Current Events

Seasons of Media Arts

9. September 2020 – 31. March 2021
Group Show, ZKM - Zentrum für Kunst und Medien, Karlsruhe

Seasons of Media Arts. Stadt der partizipativen Visionen
ZKM | Zentrum für Kunst und Medien

Light installations, media projections on building facades and streets, artistic interventions, and experimental events will transform Karlsruhe during the »Seasons of Media Arts« into a stage for innovative, cooperative, and networked media art. Since September 11, 2020, a variety of media-based artistic projects has been on show in the urban space of Karlsruhe. These projects, accompanied by special programs designed by various institutions and initiatives in Karlsruhe, invite the public to interact and explore our information- and media technology-based reality.  Here, »media« are understood literally as expressive tools that open up artistic access to current issues such as the climate crisis or democracy in the age of social media.

with:
Aram Bartholl, Michael Bielicky, Jonas Denzel, Holger Förterer, Walter Giers, Mira Hirtz, Eva Judkins, Ulf Langheinrich, Alexander Liebrich, Christian Lölkes, Betty Rieckmann, Sabine Schäfer, Marie Sester, Ulrich Singer, Pong.Li Studios, Xenorama, Marco Zampella,

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Upcoming Events

Mind Over Matter

11. December 2020 – 15. March 2021
Group Show, Technische Sammlungen Dresden, Dresden

MIND OVER MATTER, eine englische Redewendung, die mit der deutschen Volksweisheit DER WILLE VERSETZT BERGE verglichen werden kann.

Die Redewendung wird ebenso in der Parapsychologie für die Beschreibung von paranormalen Phänomenen, wie z.B. der Psychokinese verwendet. Es sollen im Rahmen der Ausstellung und des Vortragsprogramms vor allem Fragen der Bewusstseinsforschung, des Machine Learning und der Struktur des Selbst und Selbsterlebens nachgegangen werden. Seit jeher werden diese Fragen im Rahmen von Science-Fiction Literatur, aktuellen Filmreihen wie Matrix oder Westworld in Zukunftssettings projiziert, die mittels fortschrittlicher Technologie die Frage zu lösen versuchen, wie sich Geist und Bewusstseinsphänomene innerhalb von komplexen Materieansammlungen, die aus kleinsten, atomaren Bestandteilen zusammengefügt sind, entwickeln und manifestieren
kann. Diese aktuellen philosophischen Fragen, die sich anhand unserer technischen Errungenschaften in Hinblick auf elektronische Datenverarbeitung und umfassende Massenkommunikation mit neuer Vehemenz stellen, sind aber bereits seit Jahrhunderten auch in unseren Breiten im Zentrum der philosophischen Spekulationen, angefangen beim Bewusstseins- und Gottesbegriff von Rene Descartes und Gottfried Wilhelm Leibnitz im 17. Jahrhundert. Es werden unterschiedliche philosophische Grundfragen nach der Struktur des Seins, der Materie und der Zeit aufgeworfen, die mittels technologischer und künstlerischer Versuchsanordnungen erforscht werden.

Die Frage nach der Natur unseres Bewusstseins, und wie es möglich ist, dass es in unserem Universum existiert und es erlebt, ist wohl das faszinierendste Rätsel, mit dem wir konfrontiert sind. Das Forschungsgebiet der Künstlichen Intelligenz (KI) wurde nicht zuletzt ins Leben gerufen, um darauf eine Antwort zu finden. Die Medienkunst bezieht sich seit ihren Anfängen auf die Erforschungen dieses Verhältnisses von Mensch, Technologie und Bewusstsein, unter Zuhilfenahme technologischer und künstlerischer Modelle und technischer Hilfsmittel. In dem Versuch, auf Computern die kognitiven Prozesse des Menschen zu realisieren, entwickeln wir ein testbares Verständnis und Begriffe davon, wie elementare Informationsverarbeitungsprozesse zu komplexem Erleben führen, es handelt sich um nicht weniger als dem Versuch einer Theory of Everything , mittels der Spiegelung und Überführung in ein maschinell-abstraktes Informationsverarbeitungssystem, welches aber nach dem Vorbild der menschlichen Informationsverarbeitung modelliert wurde.

Was unterscheidet heutige KI-Systeme vom menschlichen Geist? Die heutigen Anwendungen der KI konzentrieren sich vor allem auf die Klassifikation von Daten und die Steuerung technischer Systeme. Unser Geist ist jedoch mehr als ein Klassifikator: er erschafft aktiv ein dynamisches Modell der Umwelt, einen Traum, der in den sensorischen Daten verankert ist, und den er erlebt und reflektiert. Künstlerische Arbeiten, die diese Modellierung in technischer wie humanistischer Hinsicht exerzieren und reflektieren sollen vorgestellt und diskutiert werden, dabei sind lokale, nationale und internationale Beiträge eingeladen.

Recent Events

Zeitmaschine

12. November 2020
Talk, FH Potsdam, Potsdam

Zeitmaschine: A mini conference at FH- Potsdam

with:
Kim Albrecht
Aram Bartholl
Dorit Mielke

Imagine you Wake Up and There is no Internet

22. October – 16. November 2020
Group Show, Romantso, Athens

What will happen if one day you wake up and there is no Internet?

The exhibition Imagine you wake up and there is no Internet explores the effects of ubiquitous connectivity and technology in everyday life. Starting from our obsession with digital technologies, the exhibition seeks to enhance the debate about the coexistence of human and machine in the 21st century.

13 artists and 5 art collectives showcase scenarios from the present time and the near future, strategies of disconnection and disorientation, evacuation and escape plans from the city, studies on the information society, snapshots from digital life and the infrastructures that allows us to be connected to the network, and new readings for the political period we are going through. Any sense of certainty for the present and the future seems to have been destabilised.

31 years after the creation of the world wide web, concepts such as space, time, value and labor have acquired new meaning. And these concepts will continue to take on new meaning as the technology that we use the most, changes at great speed leaving us -often- in the position of the observer with little space for manoeuvring. The levels of control and surveillance in the networks we navigate, whether resulting from political decisions or market trends, are often obscure. At the same time, everyday life and personal data have acquired a particular economic value within networks and our obsession with constant connectivity, can only accelerate a technological future where human behaviour becomes predictable or can be predicted to meet political or/and economic trends.

The works in the exhibition highlight moments and fragments of our digital life surfacing issues related to the human-machine relationship and its impact on the public sphere. The exhibition aims at contributing to the discussion on the constantly accelerating dynamics of the Network, our position within it, and finally, the boundaries between a human-driven versus a machine-driven technological world.

The exhibition presents new commissions and works from: Marina Gioti, Vaggelis Deligiorgis, Antonis Kalagkatsis, George Moraitis, Manos Saklas, Alexandros Tzannis, Jono Boyle and the new version of the work “Tracing Information Society – A Timeline” by Technopolitics group.

Participating Artists:
!Mediengruppe Bitnik & Low Jack (DE/FR), Aram Bartholl (DE), Jono Boyle (UK), Heath Bunting & Kayle Brandon (UK), Vaggelis Deligiorgis (GR), Exonemo (JP), Marina Gioti (GR), Antonis Kalagkatsis (GR), George Moraitis (GR), No Más / No More (GR), Manos Saklas (GR), Molly Soda (U.S.), Superflux (UK), Technopolitics (AT), Alexandros Tzannis (GR), Filipe Vilas-Boas (PT)

Curated by Katerina Gkoutziouli & Voltnoi Brege

 

Opencoil

16. October – 1. November 2020
Group Show, Berlin, Berlin

you are hereby invited to the opening of OPENCOIL.show

with most cities pavements flooded by ‘dockless sharing vehicles’, OPENCOIL presents works by 10 artists specially selected to fill the vacuum between private and public space. this show is an experimental attempt to physically engage with the rise of ‘landfill capitalism’ by reclaiming ‘micro-mobility’ infrastructure. decentralised and climate neutral. helmets not included.

concept & curated by Dennis de Bel & Anton Jehle

participating artists: Aram Bartholl, Constant Dullart, Dennis de Bel & Anton Jehle, JODI, Jonas Lund, Martin Howse, Mediengruppe Bitnik!, Rosa Menkman, Sarah Grant, Sofya Aleynikova

opening:
oct 16th, 7pm / zentrum f netzkunst, haus der statistik

showcase:
oct 17th / ko-markt, haus d statistik

roaming speedshow:
oct 26th – nov 1st / berlin

 

german:

OPENCOIL – The roaming Speedshow

Die Ausstellung OPENCOIL setzt sich mit den Auswirkungen von Mikro-Mobilitätsdiensten auf den Stadtraum auseinander, indem sie ihre dezentrale Infrastruktur als Ausstellungsraum nutzt und gleichzeitig die Bedingungen und Auswirkungen dieser Infrastrukturen auch zum Thema macht.

10 Künstler*innen wurden eingeladen, ihre Arbeiten auf einem kleinen Wifi Controller mit ~2MB Offline-Speicher zu präsentieren.

Diese „digitalen Galerieräume“ werden an 10 zufällig ausgewählten E-Scootern angebracht.
So fährt die Ausstellung, von den Nutzer*Innen der Roller unbemerkt, als „roaming Speedshow“ durch die Stadt.

Der aktuelle Standort der Kunstwerke kann ab dem 26 Oktober über diese Website verfolgt werden. Damit die Werke betrachtet werden können, muss die „Roller-Galerie“ im Stadtraum gefunden werden.

Sobald der Roller angemietet ist, erhalten die Besucher*innen über ihr persönliches Smartphone, Zugang zu dem 2MB großen Galerieraum und den ausgestellten Werken.

Während Kapazitätsbeschränkungen und die bevorzugte Vermeidung von Zusammenkünften in geschlossenen Räumen, traditionelle Galerien und Museen vor Herausforderungen stellen, zielt OPENCOIL darauf ab, die Ortsunabhängigkeit des Online mit der Materialität des Offline (und umgekehrt) zu verbinden. Die Infrastruktur der „Mikro-Mobiltitätsdienste“ wird übernommen – klimaneutral und dezentral.

Die Gehwege vieler Städte auf der ganzen Welt wurden in den letzten Jahren von sogenannten ‘dockless sharing vehicles’ regelrecht überflutet. Mit Versprechungen von Umweltfreundlichkeit und Elektromobilität, besetzten diese Risikokapitalismus Aktivisten die Grauzone zwischen privatem und öffentlichem Raum auf den Straßen unserer Städte. Diese gewissenlose Gewissenhaftigkeit der “Mikro-Mobilitätsdienste” wirft jedoch wichtige Fragen zu städtischem Raum, Eigentum, Agentur, Produktion, Ökologie und sehr spätem Kapitalismus auf.

Wie umgehen mit der Inbesitznahme öffentlichen Raums?
Welche Werkzeuge und Wege gibt es sich diesen zurückzuerobern?

OPENCOIL soll nicht nur ein Pandemie-tauglicher Weg sein, um Kunst im öffentlichen Offline-Raum zu zeigen. OPENCOIL ist auch eine kreative (Um-)Nutzung von E-Scootern, ein Versuch, sich ihnen mit künstlerischen Mitteln zu nähern.
Gezeigt werden Arbeiten, die sich mit Fragen der Überschneidung von öffentlichem und privatem Raum, dem Umgang mit Ressourcen sowie mit Greenwashing, Risikokapitalismus und Vandalismus befassen.

 

Blog Archive for Month: September 2008

Chat at Researchers' Night Zurich

September 30, 2008


Zurich was great fun. The first time that I had so many kids using Chat. All pics on flickr.

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Egg Egg Egg

September 30, 2008


A beautiful DIY paper craft egg model called “ei ei ei” I saw during the Researchers’ Night Zurich last week. From a perforated sheet of paper you could easily ‘click’ a perfect egg. Nice! More info (german) and a PDF download here.

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Blinkenlights alive again!

September 30, 2008


A new version of the famous Blinkenlights called Stereoscope is about to get launched on city hall Toronto the next days. New technology for the ‘screen’ has been developed and an application for the iPhone is already available.
I am very curious for the interaction factor. 🙂
Good luck to Tim and the team!

All news on blinkenlights.net/blog

Pic of the first test run yesterday. Looks great!

Michel de Broin

September 30, 2008


I love the works of Michel de Broin! Very good stuff!
http://www.micheldebroin.org
thx for the link Jerry!
Great Encounter
Two refrigerators, Plexiglas shape
By definition a refrigerator stands alone in its corner and, withdrawn from the world, it controls its atmosphere and protects its contents. Its door must be kept closed, otherwise it looses its cool. This withdrawal explains the isolation of refrigerators.
Is it possible to envision the encounter between two refrigerators? In this installation, two solitudes unite through a canal connecting their inside worlds. This unusual encounter produces a mist on the surface that binds them together.

Urban Screens Melbourne

September 30, 2008


My good friend Mirjam is about to open the Urban Screens Melbourne festival/conference on the upcoming weekend. Looks like a promising program (Saskia Sassen etc…). If you are Downunder go there and take a look.
www.urbanscreens08.net
**********************************************************************
Urban Sreens Melbourne 2008
Public Multimedia Program: 3.-8. October 2008
Conference “Mobile Publics”: 3.-5. October 2008
http://www.urbanscreens08.net
**********************************************************************
As part of USM08, Melbourne’s central city square comes alive with an
Extensive outdoor exhibition that explores the diverse local infrastructure
of urban screens, utilized to create the atmosphere of a lively modern
public space.
USM08: Connected Communities is a free public multimedia exhibition
exploring the influence of digital moving images in public spaces utilizing
the infrastructure of Federation Square and temporary LED screens, in
selected regional Australian cities.
The exhibition is a six-day program that experiments with the programming
of a wide range of cultural content, suitable for urban screens. USM08
presents film screenings, an artistic short film program, interactive art,
audiovisual performances, projections, VJ sets, live streamings and public
remote talks.
The international program includes e.g. specific artistic night an morning
screenings, considering the issue of light and sound pollution, a special
local indigenous program, futuristic films such as Spielberg’s Minority
Report or visual thought provoking films such as Koyaanisqatsi as well as
interactive screen-based projects including Falling Times – a participatory,
news translation machine based on the universal language of signs; Seed –
whereby people receive a ‘seed’ via their mobile phone that they can grow
into a tree on the big screen; and MobiSpray – an application that allow
visitors to digitally spray paint the architectural façade, StalkShow – a
screen backback performance, dealing with the threat of insecurity and
isolation in public space or Reflections, a real-time documentary about our
emotional connection to water and urban screens experience.
USM08 has invited Melbourne-based festivals and their creative communities
to share the platform of USM08 to explore ways of inspiring the city to
modernise the use of urban screens. Selected highlights from partner events
such as the New York based Streaming Museum, Art at the Heart from Alice
Springs and Blinkenlights Stereoscope from Toronto will be broadcast live as
part of the Joint Broadcasting program.
All the info you need is on: http://www.urbanscreens08.net
contact: info@urbanscreens.net
USM08 is initiated by the International Urban Screen Association and hosted
by Fed Square Pty Ltd. The multimedia program is produced with the
assistance of the Australian Government through the Australia Council for
the Arts, its arts funding and advisory body, the conference developed in
cooperation with Melbourne University.
_______________________________________
URBAN SCREENS MELBOURNE 08
www.urbanscreens08.net
Mirjam Struppek
Artistic Director

STREET art?

September 25, 2008


(Hmm… is this an adidas street art viral?
No, fortunately not. The three stripes which behave against all traffic street signage mark out the track for the Berlin Marathon on the upcoming weekend? How about teaming up for an early little marathon during Friday afternoon traffic rush hour? 😉 Found on Torstr/Rosenthaler Platz, Berlin)

Construction Site Mark Up Language II

September 25, 2008


(“Don’t move!” another beautiful unintentional piece found on Borsigstr. Berlin)

Public Interface Studies II

September 25, 2008


( Pin code input pad on a Deutsche Bank ATM in Berlin Prenzlauerberg.)

Hmm … isn’t that strange? It seams like everybody has a one, nine or zero in his/her four digit pin code and very few people a six or a two. Do banks have any special algorithms on generating pin codes which are simple to learn by heart? Or do we have a security issue here? Yes, true my code does not contain two, four or six. Am I in trouble now … 😉

Essay on “Friends”

September 24, 2008


Thanks to Theo Honohan who did write an interesting essay on my latest project “Friends“.

Friends

Aram Bartholl’s workshop Friends actualizes the processes of abstraction and distancing which are involved in the construction of contemporary social networking websites. By turning these immaterial processes into physical action and representations, the work offers a critical model of current software practice on the web.
Under the general name of Web 2.0, social networking sites provide various facilities for publishing content on the web. In the case of Flickr, the content is images; in the case of Delicious, bookmarks; Last.fm, music playlists; Facebook and myspace, general personal information. The material published on these sites is often not particularly interesting to a general viewer. Its value consists primarily in the availability of information to friends. The ability to explicitly create links of friendship between users is therefore the central feature of these sites, and the feature from which the name “Social Networking” is derived.
Bartholl’s work, which could have been titled Friends?, calls into question the value and meaning of these explicit declarations of friendship. For one thing, the mechanical nature of the process gives it a simplistic quality. Two people are either friends or they are not, according to the system. This binary coding of relationships leaves no room for gradations of familiarity from intimacy to acquaintance. This initial observation is enriched by the level of detail into which the piece goes in representing the internal abstractions of a site such as Facebook. Each level of abstraction can be seen as a distancing from reality and the site of a possible slippage between image and actuality.
The process of creating a personal profile in the system begins with a digital photograph. This image of the user is transformed digitally into a black and white stencil. Affixing a printout of the stencil to a rubber stamp, the user cuts out the white areas to create a reusable stamp of their own image. In creating a reusable stamp, the work captures the infinitely reproduceable nature of a digital image. The image can appear over and over within the “site”, rather than existing just as a single original.
The creation of a profile continues with the preparation of a blank booklet for use as a register of friends. The booklet gains structure entirely through a series of rubber stamps which mimic the process of formatting a blank computer database. Data slots are created for name, email address and website, and a further grid of spaces is prepared to hold references to the user’s details on other social networking sites. The process of registering friends involves stamping, carbon-paper transfers, and the gluing of pre-prepared adhesive stamps into the “data slots”. The complexity of this process parallels the degree of indirection and formality involved in the software behind a social networking site, if not the experience of creating friends on Facebook. Bartholl, by calling attention to this complexity, illustrates the degree to which the information we share fits into an elaborate structure.
The process of adding friends to one’s personal profile is a reciprocal one; each of you ends up with a new page in the booklet showing the details of your new friend. The piece has another component, however, a central volume which includes a page for each user which records their friends (affixed as stamps) and pending friend requests (unglued stamps are held in a plastic pouch.) The analogy here is with a central database on a system such as Facebook. The whole graph of relationships is held in one place, rather than being stored in private, personall relations between profiles/booklets. This central volume is of course the way social networking systems are actually implemented, while the “peer-to-peer” architecture of the booklets, while offering potential advantages in security and privacy, has not been pursued (except, to a degree, in the case of Skype.)
The presence of a central database is a reminder of the industrial scale and automation of the process. Bartholls’ work problematizes the mass production of social contacts. While the concrete formal techniques of the workshop (sheets of repeated portraits) evoke images of an artistic practice such as that of Andy Warhol’s “Factory”, the abstract structure revealed by the development of a profile and network of friends shows the potentially dehumanizing nature of social networks. The choice of black and white for all representations produces an impression of direct simplicity but also unyielding control. The idea of a computerized social network, in the end, is a formalism, while social relationships are blurry, vital and inevitably exceed the terms of any fixed representation.
23 September 2008

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Game Over – Video

September 23, 2008

I was not allowed to embed this nice video but fortunately I know how to write in hyper text markup language. When you click with your mouse pointer at the following uniform resource locator adress starting with hypertext transfer protocol your web browser (A web browser is a software application which enables a user to display and interact with text, images, videos, music and other information typically located on a Web page at a website on the World Wide Web or a local area network.) will hyperlink you automatically to the movie. Isn’t that great? (Next time I ll explain what YouTube is.)

http://de.youtube.com/watch?v=Ovvk7T8QUIU

Sorry for waisting your time. 😉

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