Best Friends Forever
found on Invalidenstr. Berlin
Link in bio
17. December 2019 – 14. March 2020
Group Show, MdbK, LeipzigOpening 16.12. 6pm
The use of social media has become part of everyday life, established and young artists cannot and no longer want to do without it. They work with it. They are where their audience is. Once they were websites, now they’re social media, especially Instagram when it comes to visual arts.
After the protagonists of Net Art, the technology utopians of the early 1990s, soon realized that the Net would not undermine classical art institutions as exhibition venues, the next generation of artists who responded to the Internet took over. The buzzword Post-Internet Art quickly spread. The term was coined by the artist and theorist Marisa Olson: “I’m going to toggle back and forth between video and internet because some of the internet art that I make is on the internet, and some is after the internet.” What sounds like an attitude to life became a collective term for artists who, instead of making art in the browser, again made art for the exhibition space.
Social Media Art, on the other hand, takes up Net Art’s utopia of being able to democratize the art world. The audience can be reached directly via Instagram, Facebook, YouTube, Tumblr and Twitter. Young artists react to social media and their content, to new features and technologies.
The show “Link in Bio. Kunst nach den sozialen Medien” at the Museum der bildenden Künste Leipzig curated by Anika Meier presents over 50 works on how the production and reception of art change in the age of social media. The exhibition shows installations, photographs, sculptures, videos and paintings. The show is a follow-up to “Virtual Normality. Net Artists 2.0” (2018).
Participating artists: Thomas Albdorf, Jeremy Bailey, Viktoria Binschtok, Aram Bartholl, Arvida Byström, Nadja Buttendorf, Petra Cortright, Filip Custic, Constant Dullaart, Hannah Sophie Dunkelberg, Anna Ehrenstein, Oli Epp, Tom Galle, Adam Harvey, Lauren Huret, Andy Kassier, Lynn Hershman Leeson, Olia Lialina, Brandon Lipchik, Jonas Lund, Jillian Mayer, Florian Meisenberg, Marisa Olson, Andy Picci, Sebastian Schmieg, Leah Schrager, Kristina Schuldt, Thomas Webb, Steffen Zillig and many others.
Opening 16.12.2019, 18 o’clock
The exhibition is sponsored by the Kulturstiftung des Bundes.
Playmode
10. September 2019 – 28. February 2020
Group Show, Maat, Museum of Art, Architecture and Technology, LisbonThe exhibition Playmode offers a reflection on these aspects and on the era of gamification that contemporary societies are now experiencing, bringing together pieces by several artists, such as Brad Downey, Gabriel Orozco and Ana Vieira, who incorporate the theme while exploring new ways of seeing, participating and transforming the world, using gaming in a critical light. Picture: House of Cards #3. Brad Downey, 2007. Photo: Brad Downey
Upcoming
The Sea Is Glowing
24. April – 12. July 2020
Group Show, Exportdrvo, RijekaAn international group exhibition which deals with the invisible economics linked to the sea. With their works, world-respected artists deal with unusual and radical phenomena, from strange online shops to the empires of amateur pornography and other golden coasts.
In the geographical sense, Europe is a maritime continent: considering the ratio of the length of the coast to the total land surface, Europe has more contact with the sea than any other continent. For Rijeka, the port, as well as the sea, is not only a place of loading and unloading or the arrivals and departures of boats. The port is the heart of the city and symbolically important for the identity of the city. This is why the sea, i.e. new forms of work and economy which are connected to the sea, is extremely important for both Rijeka and Europe.
The Sea is Glowing exhibition focuses primarily on new invisible economies that are inextricably linked to the sea, such as the exploration of oil and ores in the depths of the sea, the establishment of offshore tax havens on the coasts and the launch of libertarian start-ups in self-sufficient colonies which float in international waters. All of the mentioned activities are part of the new economies which include new forms of work (such as care and welfare) or new forms of capital circulation (such as free ports). Considering the (occasional) specificity of their tax models, port cities such as Rijeka are very important for such types of economies. The exhibition brings together the works of artists who investigate unusual Amazon shops, the increasingly present outsourcing of healthcare, “the black chimneys” and deep-sea mining, the hidden offshore havens, the dark empires of amateur pornography and other golden coasts.
The curator of the exhibition is Inke Arns (DE), famous for her work in media art. She is the artistic director of the Dortmund Hartware MedienKunstVerein (HMKV) organisation and the curator of numerous international exhibitions that have been shown around Europe and the world – from Berlin, Glasgow and Warsaw, from Ljubljana and Nova Sad, all the way to Moscow, Tel Aviv and Hong Kong.
On entering a living being. From Social Sculpture to Platform Capitalism
27. March – 24. May 2020
Group Show, Kunstraum Kreuzberg, BerlinEintritt in ein Lebewesen.
Von der Sozialen Skulptur zum Plattformkapitalismus
On entering a living being
From Social Sculpture to Platform Capitalism
When Joseph Beuys coined the phrase of the “social sculpture” in the 1970s, he was not aware of the
development of the internet at the same time. However, in interviews and lectures he frequently hints at
the possibility of a new kind of medium, that would allow the audience to participate and that could
serve as a plattform for political debate and action.
With the international proliferation of the internet and the possibility of communication and
cooperation that it has delivered, it is timely to compare its promise with the utopian ideas of Joseph
Beuys. Has the net enabled new forms of collective creativity? Or does it serve as a means to turn this
“general intellect” (K. Marx) into raw material that companies like Google, Facebook, Twitter et al use
to make a profit?
The exhibition with works by approximately 38 artists reflects the methods by which companies such
as YouTube, Google, Fiverr or Amazon Mechanical Turk have made the exploitation of the creativity of
their users into a business model. About half of the works were created in response to the current
“platform capitalism”. A selection of older works traces the idea of “collective creativity” back to
original emancipatory ideas from the early days of the Internet such as “crowd sourcing” and finally to
Joseph Beuys’ “social sculpture”.
Over the last decade, a number of companies have made a business model out of offering plattforms for
the sale of creative work on the web as online services or “microjobs”. Through providers such as
Amazon Mechanical Turk or Fiverr, creative services such as texts, designs, videos or apps can be
commissioned for prices that are often far below the fee that a professional designer would charge. In
many ways, the artistic works that were once thought of as “crowd sourcing art” – a genre that has its
own Wikipedia entry by now – today seem like naive anticipations of these exploitative practices,
which in turn have also been reflected by artists in recent years.
The exhibition brings together works that comment on and criticize the “gig economy” that has
emerged, and by juxtaposing them with works from the nineties and noughties, places them in a
historical context that ultimately dates back to Joseph Beuys’ “social sculpture” – some of the artists
involved even explicitly referenced Beuys and his slogan: “Everyone is an artist.”
The exhibition will be accompanied by events that address the model of “platform capitalism” in the
cultural sphere in discussions, video presentations and lectures.
Participating artists include Joseph Beuys, Nam June Paik, Douglas Davis, Van Gogh TV, Cory
Arcangel, Aram Bartholl, Miranda July, Amalia Ulman and Olia Lialina.
Curator: Tilman Baumgärtel, Hochschule Mainz
Die kleine Intervention: Weniger Spektakel, mehr Wirkung?
13. – 14. February 2020
Performance, Brecht-Haus, BerlinDie kleine Intervention: Weniger Spektakel, mehr Wirkung?
Mit Aram Bartholl und Helgard Haug (Rimini Protokoll)
Moderation Cornelius Puschke
Veranstaltungsort: Literaturforum im Brecht-Haus
Einlass: ab 18:30 Uhr
Anhand von Aram Bartholls »Dead Drops« (mit Live-Installation!) und Projekten von Rimini Protokoll geht es um die Frage, ob kleine, unauffälligere Aktionsformen letztlich wirksamer sind als skandalöse Groß-Interventionen.
The Supermarket Of Images
11. February – 7. June 2020
Group Show, Jeu de Paume, ParisWe live in a world that is increasingly saturated with images. Their number is growing so exponentially – each day more than three billion images are shared on social networks – that the space of visibility seems to be literally inundated. As if it can no longer contain the images that constitute it. As if there were no more room, no more interstices between the images. This brings us closer to the point that Walter Benjamin imagined, almost a hundred years ago now, as “the one hundred percent image space”. Faced with such an overproduction of images, questions need to be asked, more than ever before, about their storage, management, transportation (even if it is electronic) and the paths they follow, their weight, the fluidity or viscosity of their exchanges, their fluctuating values – in short, questions about their economy.
In the book from which this exhibition is derived1, the economic aspect of the life of images is called iconomy. The works and artists chosen for the exhibition cast a keen and watchful eye over these issues. On the one hand, they reflect the upheavals that currently affect the economy in general, whether in terms of unprecedentedly large storage spaces, the scarcity of raw materials, labour and its mutations into intangible forms, or in terms of value and its new manifestations, such as cryptocurrencies. On the other hand, however, these works also question what happens to visibility in the age of globalized iconomies: caught up in an incessant circulation, the image – any image – appears increasingly like a freeze frame (arrêt sur image), that is as a temporary crystallization, as the provisionally stabilized balance of the speeds that constitute it.
In the supermarket on display here, images of the economy always involve the economy of the image. And vice versa, as if they were the recto and verso of the same page.
Particiapting artists:
Kevin Abosch, Aram Bartholl, Taysir Batniji, Samuel Bianchini, Robert Bresson, Sophie Calle, Maurizio Cattelan, Emma Charles, Chia Chuyia, Minerva Cuevas, DISNOVATION.ORG, Antje Ehmann, Sergueï Eisenstein, Max de Esteban, Harun Farocki, Sylvie Fleury, Beatrice Gibson, Máximo González, Jeff Guess, Andreas Gursky, Li Hao, Femke Herregraven, Lauren Huret, Geraldine Juárez, William Kentridge, Yves Klein, Martin Le Chevallier, Zoe Leonard, Auguste et Louis, Lumière, Kazimir Malévitch, Elena Modorati, László Moholy-Nagy, Andreï Molodkin, Ana Vitória Mussi, Trevor Paglen, Julien Prévieux, Wilfredo Prieto, Rosângela Rennó, Hans Richter, Martha Rosler, Evan Roth, Thomas Ruff, RYBN.ORG, Richard Serra, Hito Steyerl, Hiroshi Sugimoto, Ben Thorp Brown, Victor Vasarely, Pierre Weiss
Curated by
Peter Szendy, Emmanuel Alloa and Marta Ponsa
Exhibition organised by the Jeu de Paume
Co Talk
11. February 2020
Talk, Co Gallery, ParisArtist talk at Co Gallery, Paris.
8 pm, Feb 11th 2020
co.galerie
8 rue de Douai
Pigalle
75009 Paris
Past Events
Museumsnacht Basel
17. – 18. January 2020
Group Show, HeK - Haus der elektronischen Künste, BaselMuseumsnacht “Fashion & Selfie”
Veranstaltung/Führung, Installation, Workshop
17.01.2020, 18:00-02:00
Am HeK erwartet das Museumsnacht-Publikum eine zukunftsweisende Ausstellung zu Mode und Technologie mit dem Titel “Making FASHION Sense”, eine riesige Selfie-Installation, eine verführerische interaktive Porträtmaschine und ein Workshop für modische Accessoires.
18.00-02.00
Die Ausstellung Making FASHION Sense widmet sich dem Thema Mode und Technologie und zeigt intelligente Kleidung, die auf die Umwelt reagiert, und aktuelle ökologische Trends im Bereich der Modeindustrie.
18.00-02.00
Die Partizipative Installation Point Of View von Aram Bartholl lädt die Besucher ein in den riesige Handyskulpturen Selfies zu machen.
18.00-02.00
Bei der interaktiven Installation LIMINAL von Louis-Philippe Rondeau kannst Du ein Zeitporträt von Dir erstellen.
18.00-01.00 (DE/FR/EN)
Walk-in Workshop Smarte Fingerhandschuhe
Im Workshop kannst Du deine Handschuhe mit leitfähigem Garn besticken, damit Du auch im Winter mit wollig warmen Händen „swipen“ kannst.
18.30, 20.30 und 22.30 (DE/FR)
Kurzführungen durch die Ausstellung
Führungen in Deutsch und Französisch / Visites guidées en allemand et en français
19.00 und 21.00 (DE/EN)
Kuratorenführungen mit Sabine Himmelsbach und Katharina Sand
Kill your phone
14. – 15. December 2019
Workshop, Centre culturel suisse. Paris, ParisSamedi 14 décembre : atelier Kill your phone / Lawrence Lek
13h-16h30 – Atelier : Kill your phone – Comment s’éclipser du réseau
sans réservation – en continu
Nos téléphones mobiles nous sont certes très utiles, mais ce sont aussi des espions. Dans cet atelier, vous pourrez coudre une pochette pour téléphone qui le protège de tous signaux et connexions. Un petit « gilet de sauvetage » pour toutes celles et tous ceux qui ne veulent pas être constamment localisés et considèrent la surveillance permanente d’un œil critique. Cet atelier intitulé « Kill you phone » a été développé par l’artiste Aram Bartholl, il est organisé par Patricia Huijnen, médiatrice à la HeK.
Télécharger le kit de création de la pochette “Kill your phone”
16h30 – Projection : Lawrence Lek AIDOL 爱道 (2019), 85 min. Courtesy the artist and Sadie Coles HQ, London
ASAP – transferring the immediacy of the digital to culture
8. November 2019
Talk, James-Simon-Galerie, BerlinIn our Q IMMERSION re:publica will host a keynote talk on how active community participation is an essential part of curating this unique event. We further show examples of crossdiciplinary digital projects – focussing on political art and net activism in line with next year’s conference motto “ASAP – As Soon As Possible”. Besides that, artists Nadja Buttendorf, Aram Bartholl and Sebastian Schmieg share how digitalisation has influenced their work across interdisciplinary borders, for example by using Open Source and Open Access strategies as key values.
The Glass Room
16. October – 13. November 2019
Group Show, Tacitical Tec, San FranciscoTo passers-by, The Glass Room looks like another slick, clean-lined store offering the latest shiny consumer products. Step inside, and you’ll discover something more unusual but nothing for sale. What goes on behind the screens and inside the black boxes of the devices we interact with everyday? If we knew, would we still sign-in or click ‘I agree’? How much trust do users invest in big tech companies, and what can be done if that trust is broken?
Blog
Der große Bruder des “Cybertrucks”
Picture of the day at Monopol Magazin: Der große Bruder des “Cybertrucks”
“Die Zukunft ist eckig: Der “Cybertruck” von Tesla (oben) und Aram Bartholls Installation/Performance “WannaCry (Weeping Angels)” 2017 im Hyperpavilion in den Arsenale der Venedig-Biennale.” 24.11.2019
More info at the project page: “WannaCry (Weeping Angels)” 2017
“Open” solo at Roehrs & Boetsch
Last spring when I was visiting San Francisco I was wondering how to work with the Facebook sign at Menlo Park. This sculptural transformation came out …. and more new works for my upcoming solo at Roehrs & Boetsch, opening on Sept. 25th!
ARAM BARTHOLL – OPEN
Roehrs & Boetsch, Zurich
26.9.–3.11.2019, preview 25.9.
For his first solo exhibition in Switzerland, Aram Bartholl chooses to address origins, effects and legacies of our daily usage of social media through portable devices. Built on the ashes of a scaled, thin-paper model of the thumbs up sign of Facebook in Menlo Park, which burned down in a fire before the opening, the exhibition brings together in a cohesive installation a new set of printed, sculptural and video works.
Näh mir ein Funkloch
Näh mir ein Funkloch
Aram Bartholl zeigt mit „Strike Now!!“, wie unser Leben stetig, aber unaufhaltsam mit dem Internet verschmilzt
Anika Meier | Ausgabe 36/2019 | der Freitag
(read)
Strike Now!!
Strike Now is a platform for discussion and exhibition about today’s working conditions in the so called ‘gig economy’. The rise of service oriented Internet companies like Uber, Amazon and Deliveroo etc created massive amounts app based self employment under often harsh conditions. Is this the new slavery of the post digital Internet commercial revolution? In which ways can workers counteract the algorithmic chains of start-up venture capital? With lectures, a panel and an exhibition Strike Now at panke.gallery will examine these and further questions.
A project by Aram Bartholl, funded by Stiftung Kunstfonds.
11. – 15. September 2019
panke.gallery, Berlin
Opening Sept. 12. 7 pm
14 SEP, 4:00 – 7:00 pm, Panel discussion
This panel brings togther three different perspectives on how the so called gig economy impacts working conditions around the globe. The participants focus ranges from artistic analysis and applied political research in the field to active union related work on the ground.
Participants: Joanna Bronowicka, Sebastian Schmieg, Akseli Aittomäki moderated by Aram Bartholl
Sebastian Schmieg is an artist who’s work engages with the algorithmic circulation of images, texts and bodies within contexts that blur the boundaries between human and software, individual and crowd, or labor and leisure. At the centre of his practice are playful interventions into found systems that explore hidden – and often absurd – aspects behind the glossy interfaces of our networked society. Schmieg works in a wide range of media such as video, website, installation, artist book, custom software and lecture performance.
Joanna Bronowicka is a sociologist and community organiser living in Berlin. She is researching the impact of technology on society at the European University Viadrina in Frankfurt (Oder). Until recently, she was the director of the Centre for Internet and Human Rights. Joanna has been fighting for rights of women, workers and migrants for over a decade. She is a member of Polish left-wing party Razem which has an active branch in Berlin.
Akseli Aittomäki is a dance artist and experimental theater-maker. His works involve different productions, research and activism. His art practice ranges from experimental theater to contemporary dance and philosophically motivated performance works. Critics characterize his choreography productions as ‘essayistic’. Economic questions and political protest play an important role in his research. Aittomäki was a rider for Deliveroo for over two years. He was engaged in campaigns to improve the working conditions of the riders, such as protests, strikes, collaboration with media or providing help for workers after work accidents. Deliveroo pulling out of Germany is the moment for him to share his perspective.
Speed Show: FACE THE FACE
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.
Modell und Ruine
‘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).
0,16 – Resolution
0,16 – Resolution
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’ at SMFMOMA
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
.