For the exhibition “Home Smart Home,” Aram Bartholl equips the tower of the Kunstverein Rotenburg with a variety of home surveillance cameras. In addition to hidden cameras, known as “Nanny Cams,” Bartholl also experiments with 360° “Lightbulb” cameras equipped with lights and speakers. The market for surveillance cameras in the private sphere has grown tremendously in recent years. The desire for control over one’s own private space is reflected in this development and is part of the digitally driven society marked by a loss of trust.
The Art Tower, 4 Floors – 122 Steps – 24 m.
Originally slated for demolition in the mid-90s to make way for parking space for the “Ronolulu” leisure pool, the disused fire brigade water tower was on the chopping block. However, Peter Möhl, the former managing director of the municipal utilities and thus the owner of the tower, envisioned a meaningful repurposing. Together with the vice chairman of the Art Association, architect Jürgen Lohmann, the idea was born to convert the tower into a gallery.
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.
14:00 – 16:00
Killyourphone is an open workshop format. Participants are invited to make their own signal blocking phone pouch. In the pouch the phone can’t send or receive any signals. It is dead! This workshop was run for the first time at the Chaos Communication Congress in Hamburg end of 2013.
Monday 25th of March, 7:00 PM at Web Cafe, Eptanisou 40, 113 61 , Kypseli – Athens
with:
!Mediengruppe Bitnik with Selena Savić & Gordan Savičić , Ingrid Hideki, Joanna Bacas, Kyriaki Goni, Maria Mavropoulou, Marina Gioti, Marsunev, Nadja Buttendorf, Theo Triantafyllidis
Curated by Aram Bartholl & Socrates Stamatatos
Speed Show lands in Greece, the country of souvlaki, the sun (yes we can claim that they originated a celestial body), ouzo, feta, an enormous financial debt. Currently, Greece is also trending for all the wrong reasons namely, gentrification, queerphobia, state crimes and more dystopic incidents.
As 2024 unfolds, we find ourselves amidst a whirlwind of confusion, bombarded with a cacophony of online horrors to consume, an attention span further abbreviated by TikTok’s algorithm and the barrage of incoming stitches.
Stitches Incoming serve as a conduit for creators to engage and converse, traversing from one topic to the next. They have evolved into a new social fabric, weaving connections within an ever-shifting digital and physical landscape while also serving as a testament to personal and collective traumas, both past and present.
What unites the participating digital artists? Perhaps everything and nothing simultaneously… Departing from the traditional Speed Show setup, where artworks are carefully stacked inside internet cafe computers, and drawing inspiration from the structure of TikTok stitches, each piece seems to propel the conversation forward, or perhaps uses the next as a springboard for its own narrative.
Stitch this and stitch that, we have everything you ever wanted (maybe) ! Are we stuck in an infinite loop of sh*tposting, valuable content, the highlight of social issues, personal and interpersonal experiences?
Maybe! Come and find out…
More info on Speed Shows at https://speedshow.net/stitch-incoming/
14:00 – 16:00
Killyourphone is an open workshop format. Participants are invited to make their own signal blocking phone pouch. In the pouch the phone can’t send or receive any signals. It is dead! This workshop was run for the first time at the Chaos Communication Congress in Hamburg end of 2013.
14:00 – 16:00
Killyourphone is an open workshop format. Participants are invited to make their own signal blocking phone pouch. In the pouch the phone can’t send or receive any signals. It is dead! This workshop was run for the first time at the Chaos Communication Congress in Hamburg end of 2013.
An interview I gave at the opening of ★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★ by Yvette Neliaz THX!!
http://www.damepipi.tv/2013/05/aram-bartholl-retweet-if-you-want-more.html
ARCHEOLOGIE DU PRESENT IS A WORK IN PROGRESS BY YVETTE NELIAZ POUR http://DAMEPIPI.TV
★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★
XPO gallery, Paris
17.5.-26.6.2013, opening May 16, 7pm
THX EVERYONE!! OPENING WAS GREAT!!! :)))
★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★
First solo show in Paris by Aram Bartholl at xpo gallery
17.5.-26.6.2013, opening May 16, 7pm
xpo gallery, Paris
PRESS:
http://www.aqnb.com/2013/05/22/aram-bartholl-xpo-gallery-reviewed/
http://www.damepipi.tv/2013/05/aram-bartholl-retweet-if-you-want-more.html
http://www.fadwebsite.com/2013/05/23/aram-bartholl-exposition-personnelle/
Flickr picture set
Statement:
Aram Bartholl’s work creates an interplay between internet, culture and reality. The
versatile communication channels are taken for granted these days, but how do they
influence us? According to the paradigm change of media research Bartholl not just
asks what man is doing with the media, but what media does with man. The tension
between public and private, online and offline, technology infatuation and everyday
life creates the core of his producing.
For the show Retweet if you want more followers at xpo gallery, Paris exhibition
Aram Bartholl created a series of new works questioning the Internet immanent
ubiquitous scream for attention. The constant stream of codes, signs and change
force the user to filter, decode and recalibrate every day. Screen scape of high speed
time lines, hidden code, endless video or 3D space invade our minds for ever while
large parts are blocked. The impossible to remember what link was hot last week is
ignored by the calm, hypnotic glow of the screen which makes us smile.
Retweet this now!
Works:
Retweet
LED sign , Book, 120x40x8 cm
Twitter is the most advanced incarnation of todays high-speed online attention craze. What are the
hottest breaking news? Which are the latest trending topics? Gossip never traveled so fast! The fastest
way to spread information on Twitter is to get a lot of retweets on a single tweet. The more user repeat
the original message the more attention it gets. The invitation to ‘RETWEET!’ is a typical tweet format to
generate retweets and thus also more followers which are the currency on twitter. A vast stream of
mostly self-referential tweets containing ‘retweet’ are fired off on twitter every second. In an endless
scream for attention the follow-train runs silently on high speed through the never-ending timeline.
Credits: Greg Leuch
Private Password
b/w monochrome series
C-print, aluminum dibond, acryl, 59×77 cm
Like many other Internet services LinkedIn.com got hacked in summer 2012 and lost its user database
to unknown hackers. A couple months later a part of the encrypted passwords lists was leaked in
forums specialized in decrypting passwords as a ‘computer sport’. Private Password is a series of prints
each showing ca 12.000 clear text passwords of actual LinkedIn users accounts. Each password was
invented by a single individual, complicated enough so it can’t be guessed easily but at the same time
simple enough to memorize it. While online identities became more and more important consumer
hardware of today equals the processing power of super computers from 2000. A password you can
learn by heart without hard training is not a save password any more.
Art Forums
Website and installation
website, PC laptop, USB hub, USB led fans
Art-forums.org is a classic Internet forum website with a default setup of the bulletin board software
php BB. Everyone is invited to register at art-forum.org to discuss art. Internet forums as a place for
direct user interaction represent a massive and important part of Internet culture and online
communication. In the era of FB, Twitter and social web Internet forums with their typical design,
animated emoticons and amateur culture seem outdated although they are more open and interactive
than a FB wall. The same underestimation is true for classic PC hardware culture and its gadgets vs the
new polished monofunctional era of tablet computing. ‘Art-forums.org! The best way to discuss art
online’
Offline Monochrome
Triptych
3 wifi routers, 35x85x3 cm
Disconnected from the Internet each of the three routers broadcasts a single monochrome color.
Visitors have to connect individually to each of the local networks to see every part of the triptych on
their mobile device. Are there enough visitors to see all three at once? How do the mobile screens
correspond with the router installation? What are the screen sizes and the quality of each display?
Questions for a classic wall piece format re-calibrated for 2013.
PrintScreen
Series of monotypes
acryl on paper, canvas, plexi, aluminum, variable from 16×23 to 58×80 cm
Screens are our every day window to digital space. We spend many hours every day looking at screens
of any kind and dimension. Over the last couple decades computer screens have changed constantly in
size and proportions. In more recent years mobile screens became prominent and soon the classic
rectangle will move into glasses vision. Todays screens can display millions of colors, the resolution and
number of dots per inch are getting higher and higher. In a close relationship the printed image has
been under heavy digital influence ever since the computer became mass medium in the production of
the image. The physical screen doesn’t seem to exist as long it is turned on. Its magic glow blinds us
with a constant demand for attention. PrinttSceen is a series of actual monotype prints of my very first
PC black & white CRT tube, my current 2560 x 1600px LCD display and my actual mobile phone touch
screen.
Dust Scapes
Unique,
C-print, alumium dibond, acryl, 141×60 cm
The computer game Counter Strike is one of the most successful first person shooter series and was
especially popular in the first half of the 10’s of the 21st century. With new groundbreaking teamplay
game mechanics it profoundly influenced the game development of the FPS gaming genre. Millions of
gamers have played the game and its scenarios over and over. De_dust used to be one of the most
popular maps in the early days of the game. A vast amount of memory and emotional burst by an
unbelievable large number of players is compressed into this very space. The pure architecture and
absence of the action in Dust Scapes amplifies the collective memory of the space, which only exists in
software on servers.
Dust (model)
Scale 1:333
3D print, laser sinther, alumide, 36 x 33 x 4,5 cm
Dust is a 1:1 scale replica of one of the most played computer game maps in the world. The idea is to
build the 3D model of ‘de_dust’ of the first person shooter game Counter Strike as a permanent
‘building’ from concrete to make this map accessible as a large-scale public sculpture. The dimension
would be 115 x 110 x 15 meter and material is planned to be concrete. Dust (model) is a 1:333 scale
model 3D printed in alumide of the actual planned building and exact copy of the gaming map. The
ongoing development of the whole Dust project was initially commissioned by Rhizome NYC in 2011
Are you human?
Series, unique
aluminum anodised 3mm, laser cut, 44×122 cm to 39×89 cm
CAPTCHA is the acronym for “Completely Automated Public Turing test to tell Computers and Humans
Apart” and was developed in 2000 by information scientists at the Carnegie Mellon University, USA.
Web-based services such as Yahoo require users to recognize and type a randomly generated series of
letters or numbers which appear on the screen as a CAPTCHA image. This test is designed to ensure
that a web form is not being completed by the automatic scripts used by spammers. But sometime it is
also for humans quite hard to decrypt the distorted letters and numbers while the software by
spammers still often succeeds. Unlike every other file on the Internet each code is uniquely generated
by a script on the server and is disposed once it has been used. It will never appear again online in this
very form.
Google Portrait
Series, Google search: Sergey Brin
charcoal on paper, 1m x 1m
A Google Portrait is a drawing that shows the Google search request for a specific person in form of an
encoded URL. Any smart phone is capable to decode the matrix-code with a barcode reader app. In
return the software runs a Google search on the portrayed person and shows the result page in the
browser. ‘Vanity surfing’ is a very popular way to make sure the Google result page does not show
unwanted information. This very page with the 10 most important links represents the contemporary
portrait of a person today. It is the first batch of information we learn about someone. It puts people in
context of their activities and often also displays pictures. The portrait dynamically changes over time
depending on Googles algorithms. While the drawing of the QR code is static the activities of the
portrait person result in a constantly changing online identity
Forgot your password?
Aram Bartholl
2013
4.7 million LinkedIn clear text user passwords printed in alphabetical order in eight books (21 x 27 cm, ca. 800 pages each) shown at
Brand Innovations for Ubiquitous Authorship
A group exhibition stolen by Eva and Franco Mattes
at Carroll / Fletcher, 23 April – 11 May 2013
Really good show!! Thx for great pics! Good text!
Vernissage
Mittwoch, 08.05.2013, 20:00 – 22:00 Uhr
Motorenhalle – Wachsbleichstraße 4a, 01067 Dresden
http://riesa-efau.de/kalender/2013/05/08/fussnoten-zum-aufbruch-950/
A human being gets off, a group, many groups, generations, whole societies are in a state of breakup. What does connect these breakups? What kind of effects into art and out of art do they have? Phenomena of setting off will be illuminated from many different perspectives. The result will be a network of possible meanings for the individual and the collectivity. The term breakup is mainly connoted positively. But of course, there are also many examples for a problematic or even absolutely negative breakup. Eventually the word has got several aspects of meaning in our language. Besides the internal or external breakup to new – internal or external again – worlds, there is also the simple breakup of the road surface, of incrustations, of painting tops.
In the exhibition “Footnotes to breakup” and the accompanying events, we will ask questions for the tensions between personal, collective and social breakups and get to the bottom of them together with artists and other experts. Do we live in a period of a breakup? How do they work? Is there after Fukushima, amid a fiscal and a crisis of values, a stronger willingness to break fresh ground? Nearly nobody will start just for a breakup, for sure. This begs the question of the motives, as well as of those who don’t want to or cannot get off. At the latest since modernity breakup has basically been a term with positive connotations. Associations seem likely to utopia or the New human.
No later than at this point it becomes clear how complex and problematic the per se harmlessly seeming breakup can be. On the one hand, we will continue the topic breakup of last year’s Phenomenon Prosperity, but on the other hand we will also refer to our own situation. In front of the Motorenhalle there is being erected a new building for us. Its completion at the end of this year will imply another breakup for riesa efau, of course, and thereby give an impulse for our reflections.
Fußnoten zum Aufbruch
In der Ausstellung Fußnoten zum Aufbruch und den begleitenden Veranstaltungen sind Fragen nach den Spannungen zwischen persönlichen, kollektiven und gesellschaftlichen Aufbrüchen zu stellen und gemeinsam mit Künstlern und weiteren Experten auszuloten. Leben wir in einer Zeit des Aufbruchs? Wie wirken Aufbrüche? Gibt es nach Fukushima, inmitten einer Fiskal- und Wertekrise eine höhere Bereitschaft, neue Wege zu gehen? Wohl kaum Jemand bricht allein des Aufbrechens wegen auf. Die Frage nach den Motiven steht ebenso wie die nach denen, die nicht aufbrechen wollen oder können. Spätestens seit der Moderne ist der Begriff des Aufbruchs prinzipiell positiv besetzt. Assoziationen zur Utopie oder zum Neuen Menschen liegen nahe. Spätestens in diesem Augenblick aber wird klar, wie vielschichtig und wie problematisch der an sich harmlos scheinende Aufbruch sein kann. Mit dem Thema Aufbruch schließen wir einerseits an Phänomen Wohlstand aus dem vergangenen Jahr an, beziehen uns andererseits aber auch auf unsere eigene Situation. Vor der Motorenhalle wird gerade ein Neubau errichtet, dessen Fertigstellung zum Jahresende für riesa efau natürlich einen neuerlichen Aufbruch bedeuten wird und so einen Anstoß für unsere Überlegungen gibt.
Künstler/innen
Zbynek Baladrán (Prag/CZ), Aram Bartholl (Berlin), Franca Bartholomäi (Halle), Till Ansgar Baumhauer (Dresden), Ondrej Brody & Kristofer Paetau (Prag/CZ), Gregory Buchert (Lyon/F), Maria Bussmann (Wien/AT), Ayelen Coccoz (Buenos Aires/AR), Chto Delat (St. Petersburg, Moskau/RU), Ulrike Gärtner (Dresden), Göran Gnaudschun (Potsdam), Arti Grabowski (Krakow/PL), Igor Grubic (Zagreb/HR), Eberhard Havekost (Berlin), Martin Kippenberger/Walter Dahn (Köln), Friedl Kubelka (Wien/AT), Heimo Lattner (Berlin), Muda Mathis + Sus Zwick (Basel/CH), Eduardo Molinari (Buenos Aires/AR), Pavel Mrkus (Rumburk/CZ), Société Réaliste (Ferenc Gróf & Jean-Baptiste Naudy, Paris, Budapest/F/H), Stefan Nestler (Dresden), The Trailblazers (Mircea Nicolae, Stefan Tiron und Larisa Sitar, Bukarest/RO), Laura Pawela (Warschau/PL), Ute Richter (Leipzig), Jürgen Schön (Dresden), Jirí Suruvka (Ostrava/CZ)
Aram Bartholl (D)
How To Vacuum Form
Installation und Video (6:13 Min.), 2012
In vielen seiner Arbeiten reagiert Aram Bartholl auf die zunehmende Virtualisierung unseres Lebens mit einer Re-Materialisierung von Zeichen, Icons oder Verhaltensweisen zurück in die materielle Welt, die eigentlich nur im virtuellen Web- Raum Web einen Sinn haben. In der vorliegenden Arbeit balanciert der Künstler noch subtiler zwischen virtuellem und realem Environment. Er inszeniert eine Arbeitsstation zur Do it Yourself- Herstellung und Bemalung von Guy-Fawkes-Masken.In diesen anonymisieren sich in der Gegenwart Hacker der Gruppe Anonymus, deren Name geht auf die Bezeichnung eben anonymer Kommentatoren in Foren, aber auch anonymer Spieler in Games zurück; die Maske wurde Symbol der Occupy Wall Street und weiterer antikapitalistischer Bewegungen, Symbol für Veränderung, Revolution. Als solches wird sie durchaus ernst genommen. So wurde in einigen arabischen Staaten das Tragen der Maske verboten, da sie im Kontext des Arabischen Frühlings als Bedrohung der statischen Verhältnisse interpretiert wurde. Zu den Volten der Geschichte der Maske gehört aber auch, dass die ursprünglich vom Zeichner David Lloyd mit durchaus anarchistischen Ideen gestaltete Maske ausgerechnet von Anhängern des ehemaligen konservativen US-Präsidentschaftskandidaten Ron Paul in die Öffentlichkeit gebracht worden ist. Interessant ist an der Geschichte hinter der Maske, wie der durchaus als religiös fundamentalistisch und konservativ zu wertende Anschlagsversuch des historischen Guy- Fawkes vom Beginn des 17. Jahrhunderts – als Sprengstoffexperte wollte er als Teil einer katholischen Verschwörung den englischen König samt Parlament in die Luft sprengen – sehr schnell auch als anarchischer, befreiender Akt interpretiert wurde.
In der Installation von Aram Bartholl liegt der leichten Maske eine schwere Gipsform zu Grunde. Eine total abenteuerlich- wackelige Konstruktion bringt die Hitze auf die PVC Platte. Mit einer demgegenüber regelrecht profimäßigen Vakuumpumpe saugt man die heiße Platte in die Form. Auf dem Tisch liegen Arbeitsergebnisse, Halbzeuge und Arbeitsmaterialien verstreut. Man kann sich bedienen.Neben der hinlänglich bekannten weißen Maske gibt es schwarze Exemplare. Durch den popkulturellen Bezug auf Darth Vader verstärkt, fließt der Dualismus von Gut und Böse ein, von Hell und Dunkel, Ying und Yang. Da es zu einfach wäre, den Betrachter mit einer derart simplen Botschaft zu entlassen, gibt es die Masken auch in einer dritten Farbe, in der Transparenz. Allein diese Maske stellt als Edition ein Kunstwerk dar. Hinter der Maske, die auf einem Stativ in die Gesichtshöhe justierbar ist, kann man sich fotografieren lassen. Man kann auch sinnen über den Sinn von Maskierungen oder über den schönen künstlerischen Griff, per Definition Intransparentes transparent zu machen.Im Video, das die Installation begleitet, ist nicht nur das „Making of“ der Installation und die Anleitung zur Fertigung der Maske sondern auch der Auftritt des Künstlers mit seinem Stand bei einem Compuer-Kongress zu sehen. Womit wir zurück am Beginn wären.
Imagine a search engine inserts a personal easter egg for you! :))))) thx guys!!
@arambartholl thanks for sharing @duckduckgo! An easter egg in your honor duckduckgo.com/?q=arambartholl — bottom right corner 🙂
@arambartholl thanks for sharing @duckduckgo! An easter egg in your honor https://t.co/8ORAMeMTqe — bottom right corner 🙂
— DuckDuckGo (@DuckDuckGo) May 22, 2013