Dreaming is Common to All
Logan Center Chicago
Bill Geraci 11-01-2021

Dreaming is Common to All is an interactive sound installation, on view at the Logan Center for the Arts (University of Chicago) October 15-November 15, 2021During this time, an intimate space for collective dreaming was open to the public, where a soft and continuous stream of collected dreams–gathered from around the world through this site–could be heard.With this project, we hope to honor collective generosity through the sharing of our most intimate and individual dreams in order that we might form a larger collective space—where dreaming is indeed welcome and common to all.

Curated by Katherine Desjardins with Gabi Scardi (Milan), in collaboration with the Open Practice Committee (part of the Department of Visual Art at the University of Chicago), Comfort Station, Chicago (an alternative space in Chicago dedicated to public programs led by the community, at the intersection of art and life), and the experimental music series, GATHER

Dreaming is Common to All
Logan Center Chicago
Yuxin Zhang yuxinz. 10-23-2021

Dreaming is Common to All is an interactive sound installation, on view at the Logan Center for the Arts (University of Chicago) October 15-November 15, 2021During this time, an intimate space for collective dreaming was open to the public, where a soft and continuous stream of collected dreams–gathered from around the world through this site–could be heard.With this project, we hope to honor collective generosity through the sharing of our most intimate and individual dreams in order that we might form a larger collective space—where dreaming is indeed welcome and common to all.

Curated by Katherine Desjardins with Gabi Scardi (Milan), in collaboration with the Open Practice Committee (part of the Department of Visual Art at the University of Chicago), Comfort Station, Chicago (an alternative space in Chicago dedicated to public programs led by the community, at the intersection of art and life), and the experimental music series, GATHER

This Earth is a Flower / Construction in Process VII 

DREAM 5 



These dreams come from a series of recordings I made in northern Poland in 2000 as part of the project “This Earth is a Flower" / Construction in Process VII. 
During a residency a number of artists were hosted in a former village for athletes and were all invited to create a new work on site. I set up a recording lab in the woods near a lake, not far from the village, and every morning I recorded the dreams of the other artists and then broadcast them via a series of sound installations, both indoor and outdoor. 
After all these years, I’ve decided to rebroadcast the dreams. Unfortunately, I only remember two of the names of the dreamers, so I hope that by listening to the radio the others will be able to recognise their voice and identify their dream. 

(Emilio Fantin)

This Earth is a Flower / Construction in Process VII
DREAM 4

These dreams come from a series of recordings I made in northern Poland in 2000 as part of the project “This Earth is a Flower" / Construction in Process VII.
During a residency a number of artists were hosted in a former village for athletes and were all invited to create a new work on site. I set up a recording lab in the woods near a lake, not far from the village, and every morning I recorded the dreams of the other artists and then broadcast them via a series of sound installations, both indoor and outdoor.
After all these years, I’ve decided to rebroadcast the dreams. Unfortunately, I only remember two of the names of the dreamers, so I hope that by listening to the radio the others will be able to recognise their voice and identify their dream.
(Emilio Fantin)

This Earth is a Flower / Construction in Process VII
DREAM 3

These dreams come from a series of recordings I made in northern Poland in 2000 as part of the project “This Earth is a Flower" / Construction in Process VII.
During a residency a number of artists were hosted in a former village for athletes and were all invited to create a new work on site. I set up a recording lab in the woods near a lake, not far from the village, and every morning I recorded the dreams of the other artists and then broadcast them via a series of sound installations, both indoor and outdoor.
After all these years, I’ve decided to rebroadcast the dreams. Unfortunately, I only remember two of the names of the dreamers, so I hope that by listening to the radio the others will be able to recognise their voice and identify their dream.
(Emilio Fantin)

This Earth is a Flower / Construction in Process VII
DREAM 1

These dreams come from a series of recordings I made in northern Poland in 2000 as part of the project “This Earth is a Flower" / Construction in Process VII.
During a residency a number of artists were hosted in a former village for athletes and were all invited to create a new work on site. I set up a recording lab in the woods near a lake, not far from the village, and every morning I recorded the dreams of the other artists and then broadcast them via a series of sound installations, both indoor and outdoor.
After all these years, I’ve decided to rebroadcast the dreams. Unfortunately, I only remember two of the names of the dreamers, so I hope that by listening to the radio the others will be able to recognise their voice and identify their dream.
(Emilio Fantin)

Image: Emilio Fantin, Jimmie Durham's Dream, 2000

This Earth is a Flower / Construction in Process VII
DREAM 1

These dreams come from a series of recordings I made in northern Poland in 2000 as part of the project “This Earth is a Flower" / Construction in Process VII.
During a residency a number of artists were hosted in a former village for athletes and were all invited to create a new work on site. I set up a recording lab in the woods near a lake, not far from the village, and every morning I recorded the dreams of the other artists and then broadcast them via a series of sound installations, both indoor and outdoor.
After all these years, I’ve decided to rebroadcast the dreams. Unfortunately, I only remember two of the names of the dreamers, so I hope that by listening to the radio the others will be able to recognise their voice and identify their dream.
(Emilio Fantin)

Image: Emilio Fantin, Jimmie Durham's Dream, 2000
Thanks to Silvia Maglioni & Graeme Thomson for their help to put together this series.

For this first episode of "An_archive of dreams" we will focus on the way art can influence dreams starting from a question: can specially designed sounds, that are created to be enjoyed while we are asleep, influence our sleep patterns and our dreams?
My guest for this episode is Swedish artist Per Huttner, who is engaged in a practice of measuring the brain activity of sleepers which he uses to shape special soundscapes.
In our collaboration, we have been developing a number of performances for sleeping/dreaming audiences. These are not only performances for dreaming people but the idea is that dreamers themselves influence the actual performance. This happens through the measurement of their brain activity (EEG – electroencephalogram) throughout a whole night. The measurement of the brain is connected to sound generating, smell emitting and light producing devices. The recorded sounds (as you will hear in this episode), as well as the smells and lights, affect the sleeper. Meanwhile, the sleepers influence the artistic output creating infinite feedback loops. This research gathers together technology and consciousness, science and art, dreamers and their communities, the singular and the collective.
(Emilio Fantin)