Aram Bartholl – Open
26. 9. – 2. 11. 2019

Roehrs & Boetsch, Zürich
Opening: 25 September 2019

FACE THE FACE
A Speed Show on the Post-Digital Self

curated by
Anika Meier & Aram Bartholl
5.7.2019, 7:00 – 10:00pm
Internet Cafe – Midnightshop
Schönhauser Allee 188, Ecke Torstr., 10119 Berlin

Participating artists:
Lisette Appeldorn, Jeremy Bailey, Nadja Buttendorf, Petra Cortright, Constant Dullaart, Tom Galle, Lauren Huret, Johanna Jaskowska, Andy Kassier, Hanneke Klaver, Lynn Hershman Leeson, Echo Can Luo, Ines Marzat, Jillian Mayer, Andy Picci, Selam X

Social media algorithms have a preference for faces. People prefer friends to strangers and are more comfortable with the familiar in general. This preference applies to their own faces, too. Studies have shown that people like their mirror-reflected face most because that is how they are used to seeing themselves. “The selfie,” writes Nathan Jurgenson, “lets us share that mirror-view, what we see when contemplating our self, considering what we are.” Science is not yet convinced of what the critics are absolutely sure of: people who take selfies are narcissistic exhibitionists.

These days, when a person takes a photo to their plastic surgeon, it is of their own face. Smoothed and beautified by Snapchat and Instagram filters, it is the new ideal. Filters make people feel attractive. Masks and filters function as a barrier between the individual and the world, and people have always felt the need to change themselves by wearing makeup, getting plastic surgery, donning masks ,or using filters that simultaneously hide and reveal. Mask culture, thousands of years old, is currently undergoing a digital renaissance. Software-driven face-recognition apps on smartphones enable a new, shared experience of this ancient tradition. “The self one tries to express tends to be new, exciting, confessional, sexy, etc., because it plays as an advertisement. Identity is a series of ads for a product that doesn’t exist,” writes Rob Horning on digital identities.

In the early 1980s Lynn Hershman Leeson addressed the ways media changes the view of the self and promotes stereotypical norms in her series “Phantom Limbs.” Jeremy Bailey has been playing with floating, 3D objects in front of the camera since the early 2000s. The elaborate hardware and tracking programs he began with have now completely disappeared into the smartphone. Petra Cortright started using commercially-available webcam software with basic effects and folklore-inspired filters to create her series of YouTube portraits in 2009.

Now, a new generation of net artists is reflecting on the presentation of faces in the digital age. @AndyKassier, for example, explains in his video how to make the perfect selfie, while @jillianmayer gives tips on how to hide from surveillance cameras with makeup in her tutorial. @andypicci uses filters to criticise the desire for image cultivation in the era of social media and @johwska addresses the sort of beauty ideals promoted by celebrities like Kim Kardashian and Kylie Jenner every day. The @selamxstudio collective, in turn, shows what happens when a beauty AI does Kyle Jenner’s make-up.

http://speedshow.net/speed-show-face-the-face/

The SPEED SHOW exhibition series was conceived by artist Aram Bartholl in June 2010. The basic idea of this exhibition format is to create a gallery like opening situation for browser-based internet art in a public cyber cafe or internet shop for one night. The exhibition format is free and can be applied by anyone at any place.

‘Common Ground’, Aram Bartholl 2019

Werkleitz Festival 2019
Modell und Ruine [Model and Ruin]
May 25–June 10

modell-und-ruine.werkleitz.de
The 2019 Werkleitz Festival Modell und Ruine [Model and Ruin] curated by Daniel Herrmann and Alexander Klose presents the works of 13 international artists as part of the Bauhaus Centenary celebration. Their projects are developed for the festival and play with the tension between the phenomena of models and ruins and their relevance in modern history. The works will be shown from May 25 to June 10 2019 in Dessau, Germany.

As powerful images, models—much like ruins—serve to construct history, explain the present and generate the future. The recurring rise and fall of Dessau seems somehow to draw such connections together like a burning glass. The exhibition parcours connects the classicistic Georgengarten with the classical modern architectural ensemble of the Meisterhäuser and the historicistic Mausoleum. The intention is to present Bauhaus in the larger context of the 250-year history of the modern age.

The featured artists are:
Haseeb Ahmed (US/BE), Rosa Barba (IT/DE), Aram Bartholl (DE), Michael Beutler (DE), Haris Epaminonda (CY/DE), Holmer Feldmann feat. Piotr Baran (DE), Angela Ferreira (MZ/PT), Nikolaus Gansterer (AT), Christoph Girardet (DE), Cornelius Grau (DE), Romain Löser (FR/DE), Andrea Pichl (DE) and Magdalena Rude (DE).

RAUM SCHROTH im Museum Wilhelm Morgner
Soest, NRW  http://www.museum-wilhelm-morgner.de

11. Mai – 30. Juni 2019

Die Stiftung Konzeptuelle Kunst widmet dem Medien- und Konzeptkünstler Aram Bartholl eine Einzelausstellung im RAUM SCHROTH im Museum Wilhelm Morgner.

Aram Bartholls Werk bewegt sich an der Schnittstelle zwischen analoger, digitaler und kultureller Realität. Das Spannungsfeld von öffentlich und privat, online und offline, von Technologieverliebtheit und Alltagsleben liegt im Kern seines Schaffens. Seine von Humor und großer Sensibilität geprägten Interventionen und Installationen bringen oft eine erstaunlich physische Manifestation der digitalen Welt mit sich und stellen unsere Konzepte von Realität und Virtualität infrage.

So ist die zentrale Arbeit dieser Ausstellung, „0,16“, eine Lichtinstallation, die das Pixelprinzip von Bildschirmen in die analoge Welt überführt. Digitale visuelle Kommunikation wird nachvollziehbar und sinnlich erfahrbar, ihre Methoden mit realen Inhalten gefüllt. Das verpixelte Bild eines lebendigen, in Echtzeit vorbeilaufenden Menschen erscheint in einer Auflösung von 0,16 ppi (pixels per inch) auf einem Schirm aus Holz, Papier und Stoff.

Map is being installed on the roof of SFMOMA for the upcoming ‘snap+share’ show. I made the first iteration of this piece in 2006, more than a decade ago—an epoch in Internet time. It is fascinating to see how much the context and meaning of this piece have changed over the years. Thirteen years wouldn’t usually be a huge timespan for a work of art to age, but in this particular case the speed of developments mean Map now looks very different. It has already become a historical work.

In 2004, Google bought Where 2 Technologies, a company that had worked on the digital map service that became Google Maps a year later. It was still the mid-early days of the web. The Internet was not as present in society as it is today, but tech giants like Google were already taking shape.

It was part of my practice back then to make such translations, to take an object from a computer game or an icon from a web service and to transform it into a physical sculpture. What would happen if I turned this 15-pixel computer icon into a real thing and put it in the city? Is this the center of the city? These and other projects were an attempt to understand how this new world of computers, networks, and screens would affect society and physical space. They were a sign of what was to come.

Today the situation is very different. We have the famous oligarchy of Internet tech giants who are constantly squeezing more data and money from every bit of communication, movement, and interaction everyone produces worldwide. They have expanded into all kinds of markets in a never-ending run of disruption with little objection or regulation from government. Today, data extraction markets are deeply woven into a very physical fabric of everyday life in cities, business, homes, and personal communication. The dualism of digital versus analog has been obliterated; everything is deeply interconnected.

Of course, it is an honor to show Map in such a prominent location at the SFMOMA in downtown San Francisco. But in a way, it is also an irony of history that this piece from 2006 is ‘coming home’ today to the heart of Silicon Valley in an era dominated by full-blown surveillance capitalism data markets.

Aram Bartoll

Map, 2019
dimensions: 900 x 530 x 20 cm
material: steel, aluminum mesh, steel cables

Thanks to the whole team at SFMOMA making this possible!!

SFMOMA: snap+share
transmitting photographs from mail art to social networks
March 30–August 4, 2019
https://www.sfmoma.org/exhibition/snap/

curated by Clement Cheroux
with: Thomas Bachler, Ray Johnson, Aram Bartholl, On Kawara, Joseph Beuys, Erik Kessels , Moyra Davey, William Larson, Jan Dibbets, Eva and Franco Mattes, Walker Evans, Peter Miller, Jeff Guess, Ken Ohara, Lynn Hershman Leeson, Stephen Shore, Kate Hollenbach, Endre Tót, David Horvitz, Corinne Vionnet

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Today there have been massive demonstrations all around EU against #article13 and other paragraphs in the coming new EU copyright reform directive. The parliament will vote about this in three days. This law will only help big publishers, labels and content dealers but not the artists. It is very annoying to be used as an excuse by lobby controlled politicians that ‘the poor artist’ needs to protected while this will break Internet culture on a large scale. Required uploadfilters will give even more power to Internet tech giants Google, FB etc. Culture is based on imitating, quoting and remixing, especially online! It is very likely that you wont be able to post your own art any more….

#openinternet #article13 #saveyourinternet

pic taken by @mathieutremblin during Strasbourg visit three weeks ago, thx!

Beautiful time-laps of the setup of ‘Map’ by Jason Wittig, thx! I arrived in SF and we are doing some the final touches on the show install. “snap+share” will open to the public Saturday, March 30. Looking fwd to meet all the artists for the preview next week!

SFMOMA: snap+share
transmitting photographs from mail art to social networks
March 30–August 4, 2019
https://www.sfmoma.org/exhibition/snap/

curated by Clement Cheroux
with: Thomas Bachler, Ray Johnson, Aram Bartholl, On Kawara, Joseph Beuys, Erik Kessels , Moyra Davey, William Larson, Jan Dibbets, Eva and Franco Mattes, Walker Evans, Peter Miller, Jeff Guess, Ken Ohara, Lynn Hershman Leeson, Stephen Shore, Kate Hollenbach, Endre Tót, David Horvitz, Corinne Vionnet

An interview I gave during my visit at ‘Laboratoria Arte Alameda‘ in Mexico city last summer 2018.

An excerpt of the article “Touch Me” about the Biennale de Strasbourg by Dominique Moulon

http://artinthedigitalage.net/blog/2019/02/17/touch-me/

[…]

Aram Bartholl, Are you human?, 2017.

Mais qui pourrait aujourd’hui se passer des services des GAFA ? Quand ce sont des machines qui, régulièrement, nous demandent de prouver que nous n’en sommes pas. Avec cette série Are you human?, Aram Bartholl n’a de cesse de détourner les codes de l’esthétique dominante : c’est-à-dire celle du numérique. Celui-ci s’est d’abord intéressé aux Captchasque l’on doit décrypter sous peine de se voir refuser quelques accès avant de se focaliser sur les systèmes de grilles où il nous faut sélectionner toutes les images de ponts ou de panneaux de signalisation entre autres véhicules. Les tirages grand format de l’artiste berlinois n’offrent toutefois que des vues de paysages où l’on devine parfois des frontières. L’idée étant de nous inciter à reconsidérer les tâches que nous effectuons en cette ère mondialisée. Car souvent, sans même le savoir, nous renseignons des entreprises mieux que ne le feraient des robots. Que les machines ne soient pas encore si intelligentes que cela pourrait être de nature rassurante. Et effectuer très régulièrement de petits travaux sans salaire aucun devrait nous irriter. A moins que l’on ne considère ces travaux comme d’intérêt général.

Bartholl, Point of view, 2015.

Il est admis que les smartphones que Aram Bartholl représente dans son installation sculpturale Point of view, en seulement une dizaine d’années, ont changé notre rapport à l’image. Ce n’est plus le boîtier qui est reflex, mais la photographie elle-même que l’on pratique par réflexe. Puisque l’on documente tout, de ce que l’on adore à ce que l’on déteste, sans omettre les images d’autrui que l’on commente sans retenue aucune sur les réseaux. Le Selfiesymbolisant merveilleusement bien ce désir immodéré que nous avons d’être dans l’image. Au risque parfois de créer des situations incongrues quand, par exemple, tous les fans d’une foule tournent le dos à leur icône pour être au plus près d’elle dans l’image capturée. Il est intéressant de remarquer ici que ce sont essentiellement des jeunes ordinaires qui ont initié cette tendance ô combien narcissique du Selfieavant que les célébrités du monde entier ne les copient. Citons les propos de Charles Baudelaire qui, déjà en 1859, soit vingt ans seulement après l’invention de la photographie, s’exprimait ainsi : « À partir de ce moment, la société immonde se rua, comme un seul Narcisse, pour contempler sa triviale image sur le métal».

[…]

InterMedia an der FH Vorarlberg, Published on Jan 7, 2019

“Wir durften mit dem Medienkünstler Aram Bartholl nach seinem open idea Vortrag an der FH Vorarlberg im Oktober 2017 ein hochinteressantes Interview über seine Arbeiten und seine Sicht der Dinge auf unsere Kommunikationswelt führen.”