Suspension of Disbelief

Laurence Aëgerter, Marjolein Blom, Tanja Engelberts, Anne Geene, Arjan de Nooy, Sarah Mei Herman, , Miho Kajioka, Ola Lanko, Bertien van Manen, Antoinette Nausikaä, Satijn Panyigay, Maarten van Schaik, Diana Scherer, Carolien Scholtes, Witho Worms

June 8 - July 22
Opening June 8, 5 - 8 pm

Seelevel Gallery, founded by Caroline O’Breen in 2009, will be rebranded to Caroline O’Breen and will open its own new gallery space at Sint Nicolaasstraat 50, just two blocks behind the Nieuwe Kerk in Amsterdam.

Caroline explains, ‘I see the gallery as a platform for artists through which they can stay connected with the art world, but also as a way for art collectors and art lovers to stay updated to the recent developments in art.

In this new gallery space we have the opportunity to organise exhibitions continuously and don’t have to share our exhibition space with other galleries.

With the new name, the gallery is connected and linked to a personal identity that represents the aim of the gallery: presenting current leading fine art photography and always looking for engaged, conceptual and critical photography based art.’

The new gallery will be re-opened on Thursday June 8 with the group exhibition Suspension of Disbelief. We hope to see you in the gallery!

Witho Worms, Earth & Air, 2017, Hahnemuhle SUMI-e papier, 80 grams, 19,5 x 13,95 cm

Suspension of Disbelief

In 1817 the poet and aesthetic philosopher Samuel Taylor Coleridge introduced the term suspension of disbelief in his autobiography Biographia Literaria. He wanted to revive the supernatural within literature and poetry and introduced the concept suspension of disbelief which described how one’s willingness can suspend one’s critical capability and believe the unbelievable when reading a work of fiction. In other words the suspension of disbelief is the sacrifice of realism and logic for the sake of enjoyment. Although Coleridge originally applied the term on poetry, the concept can be used for any kind of storytelling or work of fiction. In the 20th century the concept was often used to imply that the burden is on the reader, rather than the writer.

Suspension of disbelief seems to be an interesting term to explore within the field of art and photography. In this exhibition the term could be explained and explored in multiple ways. A suspension of disbelief in relation to art could imply the enjoyment of art for art’s sake. In a world where the function and the meaning of art is often debated, suspension of disbelief would allow the audience a way to enjoy art just because they, for whatever reason, are drawn to it. Moreover, in the field of photography, suspension of disbelief could be explored in a completely different way. It could explain the willingness of the audience to overlook the limitations of the medium to be truly objective, without questioning the value of the story that it wants to tell.

Carolien Scholtes, Common Dust 2013

Laurence Aëgerter, Het Apparaat – SK-A-123-0802031446 (Van Goyen), 2008, Ink on paper, 30 x 40 cm, 3/6 + 2 AP