetics has only been developed
as an artform over the past century, which makes it difficult to put artists’
scent works in a lineage of other practitioners to present a cohesive picture
of relationships and relevance, Blackson and drobnick agree. Furthermore it
can be easier to discuss art which contains certain quantifiable parameters,
such as a certain size, weight, dimension and colour or a limited length of
time for a video, as they provide us with a suggested sense of security and
objective understanding. Although in theory equally as quantifiable, scent
appears to escape tangibility and rational assessment; remaining elusive and
eternally subjective. Importantly, the aforementioned sense of vulnerability
which comes with the physical experience of ingested smell might further
challenge the position of the detached observer, and coupled with remnants
of the aforementioned socio-historical negative attachments of invasive
odours, lingering subconsciously, it may further challenge openness or
even perceived objectivity. when writing about volatile, ephemeral works,
one could of course conceptually investigate this very de-materialisation of
the object, yet Blackson notes how such could be a leap in abstraction for
common reader seeing the immediacy of the artwork unnecessarily over-
intellectualised. this consideration raises the principal question of the role
of contemporary art in society today; moving between the extremes of a tool
for social change and mere edutainment. Principally however, for both critics
and audience easier access to scent-based works seems to be created by the
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“
The pedestal melted away,
leaving the spectator waist-
deep in wall-to-wall space. As
the frame dropped off, space
slid across the wall, creating
turbulence in the corners. […]
The new god, extensive,
homogenous space, lowed
easily into every part of the
gallery. All impediments except
“art” were removed.
- Brian O’Doherty
F I n dI n G S
use of physical or familiar materials in combination with scent, as already
seen in many scent artworks today. with no education and experience in the
assessment of plain scent, having visually, tactically or audibly perceivable
elements to explore might yield more anchor points for the re/viewer, yet
at the same time Blackson also warns that the focus on and importance of
the smell element might become marginalised. considering that we are
multi-sensory creatures and artwork having the ability to create a symphonic
experience of our senses, Sally Banes contrastingly urges us to “discuss
the use of odours in relation to dominant sensory channels […] - the visual
and the aural - and not simply as isolated sensory events”.248 Such variety
in consideration and discussion is essential for any maturing of olfactory
aesthetics, and could be nurtured in a community of curators and managers
routinely working with scent as an artform. due to its novelty there is
however no such established network or community which writers could
investigate for various approaches to critical consideration. Blackson notes
how although there is much encouragement from certifiers and audience
alike, to date few curators have actually proceeded to engage with scent
art in their exhibitions. He adds that if there were select writers with an
established reputation in their field ready to dip into the investigation of
smell-based works, such could strongly encourage the broader development
of critique and discourse on scent art.
4.1.11. Collectability
As scent artworks are inherently ephemeral and experiential they can
pose difficulties for institutions and individuals in their collection and
preservation, yet for its acknowledgement collectability is of important
concern as it enables national institutions to purchase works for their
permanent collection, and eventually may also encourage more collectors’
purchases. Although traditional media are clearly still trumping the
commercial art market, new media such as video, installation and sound
art have slowly begun to establish their presence in important collections
internationally, which in turn may also pave the path of acceptance for scent
art. the added challenge of scent art lies however both in its conservation
as well as the preservation of the exhibition setting. the latter could be
nearly impossible for olfactory performances or works such as Ernawan’s
248 Sally Banes, “olfactory Performances,” TDR/The Drama Review 45, no. 1 (2001): 69,
doi:10.1162/105420401300079040.
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basins filled with mouthwash, as their integrity and cohesion rely on
maintaining the relationship to the audience or other works in the exhibition
setting (which may be sold separately). with scent art being conceptually
driven, value lies not merely in the substance, but how it is presented in a
space. Ueda sees herself creating the exhibition “recipe”, rather than only
the odourous essence. Purchasing a concept rather than or in addition to
physical objects is a common practice in contemporary art today, with even
highly conceptual wok such as that of olafur Eliasson being regarded and
collected with great acclaim.249 Eliasson’s ephemeral artworks of light and
fog are widely purchased, yet in the form of layout plans and certificates
stipulating the right for exhibition. other media such as video and sound
art are in theory perfectly reproducible with sales being accompanied by
certificates of authenticity, so the conditions for selling and collecting
scent art are not entirely unfamiliar. Similarly de cupere issues certificates
stipulating the conditions of repeat exhibition, i.e. the scent intensity level,
and he provides the service of indefinitely re-scenting the artwork. overall
creation methods of scent are diverse, so the question of archivability and
collectability oftentimes depends on the materials used.250 Here nalls adds
that scent-based works are not an unusual challenge for contemporary
art archivists, as most art is biodegradable after all. Yet some works are
created only for audience experience, such as many of Ueda’s works which
were simply not designed to be collected. the criteria of collectability asks
entirely different requirements of an artwork already during the creation
process, regardless of medium. Some works are even created specifically for
collection, such as nalls’ World Sensorium (First Record), completed in 1999:
due to its unique historic value as a composition of natural smells from
across the globe at the turn of the millennium, she created a preservation-
only edition of 18 bottles to be acquired and maintained by museum
collections worldwide. conversely, de cupere also notes that in some cases
the dissipation of the artwork’s odour may even be part of its concept,251
such as for the menthol is Job koelewijn’s aforementioned Nursery Piece, yet
this requires clear communication with the artist and stipulation in writing to
avoid misunderstandings. Principally however, with even ephemeral works or
249 Installation Art: Who Cares?, dVd. directed by maarten tromp, (2011), http://www.studiohunting.nl/
(accessed April 16, 2012)
250 tessa Reijnders, “Snuffelen aan olfactieve kunst.”
251 Ibid.
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performance art having been collected my museums, toh is positive about
the collectability of scent art, given the requirement of a stable solution or
formula for the smell’s reproduction. She further highlights its paradoxical
nature of needing to maintain existence to gain value (as any artwork), yet at
the same time embodying a certain novelty factor as one day it may simply
evaporate, and be gone forever.
Beyond the poetics of its ephemerality, scent art can be effectively preserved
by the two approaches of providing enough odourous liquid for years
to come, or providing the scent’s chemical formula or instructions for
recreations (or also a combination of both). Such measures are essential to
collection since even if put into storage, scents might need to be continually
replenished or recreated.
Providing sufficient volume of scent in liquid form can be an interesting
avenue if the artist possesses the required skill to develop such volume
or the financial resources to have the production outsourced. Ueda, for
example, would take on the challenge of creating enough liquid herself,
and also de cupere provides enough scent liquid to last for the artwork’s
occasional exhibition through its owner and would provide more if they
ran out, in proportion to the size and material of the work. one important
consideration is however the stability of the scent, that is, whether the
scent’s balance of top-, mid- and base notes is maintained correctly over
time. If made of organic material, scents may further break down with age,
wherefore it is essential for its creator to be well-trained and experienced in
the science of scent creation. toh recalls how such was also the reason for
the Singapore Art museum not purchasing Poblador’s series of Philippine
scents, as there was no concrete documentation of its creation process to
be referred to by the museum in future, and it not having been likely for the
existing scents to remain continuously in a stable molecular balance.
Although mainly in alcoholic solutions, it is unlikely for a scented liquid to
evaporate if placed and stored in appropriately sealed container in a cool
and dark storage facility. Shipping and air freight to alternate exhibition
locations would have to be planned well in advance however, toh advises,
since flammable liquids and alcohol are required to undergo extended safety
checks before clearance, particularly if a precise breakdown of the liquid’s
contents cannot be given.
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A key point for scent artworks’ archivability and resulting collectability would
be the supply of the according formula for the scented liquid’s recreation,
or an outline of fragrant material used for object-based scent works. this
would allow collectors to top up or recreate the word when required, and
in combination with a certificate of authenticity and installation plan, if
applicable, would fulfill the requirements of collectability in a similar way
as Eliasson’s. If the scent was created by a fragrance designer rather than
the individual artist him/herself the recreation would be executed by the
affiliated fragrance house upon demand, at the (albeit not significant) cost
to the collector, yet with an infinite time period of access rights, including its
copyright. Such is the approach of maciá, for example, who sells his artworks
in editions of three to five, each of which includes detailed installation
plans and instructions (including a certification of authenticity), the physical
installation elements, a volume of the scented substance sufficient for an
exhibition, the right to the scent’s reproduction and contact details of the
responsible scent laboratory or fragrance designer.
this approach to archivability was agreeable to most interviewees and
presents a realistic avenue for scent art’s inclusion in the commercial art
market.
4.1.12. More scent art in museums?
Yet what does it take for larger art institutions to include scent art more
frequently in their program? Beyond practical considerations of airflow
control, maintenance, funding and archivability, are galleries principally
willing to present scent art today?
toh is optimistic and sees that there is enough will among institutions,
proven by having shown many utmost unusual and challenging media
and artworks before. Further she sees the novelty of scent working in
its favour: museums may be interested in it precisely because of its
rarity, as exhibitions could be well-marketable due to their uniqueness.
Acknowledging it being one of the most under-appreciated senses, it may
just be a matter of being open to temporarily accept unconventional scent
experiences in their spaces, drobnick adds.
toh and Blackson also agree however that for scent art to become less of an
unusual exhibition experience, more artworks actually need to be created
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in the first place. this suggests that increased artists’ creation would also
lead to growing knowledge and sophistication; raising the bar of possible
embedded meaning and content of scent as a medium. this, as Blackson
outlines, would however also be much supported by artists of considerable
reputation or recognition creating scent-based works, as he sees this as
a major hook for institutions to become involved. olafur Eliasson might
be the only high-profile artist today having engaged with scent art,252
and without such name credit, it may be hard to have scent art featured
even in mid-level institutions. He adds that a key for its acknowledgement
would be the inclusion in major key institution’s programming, as a kind
of ultimate certification or approval. Resultingly scent exhibitions would
also reach significantly greater audiences, creating increased conversation
and public appreciation, followed by critique and in turn awareness and
acknowledgement, eventually even in the contemporary art market. maciá
is positive about such developments of scent art; referencing photography,
video and sound art which also underwent a process of emancipation and
building of respect before now being established mediums. with an ever-
increasing number of artists engaging scent in their artworks, it may simply
be a matter of time until scent art will be present as a respected medium
both in exhibition spaces, and in our minds.
4.2. case study findings: “continuum of consciousness”
my own installation titled Continuum of Consciousness exhibited at the
Institut Francais Indonesia, Bandung from 12 - 25 october 2012 served as
a solo exhibition case study containing both visual, audial and olfactory
components; in part also due to the fact that, according to my knowledge, at
the time of research no other exhibitions featuring distinct scent elements
were scheduled that could have served as the subject of an on-site case
study. the exhibition explored the concept and experience of the stream
of consciousness; consisting of a 3.6 meter high column built of antique
crystal glasses, illuminated from top and bottom in an otherwise darkened
space (black box). Scent and a faint drone sound as additional elements were
purposefully kept minimal and reduced, in order to affect the visitor almost
subliminally and not create more information to analyse rationally.
252 olafur Eliasson et al., Olafur Eliasson: Scent Tunnel (ostfildern: Hatje cantz Publishers, 2005).
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the following ethnographic observation focuses on the installation,
efficiency, effect and response to the scent component.
4.2.1. Installation procedure
three scent dispensers custom-built by Felipe Solay were installed in the
exhibition space for the distribution of scent for the 2-week exhibition
period.
Each of the dispensers was cubical in shape, made of black-sprayed timber;
measuring 12x12x12cm in size. on one end a silent Pc fan was mounted,
on the other a scent cartridge made of timber and black mesh netting to
contain the odourous material. All three dispensers were connected via
cable to an Arduino processing board and operated via IR remote control.
their cartridges were filled with two types of dried local Indonesian spices,
crushed in a food processor for improved release and mixing of their
aromas. the spices were selected based on the unfamiliarity of their smell
- they used to be common in Indonesian cuisine up to one hundred years
ago, when they were replaced by alternatives grown in other regions and
overseas. the lack of established memories or emotions in relation to the
smell was vital for the conceptual integrity of the artwork.
the three dispensers were mounted onto one of the mdF seating boxes at
approximately equal distance from each other around the glass column for
even distribution of scent in the middle of the room.
their installation was executed in around 30 minutes by one person plus 2
assistants without difficulty.
Possibly due to unstable electricity on the premises the dispensers randomly
turned themselves off and then on again, yet this did not pose a problem as
the odour was distinct and immediately detectable.
4.2.2. Observations
Effectiveness of installation method
during the exhibition opening the dispensers operated efficiently despite the
repeated power fluctuations. the odour was noticeable upon entering the
gallery space (doors remained shut otherwise), and to my surprise, the high
ceiling and running of 2 air conditioning units did not render the intensity
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50. “continuum of consciousness” (2012) by linda Solay.
50 Source: linda Solay
Image by author
51 52 51. “continuum of consciousness” exhibition scent dispenser installation (2012) by linda Solay.
Source: linda Solay
Image by author
52. Scent dispensers used for “continuum of consciousness” exhibition (2012) by linda Solay.
Source: linda Solay
Image by author
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F I n dI n G S
of the smell to too weak. In turn, towards the end of the opening night
the air seemed to become somewhat stuffy, most likely created through
the dispersed scent of organic material in combination with large visitor
numbers (total visitor numbers of the opening night were around 100+) and
little fresh air ventilation.
Audience response
As the act of smelling is rather discrete, during the opening itself it was
difficult to determine if visitors were actively ‘sniffing’ or not, yet upon
conversation with visitors, around three individuals mentioned the scent
on their own initiative and enquired about its source. overall, there was
only minimal conversation about the scent exhibition component: As the
smell was not meant to present a main feature, but rather subtly lie in the
background giving an almost subliminal effect (as also that of the sound
component), I as the artist was satisfied with this response, and did not seek
to actively draw people’s attention to the scent in conversation.
4.2.3. Gallery sitter’s observations
Conditions and maintenance
throughout the exhibition period the door remained closed, the air
conditioning turned on (low) and the ceiling fans turned off. the exhibition
was open six days a week for two weeks, for an average of eight hours per
day. the dispensers were not running for half a day, due to the remote
control’s infrared signal not functioning properly and requiring repairs.
the gallery sitter reported the cartridges were refilled with the spice mix only
once of the after ten days, when he could not perceive any odour anymore,
and that the refill was very easily administered in less that ten minutes.
Smell perception
the gallery sitter reported the smell was prevalent when the gallery was
empty, yet mixed with the distinctive smell of the rubber floor. when there
was a larger number of people inside, their body odours would be very
noticeable as well.
considering the strong smell intensity when the cartridges were loaded on
the first day, a sufficient level of odour could presumably have been better
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maintained throughout the exhibition period had the cartridges been refilled
at shorter intervals, for example every 5 days, to compensate for the large
size of the gallery.
Repeatedly visitors reported they could not detect any ‘special’ smell, which
could indicate the lack of smell intensity, or also a certain indifference to
the spices selected. (one visitor mentioned the smell was too familiar for
Indonesians to be noticed, which was an interesting comment as nowadays
those spices are not used much in Indonesia cuisine anymore.)
Another reason for this response could be that visitors expected a
significantly stronger and more distinct scent: Although the exhibition’s
scent element was only mentioned briefly in printed and online publicity,
the visitors seem to have been handed the accompanying survey before,
rather than after their visit of the exhibition, which could have built their
anticipation of a distinct “scent feature”, rather than a subtle background
note.
4.2.4. Questionnaire results
56 individuals responded to the six close-ended and one open-ended
feedback questions, of which equal amount were male and female, yet 77%
were between 21-35 years old. with 39% visiting 4-11+ contemporary art
exhibitions per year, and 48% visiting 1-3 of such per year, a moderately
informed audience can be assumed. the main levels of art connoisseurship
were those of the “Art Student” at 38% and “newbie” at 45%, with
professionals such as “Artist”, “Art critic/writer/historian” and “Art collector”
fetching even combined only 11%.
the results of 44% being able to detect no or only little scent in the
exhibition space, whereas only 16% indicated that they were able to quickly
notice the smell quickly might speak of the drop of scent intensity in the
last days before the first and only refill. Yet the result of 45% reporting that
the scent did not make a strong contribution to their exhibition experience
stands in paradoxical contrast to 52% declaring that the scent did indeed
affect them emotionally. (one interpretation for such a result could be the
visitor’s lacking familiarity of scent as an artform, and hence to being able
to link their scent -triggered emotional experience to the experience of the
complete artwork.) Still, 46% found the smell to weak, even if 54% claimed
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F I n dI n G S
to have a good sense of smell. 72% had never experienced an exhibition
involving scent before.
It remains hard to conclusively determine whether the overall visitor opinion
of the scent being too weak stems from
• the scent in fact having been too weak due to the late refill of spice
material, or
• their expectation having called for a strong, distinctive scent, rather than
the subtle background note as intended.
Findings
despite this uncertainty, the exhibition provided useful insights on the
surprising efficiency of the chosen materials and equipment even in a large
space. originally alternative models of (mainly liquid) scent dispensers
were considered for the exhibition, yet the difficulty in obtaining a fittingly
“neutral” odourous liquid at an affordable price led to the decision to
work with natural spices, and hence also establishing fitting links to the
geographical locale. Repeated emphasis by interviewees on the exhibition
space’s air “activation” through generated and controlled airflow corresponds
to my experience of intensifying the spices’ smells through the use of the
dispensers’ inbuilt fan. their shredding aided the ongoing release of odour
molecules and the fans increased their spread, which in turn multiplied the
overall scent output manifold when compared to using whole spices, as it
was also considered during the planning process.
As also mentioned by interviewees, light, regulated airflow would have
greatly supported the air quality inside the exhibition space; alleviating its
stuffiness. Here the additional use of fans, as well as opening doors for draft
could have proven useful, particularly in the light of the notable impact of
smells inherent and supplementary to a space (i.e. rubber and body odour).
As highlighted by Ueda, maciá and de cupere, most precise instructions
are essential, such as for the “nose” control of odour intensity to ensure the
maintenance of a consistent smell level, or alternatively instruction on set,
conservative time intervals for cartridge changes to avoid uncertainty. Giving
greater emphasis to the instruction of certain visitor interaction, such as that
of handing the questionnaire after, rather than before entering the gallery
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F I n dI n G S
space may further have improved the audience’s exhibition experience
due to the absence of pre-defined expectations about the scent to be
experienced.
the latter indirectly also confirms considerations of lacking audience
education on scent, as people may not know how to interact with scent as
an artistic medium, and may seek to assess it on similar intellectual terms as
other media. Hereby it was interesting to discover through the questionnaire
a surprising contrast between the low significance logically associated to
the smell’s impact versus its perceived high emotional impact – would this
mean visitors leave the gallery feeling emotionally involved, yet do not
associate this feeling to the experience of the artwork’s scent, and do not
find the latter to have made a notable contribution to their understanding
of the artwork? Further research into audience perception would be required
to assess such responses. Also, due to the small sample size among limited
demographics this study cannot claim to provide universally applicable
findings, yet rather aims to outline a selection of key considerations
demanding further investigation.
Given that overall verbal and written visitor feedback on overall exhibition
quality and enjoyment was utmost positive, this exhibition also confirmed
the general enthusiasm brought toward scent art by audiences, as described
by the interviewees - an invaluable prerequisite for strong and continuous
growth of scent as an artform.
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5
conclUSIon And
5.
REcommEndAtIonS
this thesis research investigated the practical, technical and conceptual
challenges artists and curators experience in scent exhibition and
preservation today, as well as current solutions and dealings with such
challenges. It set out to develop a framework of current exhibition strategies
in order to benefit artists, curators and art managers dealing with scent
art, to foster a better understanding of its possibilities and challenges, as
well as uniqueness and room for growth, particularly in the context of art
spaces today increasingly seeking to provide their audiences with immersive
exhibition experiences.
this study has shown the challenges of scent art to be complex and
multilayered, ranging from historical and sociological influences over
characteristics inherent to scent and our use of and relationship to it, all
the way to practical challenges of its presentation and preservation for a
common exhibition environment:
the negative stigma oftentimes attached to smells as illustrated by
the literature Review sets an important primary consideration to our
investigation, since, whether we do see its attachment to subversive
sexuality and lower-class definition to be justified or not, such connotations
do bear significant subliminal impact and may hence affect our receptiveness
toward scent as an artistic medium. nonetheless it has to be noted that
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with growing self-emancipation of thought and opinion in today’s society,
people show increasing curiosity and openness towards the different and
the new, which is reflected in their general fascination with scent art when
encountered. Similarly, while the white cube has been bound to be a sterile
space of quiet contemplation, visitors are now increasingly seeking out art
engagements stimulating on more interactive and immersive levels; following
the influence of early 20th-century avant garde movements. Although such
supported the immersive art experiences also by the use of scent, other
critics of the era saw scent to be entirely unfitting as an artistic medium,
mainly due to the lack of its linear structure and organisation. this may not
have to be seen as a hindrance however; rather allowing for the exploration
of its alternate characteristics and relationships to time, space and other
media.
one inherent characteristic of our scent perception however dose pose
a realistic challenge, namely that of our neurologically-based ignorance
towards ambient smells. Such lack of cognitive awareness results in our
little attention towards smell, and presumably also affecting our subsequent
consideration of scent as an artform. with it being difficult to investigate and
interact with something we have little awareness of or language for, one may
hope that the chicken-and-egg situation be broken in time through a growing
number of arresting and cutting-edge engagements with scent, where
artists could make a contribution as well. the lack of language to accurately
describe our sense of smell therefore also results in little critical discourse
around scent art, challenging its spread of growth and public awareness.
Scent artists themselves seek to face these implications by tirelessly creating
work and pushing for its exhibition, although many art institutions may still
be new to the idea, and may at times worry about strange smells wafting
down their exhibition corridors, affecting both audience and the conceptual
integrity of other artworks on display.
much of the interview conversations highlighted such challenges of
containment, accurate dispersion, and limiting the scent’s dissipation,
proposing a variety of realistic methods to control the flow of air through an
exhibition setup, referencing both models for artwork separation, harnessing
molecules’ natural behaviour, regular maintenance as well as available
technology for the diffusion of scent. As the avenues explored do not require
prohibitively expensive interior restructuring or equipment, they provide
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even exhibition venues with minimal funding the possibility to exhibit scent
art. It has to be noted however, that the nature of the medium does still
require a certain leniency, as total control is never guaranteed. Although
the methods described provide a multitude of effective varieties to direct,
distribute, intensify or dampen a smell, such are never absolute, as neither
are video or sound art installations which may leave a certain sound spill.
the demands and possibilities of scent artworks are extremely varying in
nature, partly also due to their differing modes of creation, such as using
inherently smelling material, applying or diffusing odourous substances
or even working with scent microencapsulated in paper or other material.
different forms of scent art do bring with them their own requirements for
maintenance as well of course, which in most cases are however not much
more complex than those of new media installations, for example. As the
case study further highlighted, the need for most precise instructions is not
to be overlooked, as staff may mostly not be familiar with the monitoring
and maintenance of smell, and each artwork’s unique characteristics
require different handling. Such diversity in media also results in varying
level of portability, that is, if an artwork can be re-created and exhibited in
another venue. Such consideration may also become an important factor
for the exhibition venue due to its possible novelty status, or the option
of it becoming part of a travelling exhibition. the preservation of a scent-
based artwork is equally important, unless created with the distinct intention
of it dissipating in time. As the latter is rarely the case, both artists and
institutions must consider its means of smell-maintenance or reproduction,
which can be based on a defined formula for the re-creation its the scent
or the provision of sufficient odourous material for storage and repeated
exhibition. the preservation of olfactory works is essential to build this new
artform’s esteem with international art institutional and private collections,
who serve as significant certifiers of any contemporary artistic developments.
this in turn also stimulates increased discourse around scent art, which
is essential for its spread and growth as an artform, as well as for public
acknowledgement. Informed critique of scent art is still rare; partly linked to
a missing language in which to develop a more sophisticated conversation.
As all these factors are interdependent and inducing the development or
hindrance of one another, an ongoing, furthered creation of cutting-edge
work through dedicated artists is eventually what would propel scent art to
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c o n c l U S I o n A n d R E c o m m E n dA t I o n S
a more present standing in contemporary art today, surpassing both the
artists’ and institutions’ concerns about its unique exhibition challenges as
described in this thesis.
to aid such development by providing further clarification on possible
creation methods and their practical exhibition implications, the following
information framework describes advantages, disadvantages and different
materials’ optimisation in an exhibition environment; informing both
uninitiated artists, curators, and art managers about possibilities and to-be-
expected challenges in scent art presentations.
A. coating/soaking 3/2d carrier object
Advantage Invisible to visitor, hence less ‘technical’ and more ‘immersive’
impression,
Disadvantage dissipation of smell, may require re-application, changing
smell intensity after re-application, impact on other works in exhibition
Optimisation If possible light re-application through sprays (Scheduled light
re-application through sprays, if required and technically possible.)
B. coating/soaking a 2d wall surface
Advantage Invisible to visitor, hence less ‘technical’ and more ‘immersive’
impression, positive mystery around origin of smell
Disadvantage dissipation of smell, may require re-application, changing
smell intensity after re-application, impact on other works in exhibition
Optimisation If possible light re-application through sprays (scheduled for
every few days)
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c. Placement of naturally scented substance in open space
Advantage can be visible to the visitor, hence positive established
relationship to the material
Disadvantage dissipation of smell, may require top-up which can be
technically challenging, changing smell intensity after top-up, degradation/
rotting, effect on other works in exhibition, hard to maintain consistency if
sourced from different suppliers
Optimisation Use of high quality raw material
d. Placement of natural/synthetic liquid/dry substance in closed container to be
opened manually
Advantage Smell is well contained and preserved
Disadvantage Handling through visitor, risk of damage to container, content
or visitor (due to too forceful inhalation of odour or overdose)
Optimisation Secure mounting of container with lid, no easily breakable
materials, or positioned for the visitors to not come too close
E. Placement of natural/synthetic liquid/dry substance in motion-detector spray
diffusers
Advantage Smell is distributed only ‘on demand’ and hence less wasteful
Disadvantage depending on use top-ups may be required, operational
sound may be disturbing, impact on other works in exhibition
Optimisation definition of a maximum number of visitors at a time, regular
top-up and maintenance of hardware, use of ‘quiet’ dispenser
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F. Placement of natural/synthetic liquid/dry substance into timer-based spray
diffusers
Advantage Smell intensity can be maintained at constant level
Disadvantage depending on use top-ups may be required, wastage of smell
when no visitors in gallery, operational sound may be disturbing, impact on
other works in exhibition
Optimisation Regular top-up and maintenance of hardware, use of ‘quiet’
dispenser
G. Placement of natural/synthetic liquid/dry substance into continuously
emitting diffusers
Advantage Suited to faint/discrete smells which require added intensity
Disadvantage depending on use top-ups may be required, smell can
easily reach too intense levels, wastage of smell when no visitors in gallery,
operational sound may be disturbing, impact on other works in exhibition
Optimisation Regular top-up and maintenance of hardware, observation
of smell intensity and visitors’ reaction to high intensity, use of ‘quiet’
dispenser
H. microencapsulated objects/surfaces
Advantage Highly personal close-up experience, added audience
interactivity, smell is distributed only ‘on demand’ in small doses, hence less
disturbing to other artworks
Disadvantage only limited spread of smell, sometimes insufficient longevity
of smell emittance
Optimisation Use of technologies with best, yet realistic longevity statistics
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c o n c l U S I o n A n d R E c o m m E n dA t I o n S
Principally all methods are directly or indirectly affected by visitor numbers,
where more frequent top-ups may be required for larger audiences.
Furthermore all methods expect for d and H could be supported by a light
flow of fresh air to ‘re-activate’ airmass and odour molecules and to avoid
stuffiness.
All methods naturally rely on well-considered placement, particularly if
exhibited in a group context, responding to each scent work’s particular
characteristics of smell spread to avoid excessive cross-contamination.
methods of wall separation, limited dispersion, or inherently non-conflicting
works can be applied and refined in accord with the curatorial concept and
vision.
notably these methods can be built into interactive and non-interactive
approaches, offering unique possibilities of conveying message and
meaning-making to the artist.
challenges in the exhibition of scent are art always linked to artwork’s
individual requirement, yet with the multitude of approaches for both effective
presentation and preservation, scent art is not compromised due to the unique
requirements of its medium. As it is an artform in the making, its exhibition
strategies are also still growing with respect to their diversity and purpose,
whereas the methods presented in this study can serve and starting points for
further innovative development.
Principally, the cognitive experience of art is intrinsically linked to our
senses, and with today’s all-surrounding over-stimuli through traffic noise,
neon lights and densely-fragranced bodycare products, scent art could,
among other, serve as an indirect antidote to such continuous onslaught
onto our still delicate sensory perception. Allowing for both immediate
experience and time for reflection, scent art can make a strong contribution
to art institution’s drive to stimulate both questioning on most immersive,
personal levels and with regards to larger questions around society and
evolution; slowly crumbling stigmata of the invasive and dangerous and
making room for a more inclusive, cohesive experience of our bodily self.
In this light, scent art would benefit from a variety of further research,
both theoretical and practical in nature. In addition to examining the needs
and possibilities of scent artworks outdoors and scent performances, my
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c o n c l U S I o n A n d R E c o m m E n dA t I o n S
particular recommendations would lie in developing dedicated audience
engagement strategies, as well as media-specific curatorial approaches for
scent art.
developing methods to better introduce new audiences to scent art would
not only make it more accessible and in turn support the field’s growth,
but could principally also make great contributions to innovative audience
engagement strategies in art institutions and museums across the board;
supporting their increasing number of multi-sensory presentations from
interactive food exhibits to conceptual multi-media installations.
Further, over the decades a variety of curatorial approaches have been
developed for different artforms; growing and morphing, contradicting each
other and constantly being re-contextualised. Scent art has seen little such
focus on intellectual study, and would experience a strong push towards
further, deeper enquiry by artists and resulting artistic excellence if such
was raised in current curatorial debate in contemporary art. As it can be
anticipated that more institutions will be engaging with scent art in the
future, a thorough understanding from a conceptual curatorial perspective
would not only fill their demands in expertise, but validate the artform and
make a significant, concrete contribution to the spread of the new, equal
artistic sensorium.
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BI Bl I o G R A P H Y
6
6. BIBlIoGRAPHY
Ackerman, diane. “Smell.” In A Natural History of the Senses. new York: Vintage Books, June,
1991.
AcRF. Gas Chromatography. http://www.gas-chromatography.net (accessed october 26, 2012).
Air Aroma. Products. http://www.air-aroma.com.au/products (accessed october 1, 2012).
Air-Scent International. “Scent Beam™.” http://www.airscent.com/cateory_large_area_systems.
asp (accessed August 29, 2012).
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