On the occasion of its 30th anniversary, the Kunsthalle Osnabrück is showing Aram Bartholl’s most comprehensive solo exhibition to date. Aram Bartholl is one of the pioneers in Germany who deals with socially relevant conflicts of digitality and automation through art. Originally coming from the field of architecture, he uses his performative interventions, sculptures and workshops to question our current media behaviour as well as the public economies that are linked to social networks, online platforms or digital distribution strategies. He puts socially relevant topics such as surveillance, data security or dependency on technology up for discussion by transferring the gaps, contradictions or absurdities of our digital everyday life into spatial settings.
For the Kunsthalle Osnabrück, Aram Bartholl transformed the Kunsthalle´s church space into a walk-in recycling yard for electronic waste. The scenery is illuminated by three sculptures hanging from the ceiling, reminiscent of chandeliers that are made from recycled televisions. The result is a sensual as well as functional installation of complementary exhibition parts that invite us to reflect on the cycles, consequences and future perspectives of our daily consumption of media and goods. The walk-through parcours made of piled up electronic waste makes the amount of recycled material of our belongings visible and creates a unique environment for a diverse art mediation programme including workshops, plena by local climate activists, repair cafés, excursions, lectures and film screenings. Oversized QR codes on the church walls frame the setting and raise critical questions about our handling of energy resources, raw materials and labour rights in the digital society. Opposing the electronic waste, the exhibition contains a 30-metre-long DHL Packstation, which is put into operation during the exhibition period. Osnabrück citizens and visitors are able to pick up their parcels at the Kunsthalle Osnabrück and drop them off in the respective lockers.
Curators: Anna Jehle and Juliane Schickedanz
Curators public programme: Louisa Behr, Joscha Heinrichs, Anna Holms and Christel Schulte.
Funded by the Stiftung Niedersachsen (Foundation of Lower Saxony) and the Niedersächsische Ministerium für Wissenschaft und Kultur (Lower Saxony Ministry of Science and Culture). The VGH Stiftung (VGH Foundation) is funding the accompanying exhibition’s art mediation programme. With the kind support of Deutsche Post AG, Lerec Elektrorecycling GmbH and Osnabrücker ServiceBetrieb.
Credits:
Curated by: Anna Jehle, Juliane Schickedanz (duo team, directors of Kunsthalle)
Curatorial assistance: Anna Holms
Public Programming: Aram Bartholl, Louisa Behr, Joscha Heinrichs, Anna Holms, Christel Schulte
Installation team: Norbert Hillebrand, Timo Katz, Andreas Zelle
Exhibition office: Natali Märtin
Visitor service: Frank Berger, Ulla Brinkmann, Harcharan Gill, Sina Lichtenberg, Kaan Ege Önal, Josef Wegmann
Finances: Viktoria Puskar
Janitor: Wilfried Wienstroer
Janitorial assistance: Frank Berger
PR: Kristina Helena Pavićević
Art mediation and education: Christel Schulte
Communication pervades our lives more than ever before. With the digital channels, we are constantly accessible and can publish ourselves wherever and whenever we want. But despite the many great opportunities, the tide of information may often appear confusing, polarizing or hateful, and our public conversation is challenged.
On November 19, 2022, ENIGMA will open new exhibition areas and a large children’s area, in which we look forward to welcoming everyone.
Der Kunstturm
4 Etagen – 122 Stufen – 24 m
Eigentlich sollte der nicht mehr benötigte Schlauchturm der Feuerwehr Mitte der 90er Jahre abgerissen werden, um Parkraum für das Erlebnisbad “Ronolulu” zu schaffen. Aber Peter Möhl, damaliger Geschäftsführer der Stadtwerke und damit Eigentümer des Turms, schwebte eine sinnvolle Nachnutzung vor. Zusammen mit dem 2. Vorsitzenden des Kunstvereins, dem Architekten Jürgen Lohmann, wurde die Idee geboren, den Turm zu einer Galerie umzubauen.
Lohmann entwarf einen modernen Anbau als Entree, ließ vier Ebenen in den Turm einbauen und führte die erforderlichen Sanierungsmaßnahmen mit viel Rücksicht auf die vorhandene Bausubstanz durch. Seit 1996 ist der “Kunstturm” Domizil des Kunstvereins Rotenburg e.V. und, wie es der Kulturminister des Bundes (Beauftragter der Bundesregierung für Kultur und Medien), Bernd Neumann, anlässlich eines Besuchs seinerzeit formulierte, “ein Leuchtturm der Kunst in Niedersachsen”.
Exploring the horror of content, the 37th edition of transmediale you’re doing amazing sweetie questions how logics of content production determine and frustrate our relations to technology. The festival takes place from January 31 to February 4, 2024 at silent green Kulturquartier, Akademie der Künste, and Haus der Kulturen der Welt. The festival’s main exhibition will be on view at Kunstraum Kreuzberg/Bethanien.
Die Ausstellung Decoding the Black Box bringt Künstlerinnen und Künstler zusammen, die Licht in diesen dunklen Raum und die Prozesse werfen, die sich in ihm ereignen. Sie legen dabei nicht nur die Funktionsweisen digitaler Technologien wie beispielsweise von künstlicher Intelligenz offen, sondern visualisieren zugleich die Auswirkungen, die sie auf unsere Wahrnehmung von Realität und unser In-der-Welt-Sein haben. Während sie die ökonomischen und machtpolitischen Strukturen der digitalen Technologien und insbesondere des Internets transparent machen, zeigen sie Gegenentwürfe für eine dezentralisierte, humanere und demokratischere Nutzung ebendieser auf.
Osaka Kansai International Art Festival Vol.3
Ai Hasegawa / AQV-EIKKKMA / Algorythmic Perfumery / Aram Bartholl / BYNAM / ETAT LIBRE D’ORANGE /FISHKOM / Goo Nakayama / Hisashi Yamamoto / Kimihiko Hino /Makoto Aida / MOCAF / NEANDERTAL / II / Rintaro Hashiguchi / @shashinn / STORA SKUGGAN / Takehiro Ishitani + Chim Pom from Smappa!Group / Thomas Vautier / Tomotosi / VERYONE / Simon Weckert / Yuichi Inoue / YAP / ZOOLOGIST
Wenn Künstler*innen nach neuen Ideen suchen, erforschen sie Formen und Gestalten, um ihre Gedanken auszudrücken. Oft lassen sie sich von bestehenden Dingen inspirieren und bringen sie in unerwartete Konstellationen. Neue Bedeutungen und Verständnisse der Welt, in der wir leben, kommen so zum Ausdruck. Kunst entwickelt sich zur Formbehauptung. Das Erstellen eines künstlerischen Prototyps oder ein Prozess, den wir Materialisierung nennen, ist dafür ein Schritt zwischen der Formalisierung und der Bewertung einer Idee. Sie ermöglichen die Projektion und Imagination in etwas, das viel größer ist als die Dinge selbst. Für die diesjährigen Jahresgaben 2023/2024 hab en wir eine Auswahl von Arbeiten getroffen, die sich mit dieser Materialisierung künstlerischer Alternativideen befassen und sowohl nach innen als auch nach außen schauen. Sie sind Gedankenkörper und Schritte, um Ideen neue Formen zu geben, die wiederum neue Anfänge und Orientierung in einer Welt erm ö glichen, in der wir uns in zu vielen Bedeutungen verloren haben.
With: Aram Bartholl, Rana Hamadeh, Neda Saeedi, Marco Bruzzone, Aaajiao, Malte Bartsch, Thomas Kiesewetter, Jeewi Lee, Farkhondeh Shahroudi, Viron Erol Vert, Solweig de Barry, Sarah Kirsch
EDITION 12: LOADING…
REVEALING ART, AI AND TECH
Kunst im öffentlichen Raum – Wirken in der Stadtgesellschaft
5 Jahre Kunstkommission Düsseldorf
Fachtagung zu Perspektiven von Kunst im öffentlichen Raum der Stadt
Zur Sicherung künstlerischer Qualität und um eine neue Planungskultur sowie eine aktive Teilhabe an der Diskussion um die Kunst im öffentlichen Raum zu ermöglichen, hat der Rat der Stadt Düsseldorf die Kunstkommission Düsseldorf etabliert. Diese hat vor fünf Jahren ihre Arbeit aufgenommen und bereits diverse Projekte im öffentlichen Raum realisiert. Aus diesem Anlass lädt die Kommission am Samstag, 21. Oktober 2023, herzlich ein zur Fachtagung zum Thema
Perspektiven von Kunst im öffentlichen Raum.
In Podiumsgesprächen mit Impulsvorträgen sollen die verschiedenen Facetten von Kunst im öffentlichen Raum erörtert werden. Welche Bedeutung hat Kunst für die Stadtgesellschaft? Wie kommt Kunst in den öffentlichen Raum? Oder wie gehen wir mit Bestandskunst um? Das sind nur einige Fragen, die in diesem Zusammenhang diskutiert werden sollen.
Die Veranstaltung ist in zwei Blöcken gegliedert: vormittags werden Strukturen zur Organisation und Realisierung von Kunst für den öffentlichen Raum betrachtet werden, nachmittags liegt der Fokus auf “best practice” mit der Beleuchtung von Herausforderungen an beispielhaften Projekten.
Die Fachtagung findet statt von 10:00 – 18:00 Uhr im Palais Wittgenstein, Bilker Str. 7-9, 40213 Düsseldorf.
The term “cringe” has resurfaced on the internet in recent years. According to Google Trends statistics, there has been a significant increase in searches for this term, which has been steadily rising since 2016. “Cringe” refers to a reaction of embarrassment or social awkwardness. This feeling arises when we become aware of our own uncomfortable actions or when we empathize, or even mock, someone else’s behavior that causes us secondhand embarrassment.
The term “cringe” encompasses a wide range of emotions, making it a versatile word to describe various incidents. However, its usage and application have been shaped by internet communities. Not only is it widely known and used, but it has also managed to bridge divergent identities.
People of different ages, races, genders, political affiliations, and other backgrounds find a common language of communication through “cringe” online. Similar to the existence of metaphorical languages for artistic subjects, “cringe” has spawned a metaphorical language for artistic expression. This is evident in many contemporary works, both digital and non-digital, and has given rise to new artistic media such as memes. “Cringe” has become an overarching concept that encompasses a broader range of social embarrassments.
The universality of identifying with “cringe” when faced with discomfort or socially awkward situations could position it as a contemporary Sublime. Historically, the Sublime has been associated with aesthetic theories heavily influenced by the social dynamics of the time. However, does “cringe” represent a modern form of the Sublime? Has it emerged in response to a shift away from a prescribed aesthetic? We currently exist in a time where collective digital languages are being created to understand a wider range of identities and where a diversity of aesthetic influences is prevalent.
Considering that aesthetics today are multifaceted due to the World Wide Web and the widespread dissemination of information, this exhibition aims to explore these ideas. Through artworks that construct an intimate fusion of references to our digital identity, it presents a familiar chaos that challenges viewers to organize it, while deeply engaging with their present human identity.
*cringe* Curated by: Socrates Stamatatos, Dimi Kalabo 29 SEPTEMBER-08 OCTOBER 2023
Aram Bartholl stellt im Gespräch mit Kuratorin Susann Scholl seine aktuelle Installation auf dem Klarissenplatz vor. Anhand von weiteren Beispielen gibt er darüber hinaus einen vertiefenden Einblick in sein Werk, in dem Analoges und Digitales häufig auf feinsinnig-absurde Weise aufeinandertreffen.
Zwischen Unort und Denkmal – KUNST BASIS EBERTPLATZ
Un-möglich! Un-verschämt! Un-geheuerlich! So einfach und prägnant wie sich das ‚Un‘ den Worten voran- stellen lässt, voller Überzeugung und Empörung über einen Sachstand, so schnell ist es auch ausgespro- chen und damit in der Welt.
Im Hinblick auf den Eberplatz, den wir in den vergan- genen Jahrzehnten als einen mehr oder weniger un-gepflegten, un-instandgehaltenen und mit un-funk- tionierenden Rolltreppen und un-installierten Beleuch- tungssystemen kennenlernen durften, ist es ein Leichtes, das ‚Un‘ vor den Ort in der Kölner Neustadt
zu setzen. Der Un-Ort ist damit gemacht. Fertig. Und während seit Jahren auch die Empörung über das Un- Mögliche an der Präsenz des Ebertplatzes kultiviert wird – es braucht eben immer einen, der herhält und über den leicht zu schimpfen ist –, so stellt sich hier und da die Frage, wer denn nun genau gescholten wird.
Der Platz selbst kann nichts für sich, aber wer war es dann? Die un-mögliche Stadtverwaltung! Die Vernachlässigung des Platzes ist eine größere Sünde als die Architektur selbst!
Curated by Stefanie Klingemann
Peter Brötzmann Trio
Live at Museum Of Art, Norrköping, Sweden.
with:
Peter Brötzmann, cl;
Peter Friis Nielsen, g;
Peeter Uuskyla, dr.
The trio is recorded by Ayler Records
(… is getting really interesting in the mid of the clip. Love this! Thx to my mother taking me to all those concerts back in the days …)
Casey Reas, Signal to Noise, Software, 2012
Opening: 28. September, 7 – 9 pm
Exhibition: 29. September – 27. November 2012
http://dam-berlin.de/
Next week I’ll run SPEED SHOW: GML, a show about the aweseome Graffiti Markup Language originally created by Evan Roth, Chris Sugrue, Jamie Wilkinson and Theo Watson. The show will feature all the different projects and tools around this open protocol. SPEED SHOW:GML is part of promising backjumps – ‘Rock The Block’ two day street action in the heart of Berlin X-Berg!!! THX Adrian!!
Rock The Block – http://www.backjumps.info/ – facebook.com/event
On Tuesday the 2nd and Wednesday the 3rd of October 2012, the event ,“Rock The Block”, in the lively center of Kreuzberg, will change the colorful block of houses between Adalbertstr., Skaltizerstr., Mariannenstr., & Oranienstrasse into an impressive experience.
In cooperation with Kunstraum Kreuzberg/Bethanien, dozens of Berlin artists will provide art venues, performances, workshops and parties, in and outside. The block will be opened to the public in cooperation with the residents and will come alive as a creative organism. An entire cosmos between four streets can be open for strolling. The event will be directed towards a wide audience. Within the framework of different workshops, children and the youth together can redesign billboards on the block. Whoever left too quickly or missed something in the turmoil of the night has two days to play in the cards. Performances and workshops will also keep the block in movement on the 3rd of October. As early as 12 o’clock, there will be the possibility to look at the complete works of art on the block.
A project of Backjumps in cooperation with
Kunstraum Kreuzberg/Bethanien
curated by
Adrian Nabi
KünstlerInnen Artists:
1UP, AKV Berlin, Amigo, Amok, Anna Szaflarski, Arunski & Poet, Aram Bartholl, Beatbox Battle Allstars, Brad Downey, Bronco, Chess Boxing Club Berlin e.V., Chris Sugrue, Christian Marien, Constanze Haas, D TAGNO, Daniel Wang, Dave the Chimp, Dejoe, Deko, Der tote General, Egoshooter, Emess, Evan Roth, Flavie Guerrand, Florian Goldmann, Frieder Klaris, Giò Di Sera, Gogoplata, Golan Levin, Graffitimuseum Berlin, Graffiti Research Lab Berlin, Inka, Jamie Wilkinson, Jazoo Yang, Jérome Fino, Jim Dunloop, Kanta Kimura, DJ Kaos, KATSU, Marc Hype, Marius Schmidt, Markus Butkereit, Matthias Wermke & Mischa Leinkauf, Max Stocklosa, Lena Brumby, Marc FM, M.Thorn, Migel, Mode2, Nomad, P-Rzm, Partick Fabian Panetta, Pauline Izumi Colin, Peter Reiling, Phos4, Pierre Etienne Morelle, Pigenius Cave, Pipslab, Quentin, Ritsche Koch, Rok, Rollers inc., Runex, Sebastian Haslauer, Superblast, The Wa, Theo Watson, Thomas Janitzky, Toshihiko Mitsuya, Various & Gould, Velo Tramp, Ven, Zast, Zigan Aldi
We are very excited to present INSERT DISC. It was a great adventure to travel back in time to free sunken art treasures
guarded by Moore’s monster octopus on a sunken MacOS7.We hope you will enjoy this travel as we did! Get the DISC at MMI, NYC, any time, for FREE!
September 22 – October 27, 2012
at DVD Dead Drop, Museum of Moving Image NYC
curated by Aram Bartholl & Robert Sakrowski (curatingyoutube.com)
The second DVD Dead Drop volume INSERT DISC, features several classic art CD-ROMs from the mid-90s on DVD. While the web was still in its infancy, artists from a wide range of fields explored the possibilities of interactivity and multimedia on CD-ROMs, fancy new silver discs that held an unbelievable 650 megabytes of data. Today most of these pre-web multimedia works are no longer accessible because they require legacy operating systems and software to run. INSERT DISC offers the full experience of a cutting edge, mid-90s operating system packed with stunning multimedia art. Each DVD comes with a safe-to-install virtualized Ubuntu Linux operating system running an emulated Mac OS 7.6. In addition to the historic CD-ROM art, special features include historic browsers, link lists, and more, guaranteeing a true 1995 computer experience!
artist/projects:
Anti Rom
SASS Collective: Andy Allenson, Joel Baumann, Andy Cameron, Rob LeQuesne, Luke Pendrell, Sophie Pendrell, Andy Polaine, Anthony Rogers, Nik Roope, Tom Roope, Joe Stephenson, Jason Tame
CD-Rom, 1995
Manuscript
Eric Lanz, CD-Rom 1994
Cyberflesh Girlmonster
Linda Dement, CD-Rom 1995
User Unfriendly Interface
Josephine Starrs & Leon Cmielewski, first shown 1994, CD-Rom 1996
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Extra 90’s specials:
Browser collection, ‘Einblicke ins Internet’ offline Internet CD-Rom, Bookmark easter eggs & more
credits:
Andreas Broeckmann, Sandra Fauconnier, nbk Berlin, ZKM Karlsruhe, Transmediale archive
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Anti Rom
1995, CD-Rom, http://www.antirom.com/
SASS Collective: Andy Allenson, Joel Baumann, Andy Cameron, Rob LeQuesne, Luke Pendrell, Sophie Pendrell, Andy Polaine, Anthony Rogers, Nik Roope, Tom Roope, Joe Stephenson, Jason Tame
self-published and funded by the Arts Council of Great Britain.
“Offering a highly interactive interface to the collected sounds and images, this work is an exploration of the limits of what the CD-ROM medium can actually handle. Andy Cameron: “Antirom offers a radical critique of the poverty of contemporary multimedia in a number of savagely ironic, absurdist and incisive satires. Antirom is specifically against the ill conceived grafting of point-and-click functions onto traditional linear forms. Antirom is for the development of a new language of representation, and new modes of spectatorship, within the new apparatus of interactivity.” http://www.v2.nl/archive/works/antirom
[ http://www.antirom.com/
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Manuscript
Eric Lanz, 1994, http://www.ericlanz.net/
CD-Rom, Macromedia Director Apple QuickTime
Production: ZKM | Institute for Visual Media, 1994.
“A text, displayed in a linear way but made out of visual characters of tools, is activated by a mouse-click on an icon and plays back a four second video sequence with the actual use of the tool. The title refers to the iconography of each letter as well as to the origin of language in so far as it is related to manufactured objects, i.e. here a page ‹written› by hand and set in motion by the user’s hand.”
Rudolf Frieling – http://at.zkm.de/node/270
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Cyberflesh Girlmonster
Linda Dement, CD-Rom 1995, http://www.lindadement.com/
Australian Network for Art and Technology, Australian Film Commission
“Donated body parts collected during Artists’ Week of the Adelaide Festival 1994 have been used to construct a computer based interactive work. About 30 women participated in the original event by scanning their chosen flesh and digitally recording a sentence or sound. Conglomerate bodies were created from the information donated. These have been animated and made interactive. When a viewer clicks on one of these monsters, the words attached to that body part could be heard or seen, another monster may appear, a digital video could play, a story or medical information about the physical state described by the story, may be displayed. The user moves relatively blindly between these. There is no menu system or clear controllable interface. The work is a macabre, comic representation of monstrous femininity from a feminist perspective that encompasses revenge, desire and violence.[…]” http://www.v2.nl/archive/works/cyberflesh-girlmonster http://www.newmediacaucus.org/html/journal/issues/html_only/2006_spring/Sp06_Davis.htm
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User Unfriendly Interface
Josephine Starrs & Leon Cmielewski, first exhibited 1994, CD-Rom published 1996. http://lx.sysx.org/
Produced with the assistance of the Australian Film Commission
User Unfriendly Interface, CD ROM/Installation on themes of conspiracy theories, male vs female concept of space, dating services, mens issues & personality testing. 1997 Video Positive, Liverpool, UK “Since 1994 we have collaborated on a variety of new media arts projects that incorporate interactivity and play as strategies for engaging with the social and political contradictions inherent in contemporary society. Audience engagement is a vital element in our interactive artworks. We sometimes think of our work as performance art, were the artist is not physically present; the actions of the performer are programmed into the work, with the viewers’ response completing the piece. We have closely observed how viewers interact with our work, and have drawn on these observations in the creation of each subsequent piece. […]”http://scan.net.au/scan/journal/display.php?journal_id=100
Post about the DVD Dead Drop in EL PAIS, thx Stefano!!
