Upcoming

Coventry Biennial of Contemporary Art

4. October – 24. November 2019
Group Show, Coventry, Coventry

The highly anticipated second Coventry Biennial will unfold across the city from the 4th October to the 24th November 2019 and we invite people to learn, look, make, talk, think and walk with us.

The biennial’s title this year is The Twin and it comprises a series of exhibitions, events and activities about relationships.

We are an international city; Coventry and Volgograd, Russia, were the first modern twin cities in the world and this year marks the 75th anniversary of that historic bond of friendship.

The core programme of The Twin will unfold across the city in medieval and modernist buildings as well as in artist studios, galleries and museums. We will be exhibiting new and existing artworks by individual artists, duos and groups from Coventry, across the UK and from many of our international twin cities as well as other international locations. We are delighted to be exhibiting the artists listed below and will be announcing a small number of additional practitioners over the coming weeks and months:

Isobel Adderley & Jazz Moreton, Tully Arnot, Art & Language, Jonny Bark, Aram Bartholl, Jordan Baseman, James Birkin, Simon & Tom Bloor, James Bridle, Lorsen Camps, Paul Chan & Badlands Unlimited, David Cheeseman, James Clarkson, Anna Columbine, Maud Cotter, Paul Crook, Matthew Darbyshire, Joseph DeLappe, Lisa Denyer, Jacqueline Donachie, Caitriona Dunnett, EVOL, Anne Forgan, Dylan Fox, Darryl Georgiou & Rebekah Tolley, Zuza Golinska, Noémie Goudal, Lawrence Abu Hamdan, Mona Hatoum, Corey Hayman, Nicky Hirst, Clare Holdstock, Fred Hubble, Andrew Jackson, Juneau Projects, Navi Kaur, Smirna Kulenović, Liz Lake, Ollie Ma, Ioana Marinescu, Tony McClure, Lorna Mills, Anna Molska, MTAA, Alexandra Muller, Edie Jo Murray, Uriel Orlow, OUTLINE & Smirna Kulenović, Paper Rad, Bharti Parmar, Parmar & Piper, Partisan Social Club, Mathew Parkin, Matthew Picton, Duncan Poulton, Adele Mary Reed, Lis Rhodes, Rafaël Rozendaal, Ana Rutter, Richard Scott, Shirana Shahbazi, Larissa Shaw, Thomson & Craighead, Leonid Toprover, Chidera Ugada, Mhairi Vari, Nilupa Yasmin

Immortality – The Ural Bienniale

12. September – 1. December 2019
Group Show, uralbiennale.ru, Ekaterinburg

The Ural Industrial Biennial is the largest regional art project with international participation among those existing on the territory of the Russian Federation. The Biennial takes place at former industrial and non-exhibition spaces in Ekaterinburg and other cities of the Ural region.

In its 5th edition, the Ural Biennial explores concepts behind the Immortality, both secular and sacred; it is seen as a powerful utopist idea, as technocratic obscurity, as a symbolic tool and as a condition which might cause evident ethical schisms.

Strike Now!!

11. – 15. September 2019
Solo Show, panke.gallery, Berlin

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.

Please don’t stand in the middle of the road waiting for me to get you on camera

23. June – 22. July 2019
Group Show, isthisitisthisit.com, Online

Vienna Biennale 2019

28. May 2019 – 27. May 2020
Group Show, MAK Design Labors, Vienna

SF MOMA: Snap + Share

24. March – 4. August 2019
Group Show, San Francisco Museum of Modern Art, San Francisco

SFMOMA: snap+share
transmitting photographs from mail art to social networks
March 30–August 4, 2019
https://www.sfmoma.org/exhibition/snap/

The exhibition snap+share gives visitors a new way to visualize — and experience — how photographs have become so ubiquitous in our daily lives. Whether through early examples of 1960s and ’70s mail art, physical piles of pictures uploaded to the Internet over a 24-hour period, or a working refrigerator that allows participatory meme-making, visitors can trace the evolution of sharing photographs.

Spanning the history of mail art to social networks, the show presents a variety of artists working in various media, from framed paper-based art to immersive installations. Some of these artists include On Kawara, Ray Johnson, Moyra Davey, Erik Kessels, Corinne Vionnet, and David Horvitz. Exploring how networks are created through the act of sending images out into the world, this exhibition reveals just how those networks have changed in the age of the Internet.

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

Blog Archive for Month: May 2017

immaterial, Kunstverein Bochum

May 29, 2017

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immaterial
Vier Positionen zeitgenössischer Skulptur
www.kunstverein-bochum.de
18.6. – 3.9.2017

A/A (Andreas Greiner und Armin Keplinger)
Aram Bartholl
Reiner Maria Matysik
Katrin Wegemann

Eröffnung am Sonntag, den 18. Juni 2017 um 11 Uhr
Es sprechen: Richard Hoppe-Sailer (1. Vorsitzender Kunstverein Bochum)
Reinhard Buskies (Kurator der Ausstellung)

Das Ausstellungsprojekt immaterial untersucht gegenwärtige Optionen von Skulptur unter der Prämisse eines wechselsei- tigen Verhältnisses von Präsenz und Transzendenz. Mehr als andere Kunstformen erscheint die Skulptur bestimmt von einer spezifischen Dialektik, von einem essentiellen Bezug zur Welt der Dinge und einer zugleich über das Dingliche hinaus- weisenden Dimension. Grundsätzlich bewegt sich Skulptur in einem Spannungsfeld zwischen dinghaftem Objekt und ikonischem Zeichen, zwischen materieller Gestalt und imma- teriellem Gehalt. In heutigen Zeiten, in denen sich zusehends materielle und nichtmaterielle, insbesondere digitale Sphä- ren ergänzen und gegenseitig durchdringen, erweist sich Skulptur als Medium der Reflexion für neuartige Strukturen und Prozesse, deren Auswirkungen inzwischen nicht nur alle Bereich des privaten wie des öffentlichen Lebens betreffen, sondern mehr noch unseren Begriff von Wirklichkeit verän- dern. Die vorgestellten Positionen agieren an Schnittstellen von Kunst, Naturwissenschaft und avancierten Technologien wie Bio- und Geo-Engeneering oder weltumspannenden Datennetzen. Sie fragen nach Material und Materialität sowie nach Prozess und Form, spüren stabilen und labilen Zustän- den sowie den Eigendynamiken geschlossener oder offener Systeme nach.

Begleitprogramm:
am Sonntag, den 9. Juli 2017 um 11 Uhr
Kuratorenführung mit Reinhard Buskies
am Freitag, den 28. August 2017 um 19 Uhr
Podiumsdiskussion

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WannaCry (Weeping Angels)

May 19, 2017

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WannaCry  (Weeping Angels)

Hyperpavilion 2017, Venice Biennale 
(Official Extended Program)

Installation/Performance
Medium: printed carpet, tires, steel, wood, mirror glass, phone charger, four special forces performers,
Size: 14 x 8 x 2 m

Aram Bartholl
2017

http://hyperpavilion2017.com/

Curated by Philippe Riss
Produced by Fabulous Pictures

Opening: May 11, 2017, 12:00-3:00 pm
Exhitbtion dates: May 12 – Ocotber 30, 2017

Credits:
Torsten Oetken & Christian Buchmayr

Statement:

The German government is working on a new law to empower immigration offices in extraordinary ways. Asylum seekers without a passport who make their applications in Germany will be required to hand over all of their data. Immigration centers are being equipped with new forensic hardware and software to make complete copies of smart phones and other devices. Forcing immigrants to show their social media profiles is a strikingly efficient way to obtain proof of identity. A Facebook profile is seen as much harder to fake or lose than a passport. When the meta data on your Instagram pictures shows you’ve spent years in Libya, it may be hard to argue that you are actually a citizen of Syria. The difference is that asylum applications from Libya are not accepted. It is supposed to be a “safe country.”

The very basics of human rights and privacy rights don’t apply here any more. We now live in a world in which your social media profile is becoming more important than a passport. What will happen if you don’t have a Facebook account at all, or not even a smart phone?

What asylum seekers will soon have to endure in Germany is already, in a softer form, being implemented for everyone traveling to the Unites States and other countries. The border search exception empowers customs and border protection agents to search any electronic device. Increasingly, customs officers are asking travelers to show their social media profiles, passwords and to unlock their phones. In the future this process could be, very plausibly, automated at the entry-points and borders of many countries.

Social media is the perfect tool for commercial data mining and user tracking for marketing companies. And it also perfectly serves a governmental total control scenario, which is not some far-off, futuristic idea but a reality that is unfolding right now.

WannaCry  (Weeping Angels) at Hyperpavilion, Venice

The installation/performance WannaCry  (Weeping Angels) plays out on an 8×14 meter carpet printed with logos of more than 3000 internet marketing and user tracking companies. On the carpet, a mirror-covered, disguised, anti-riot police tank is parked. Specially-equipped security guards holding mirrored shields patrol the exhibition space and ask the visitors for their smart phone and social media profile.

“Is your phone ok? Does you Facebook still work? This is just a security measure for your safety. We had some attacks around here and just want to make sure your device is ok. … All good, thank you. Please don’t turn it off! This will help us to track any suspicious activities.”

With conversations like this, the guards cover up the fact that they are actually checking visitors’ phones (in the sense of the performance only; no data is collected). Barcodes are stuck on visitors’ phones, which are then scanned by the special unit officer. Visitors are left unsettled and wondering whether the encounter was real or part of the installation. In the context of the heavily patrolled Venice Biennale and the presence of actual armed soldiers in the Giardini, this performance works very well. The guards are present every weekend for the whole show until the end of October, 2017.

This new installation/performance produced for the Hyperpavilion Venice was inaugurated on May 11th 2017 just one day before the break out of the ransomeware virus WannaCry which led to widespread computer failures across the world. Such an uncanny correlation left me little choice but to rename the piece (formerly: Weeping Angels) with the name of the virus.

WannaCry  (Weeping Angels) evokes a dark age that we are on the cusp of entering: ever-increasing surveillance, terror attack fear and cyber-war panic on a daily basis. While we chill on our fluffy carpet at home thousands of companies retrieve and process our personal data. Increasingly military-like police control the cities while government intelligence collects massive amounts of data unnoticed every day. Is it 1984 yet?

Aram Bartholl 2017

 

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All pictures at flickr.com/photos/bartholl/albums/72157683886912096

Hyper Pavilion

May 14, 2017

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Hyper Pavilion
Venice Biennale, official extended program, Venice
http://hyperpavilion2017.com/

Exhibition dates: 13.5.-31.10.2017
Opening 11.5.2017 12:00 – 15:00h

curated by Philippe Riss, produced by Fabulous Pictures
with: Aram Bartholl, Vincent Broquaire, Claude Closky, Frederik De Wilde, LabNT2, Lawrence Lek, Claire Malrieux, Théo Massoulier, Julien Prévieux, Paul Souviron, Théo Triantaffyllidis