Current Events

The Glass Room

18. January – 26. November 2022
Group Show, MOD, Adelaide

The Glass Room MOD
The Glass Room is a public intervention that aims to educate about technology. With a sleek tech shop vibe, visitors can freely and critically discuss their relationships with data privacy.

Having toured Europe and the US, it will be visiting Australia for the first time in 2022.

From the tech boom to tech backlash, our understanding of the digital has become both deeply personal and deeply political. Our desire for convenience has given way to questions about the trade-offs for how much we can control our data and our understanding about how it is used.

The Glass Room is a place to explore these ideas. The objects here bring to life the hidden aspects of everyday technologies and examine how they are changing the way we live. The objects in The Glass Room provide unconventional and unexpected ways of seeing your relationship with your data.

As technology becomes embedded in every part of our lives, The Glass Room helps you look deeper into the digital: Does your personal data say everything about you, or is it an imperfect portrait? Do more tools, apps, and information make us better and more efficient, or are we giving away more than we want in return? 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? If you want to learn more, you can visit our Data Detox Bar to pick up our Data Detox Kit, which offers you simple tips to enhance your digital privacy, security, and wellbeing.

Featured Artists:

Dries Depoorter, Aram Bartholl, Kiki Mager, Bengt Sjölén, Danja Vasiliev, Sebastian Schmieg, !Mediengruppe Bitnik, Tega Brain / Sam Lavigne, Kyriaki Goni, La Loma, and Tactical Tech

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Upcoming Events

On Equal Terms

15. – 25. September 2022
Group Show, Uferhallen, Berlin

From September 15 to 25, the Uferhallen will present the group exhibition On Equal Terms.

A large majority of Berlin-based artists are trying to resist the eco‐ nomic displacement of spaces for artistic experimentation. However, their language is sometimes forced to conform to a similar logic, as workplaces and artistic networks are labelled as “creative hubs” and “cultural capital.” In the struggle against the gentrification of spaces for living and working, these same spaces necessarily become subject to the cultural economy’s valorization process. What is the price to pay for entering the political bidding war for space? What is the relationship between cultural and monetary capital? Are both sides of the conversation on equal terms?

The group show examines, among other things, how art deals with mechanisms of the partly voluntary, partly forced commodification of cultural and artistic values. The exhibition will showcase works by approximately 25 artists from Uferhallen

Recent Events

DFG-Schwerpunktprogramms „Das digitale Bild”

7. – 9. July 2022
Talk, Online, Munich, Marburg

Metapolitisches Hüpfen

10. June 2022
Performance, Grosse Bergstrasse / Goetheplatz, Hamburg

Symposium und antifaschistische Hüpfburg
Große Bergstraße/ Goetheplatz, Hamburg
13:00-19:00 Uhr

Mohamed Amjahid (Vortrag & Diskussion)
Wie aus der Parallelgesellschaft herausspringen?
Über homogen weisse Räume in der Stadt

Aram Bartholl (Performance & Gespräch)
Greetings from Hamburg!
Wie umgehen mit geschichtsrevisionistischer Architektur?

Eduard Freudmann (Vortrag)
Kontextualisierung, Umgestaltung, Weggestaltung
Künstlerische und aktivistische Auseinandersetzungen mit geschichtspolitischen Manifestationen im öffentlichen Raum

Cornelia Siebeck (Thesen & gemeinsames Nachdenken)
Was wir „vergessen“ haben, oder:
Für eine Erinnerungsarbeit ohne Selbstvergewisserung

Nora Sternfeld (Vortrag)
Errungene Erinnerungen
Kontaktzonen umkämpfter und geteilter Geschichte

Gegenwärtig sind wir mit einer rechten Metapolitik konfrontiert, die mit kulturellen Setzungen versucht zivilgesellschaftliche Überzeugungen und kulturelle Diskurse jenseits von Parlamenten nach eigenen Vorstellungen zu verändern. Während das Konzept der Metapolitik eigentlich für den Aufbau einer demokratischen Zivilgesellschaft gedacht war, zielt die Neue Rechte darauf ab, gesellschaftliche Komplexität auf essentialistische Vorstellungen von Kultur, Nation und Volk zu reduzieren. Mit Rekonstruktionen historischer Architektur, ideologischer Inanspruchnahme von Orten, aber auch Angriffen auf Parlamente versucht sie abgeschlossene Identitäten zu konstruieren. Im Ringen um die kulturelle Hegemonie entwendet die Neue Rechte auch den Künsten ihre Strategien, mit denen zuvor noch für eine offene und vielfältige Gesellschaft eingetreten wurde. Sie richtet die performativen Methoden nun gegen die vielfältige Kultur selbst. Dafür dreht sie das kritische Potential der Künste in eine affirmative Symbolhaftigkeit um und verwendet das progressive Moment der Künste für ihre regressiven Ideen.

Obwohl die permanente Gefahr besteht, die entwickelten künstlerischen Praxen in den Händen von Personen mit autoritären und völkischen Vorstellungen wiederzufinden, besteht nach wie vor die Notwendigkeit mit Kunst Ideen davon zu entwickeln, wie wir als Gesellschaft gerne zusammenleben wollen. Metapolitisches Hüpfen bietet den Anlass, rechte Metapolitik zu diskutieren und schafft zugleich den Raum, um Gegenstrategien zu entwickeln. Um die Frage nach dem Umgang mit symbolischen Räumen so zuzuspitzen, dass sie sichtbar und diskutierbar wird, wird das Hambacher Schloss als Symbol für Demokratie aber auch nationalistische Vereinnahmung in eine antifaschistische Hüpfburg transformiert. Die Architektur wird zur Infrastruktur für ein eintägiges Symposium im öffentlichen Raum, das Widersprüchlichkeit zulässt und auf dem nicht nur theoretisch, sondern auch praktisch und performativ Strategien gegen rechte Metapolitik entwickelt, erprobt und debattiert werden.

Mit: Mohamed Amjahid, Aram Bartholl, Eduard Freudmann, Cornelia Siebeck und Nora Sternfeld
Konzeption: Frieder Bohaumilitzky
Grafikdesign Flyer & Plakat: Torben Körschkes

www.metapolitisches-huepfen.de

DeadDrops in H4v4n4

23. – 31. May 2022
Group Show, El Paquete Semanal, Havana

DeadDrops in H4v4n4 and !!!Sección ARTE [No. 37], Paquete Semanal, collaboration with Nestor Siré [May, 2022] Cuba.

Video des Monats

1. – 31. May 2022
Solo Show, HMKV, Dortmund

In the series HMKV Video of the Month, HMKV presents in monthly rotation current video works by international artists – selected by Inke Arns”

“TOP25”, 2018, video, 5:44 min

TOP25 is a series of short 3D animation sequences featuring the 25 most used passwords in the world. Standard, easy-to-guess passwords like ‘123456’ or ‘admin’—frequently the default preset passwords for routers and other devices in the past—still pose a significant security threat to computer systems in general. This collection of well-known passwords is presented in a style of 3D animation often used for YouTube intros. It is very common practice among YouTubers to use short and very to-the-point 3D animations of their logo and name to introduce their channels, and a whole scene of young YouTubers exchange and share the 3D source files (Blender 3D) online to help new channel producers generate their own intros. Though the animations are remixed and altered, the general aesthetics follow a very clear visual concept. All sequences in this video are original designs and arrangements by different creators; the text has been altered to match the top 25 passwords.

 

Blog Archive for Month: November 2008

Photo Sculptures

November 25, 2008


Time is Never Wasted” by Susi Oliveira

via PeterGlaser thx!

Stamps

November 24, 2008


(For half a second I though de:bug was featuring the friends workshop … 😉

Calendar Update

November 24, 2008

Upcoming Events
_________________________________________________________________

7.5.-17.5.09
“Random Screen” at Kunstfrühling/Art Spring exhibition, Bremen, DE

3.-4.4.09
“Chat” at STRP festival, Eindhoven, NL

19.3.-22.3.09
“Map” installation at Inspiracje art festival, Szczecin, PL

22.-25.1.09
ChinaChannel” at Mediaspace Filmwinter festival, Stuttgart, DE

18.12.08 – 17.1.09
First Person Shooter” at ‘DADAMACHINIMA’ exhibition at Planetart, Amsterdam, NL

13.12.08
ChinaChannel” at Artzilla Browser addon show at WORM, Rotterdam , NL

5.12.08 – 4.1.09
Sociial” performance at Video Award Bremen exhibtion, NMBW, Bremen, DE

Tagged with:

Urban Jealousy

November 21, 2008


I did like this one, found during the opening at Westgermany of

Urban JealousyThe 1st International Roaming Biennial of Tehran. Berlin
20 Nov.2008 – 7 Dec. 2008

(Artist?)

MAPPINGS

November 20, 2008


See you tomorrow at Marius’ opening!

MAPPINGS
Marius Watz at [DAM]Berlin, Tucholskystr. 37

Exhibition: 22 Nov 2008 – 17 Jan 2009
Opening: 21 Nov, 19:00 – 21:00

Marius Watz uses simple geometric forms and rule-based compositions to visualize the evolution of complex ideas. For his first solo exhibition at [DAM]Berlin, Watz has created software that interprets data sources, manipulating stock market data and patterns from electronic music to evoke narratives of abstract form.

The “Stockspace” series are derived from a computer program Watz wrote to represent stock market data as virtual landscapes. The software combines the elements of price and time to yield digital vistas that are no more tangible than a share of stock itself. These datascapes are joined by a series of “sound mappings” based on an ongoing collaboration with musician Alexander Rishaug. Here sound is transformed into visual structure, a representation of the time domain as well as the organic qualities of the music.

“Grid Distortion” shows the effects of a simulated magnetic field on a malleable grid pattern. Here Watz used a laser cutter to delineate the dynamic quality of lines responding to the forces of attraction. This strategy of transformation is mirrored in the generative animation “Electroplastique #1”, an explosive hommage to Op Artist Victor Vasarely. Displayed as a wall projection, the shapes slowly mutate from a rigid framework into organic structures.

A veteran of media art, Watz has been exploring the use of software as an aesthetic medium since the early 1990s, and is renowned for his vivid colors and hard-edged abstractions. He has exhibited extensively and is the founder of Generator.x, an important platform for generative art and computational design. Watz is a lecturer at the Oslo School of Architecture and the Oslo National Academy of the Arts. He is currently based in Oslo and New York City.

http://dam-berlin.de/
http://unlekker.net/
http://generatorx.no/

Art on the Street

November 19, 2008


(found on Zionskirchstr, Berlin)

VKP 2008

November 19, 2008


Invitation to my upcoming project. More details coming soon.
[wow, the jpg algorithm has quite some problems with that color]
Wir laden Sie herzlich ein zur Eröffnung der Ausstellung am
Freitag, dem 05. Dezember 2008, um 19 Uhr.
Es sprechen
Ingo Clauß | Kurator der Weserburg
Klaus W. Becker | Geschäftsführer des Filmbüros
Dr. Wulf Herzogenrath | Direktor der Kunsthalle
Im Anschluss werden die neuen Preisträger des
Videokunst Förderpreis Bremen bekannt gegeben.
Die Kuratorin Marikke Heinz-Hoek führt am Sonntag,
dem 07. Dezember um 11:30 Uhr durch die Ausstellung.
Filmbüro Bremen e.V. | Die Kulturelle Filmförderung
Plantage 13, 28215 Bremen, Telefon (0421) 708 48 91
www.fi lmbuero-bremen.de, vkp@fi lmbuero-bremen.de
Videokunst Förderpreis | Kuratorin: Marikke Heinz-Hoek,
Organisation: Christian Meier-Kahrweg
Weserburg | Museum für moderne Kunst
Teerhof 20, 28199 Bremen, www.weserburg.de
Öffnungszeiten: Dienstag, Mittwoch und Freitag 10 – 18 Uhr,
Donnerstag 10 – 21 Uhr, Samstag und Sonntag 11 – 18 Uhr, Montag geschlossen

Tagged with:

Pfotenjob

November 19, 2008


nice one by wandaaaa.

On screen

November 17, 2008


(My son ‘posted’ a type writer message to my screen. 🙂

NYT, fake real, real fake.

November 13, 2008


I enjoyd very much this big scale art activist project yesterday. And it is interesting to see how big the impact of printed paper is. It would be much more easy to setup a fake website but the effort of a fake mass printed New York Times affect people more fundamental and is absolutely woth it. Congrats, to all who were involved. Great job!
“SPECIAL” NEW YORK TIMES BLANKETS CITIES WITH MESSAGE OF HOPE AND CHANGE
Thousands of volunteers behind elaborate operation
* PDF: http://www.nytimes-se.com/pdf
* The New York Times responds: http://cityroom.blogs.nytimes.com/2008/11/12/pranksters-spoof-the-times/
Hundreds of independent writers, artists, and activists are claiming
credit for an elaborate project, 6 months in the making, in which 1.2
million copies of a “special edition” of the New York Times were
distributed in cities across the U.S. by thousands of volunteers.
The papers, dated July 4th of next year, were headlined with
long-awaited news: “IRAQ WAR ENDS”. The edition, which bears the same
look and feel as the real deal, includes stories describing what the
future could hold: national health care, the abolition of corporate
lobbying, a maximum wage for CEOs, etc. There was also a spoof site, at
http://www.nytimes-se.com/.