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: January 2018

Don't show again

January 30, 2018

Group show by the class New Media, Prof. Aram Bartholl, Kunsthochschule Kassel.
dont-show-again-new-media-kassel-reaktor-vienna

pic by sighpoutshrug
 

Don’t Show Again!

Constant alerts, requests, and notifications keep us immersed in information flowing daily across our screens. Little windows appear at the monitor’s edge and jump onto smartphone taskbars; milky overlays interfere with viewing entire web pages.
It is down to attention. User attention is now the most valuable commodity on the Internet. The online advertising industry is in real crisis. Only the biggest advertising monopolies–Google and Facebook–can still benefit from advertising revenue, while all others are left with nothing. Social media networks are saturated, user numbers are stagnating; there is an increasing fatigue with liking, sharing and posting because too many services, news items, and friend requests are competing for our attention. It seems as if faith in what is presented to us on screens is diminishing. “That’s fake” is the new standard. A limited number of meme-like headlines get global attention while important issues sink without a trace. We spend on average up to three hours a day on smartphones only to ask ourselves later what we actually achieved.
New Media students of Kunsthochschule Kassel deal with questions of attention, identity, and the use of media in a variety of ways. How do images and topics appear and spread through the Internet? What role does the screen play as a limit to understanding, and how will automation continue to change society? Overcoming the post-digital regime of attention will require new ideas and concepts that the technology-centered efficiency logic of internet platforms can never provide.
 
Participating Students:
Nicole Brauer, İpek Burçak, Echo Can Luo, Christopher Casper, Hannes Drescher, Stefan Endres, Robin Höke, Mike Huntemann, Saskia Kaffenberger, Jonas Leichsenring, Naima Omari, Didem Sandıkcı, Mario Strahl,
Video program: Lucie Friederike Müller, Jacob Höfle, Lisa Dreykluft, …

http://dontshowagain.online website by Stefan Endres

 
Reaktor, Wien
Vernissage: 19. Februar 2018, 19:00 Uhr
Öffnungszeiten: 20. Februar 2018, 10:00 – 16:00 Uhr
Geblergasse 40, 1170 Wien
https://www.reaktor.art/
 
(german version)
Don’t Show Again!

Ständig wiederkehrende Warnungen, Nachfragen oder Benachrichtigungen beschäftigen uns kontinuierlich bei der täglichen Informationsaufnahme am Bildschirm. Kleine Fenster erscheinen am Monitorrand, springen in der Smartphone-Taskleiste auf und milchige Overlays versperren die Sicht auf ganze Webseiten.

Es geht um Aufmerksamkeit. Die Aufmerksamkeit des Users ist heutzutage das höchste Gut im Internet. Die Online-Werbebranche befindet sich dabei in einer handfesten Krise. Nur die großen Werbemonopole Google und Facebook können noch von Werbeeinnahmen profitieren, alle anderen gehen leer aus. Viele Social Media Networks sind gesättigt, Nutzerzahlen stagnieren, eine allgemeine Müdigkeit zu liken, zu teilen und zu posten macht sich breit. Denn zu viele Dienste, Nachrichten und Freundschaftsanfragen konkurrieren miteinander. Es scheint, als wenn der Glaube an das, was uns auf dem Screen präsentiert wird, schwindet. „Das ist doch fake“ ist der neue Standard. Einzelne wenige Headlines mit Memecharakter erreichen weltweite Beachtung, während wichtige Themen untergehen. Wir verbringen tagtäglich im Schnitt bis zu drei Stunden am Handydisplay und fragen uns am Ende, was wir dort eigentlich getan haben.

Die Studierenden der Klasse Neue Medien der Kunsthochschule Kassel beschäftigen sich in vielfältiger Weise mit all diesen Fragen um Aufmerksamkeit, Identität und Mediennutzung. In welcher Art und Weise entstehen und verbreiten sich Bilder und Themen im Netz? Welche Rolle spielt der Screen verstanden als Grenze und wie wird Automatisierung unsere Gesellschaft weiter verändern? Das post-digitale Regime der Aufmerksamkeit zu brechen, erfordert neue Ideen und Konzepte. Die technikzentrierte Effizienzlogik der Internetplattformen wird diese nicht liefern.
 

'Your parcel has been delivered (to your neighbour)'

January 12, 2018

parcel-delivered-to-your-neighbour-aram-bartholl-grounded-checkout
 
20.1.2018, 7:00 pm – Installation/performance – ‘Your parcel has been delivered (to your neighbour)’
For his ongoing installation Aram Bartholl collects different objects and materials of the contemporary commerce and public space to rearrange them at the exhibition space. The elements refer to radical shifts in markets, rising control and a life under the influence of constantly improved algorithms, startup pressure and ‘bullshit jobs’. Over the period of the exhibition the installation is rearranged and changes in dialogue with the audience.
25.1.2018, 7:00 pm – Workshop – ‘Got a few minutes?’
Got a few minutes? is an open workshop format which invites the audience to experiment in a series of actions and micro performances. With different tasks involving a range of contemporary devices and objects the participants execute and invent unique interactions. Consume, control and privacy are some of the core topics which serve as a basis for this examination of the hyper commercial contemporary life.
 
IMPORT PROJECTS
KEITHSTRASSE 10
10787 BERLIN
http://import-projects.org/
 
Your parcel has been delivered (to your neighbour)
‘Your parcel has been delivered (to your neighbour)’ is a performance and ongoing installation that involves rental bikes being retrieved from public space and placed in the private gallery space. Rental bikes in public usually fall over at some point, or get kicked over by pranksters. Nobody cares. All rental bikes collected are laid out—their quasi-natural status—on the floor of the gallery. A PTZ (pan tilt and zoom) CCTV dome camera, typical for surveillance in public, auto-tracks and records the process. Visitors are invited to become a temporary owner of one of the bikes by renting it.
In recent years, Internet startup market logic has reached far beyond classic online markets. More and more ‘IRL’ economies are being affected by the ‘disruptive’ force of the new business model from California. With the efficiency of networked software, low-wage outsourced labor, and data delivering customers the only goal is growth. The startup doesn’t need to be profitable. In fact, one of the golden rules is not to make a profit, not to pay tax, and to be much cheaper and smarter than everyone else until competitors go bankrupt.
In the beginning, this ‘game’ was played solely within data-based information business. Google and Facebook led the way and showed us how to make money from user data while giving away products for free. Today, we are witness to slow changes in the cityscape. Streets have been crowded with delivery vans for years. Delivery businesses boomed in the wake of ever-increasing online shopping. Order anything! They’ll deliver it to your neighbour immediately. Instant rental cars, gamified Pokemon crowds, and bicycle food delivery armies followed. Very recently, Berlin’s public space has become crowded with at least 20 different brands of rental bikes. New startups, local and international. All of them have the same old idea: “Rent a bicycle where ever you are!” All of them burn a lot of VC (venture capital) money and bikes increase to possibly become the monopoly in this field.
Public space is increasingly inhabited by advertising and corporate models. The colorful bikes scattered all over the city are a very visible sign of the uberfication of private life and commercialization of public space.
Aram Bartholl, 2018
 
your-parcel-has-been-delivered-aram-bartholl-12
your-parcel-has-been-delivered-aram-bartholl-15
your-parcel-has-been-delivered-aram-bartholl-18
your-parcel-has-been-delivered-aram-bartholl-06
your-parcel-has-been-delivered-aram-bartholl-04
your-parcel-has-been-delivered-aram-bartholl-10

 
 

Your parcel has been delivered (to your neighbour)

January 12, 2018

20.1.2018, 7:00 pm – Installation/performance – ‘Your parcel has been delivered (to your neighbour)’

For his ongoing installation Aram Bartholl collects different objects and materials of the contemporary commerce and public space to rearrange them at the exhibition space. The elements refer to radical shifts in markets, rising control and a life under the influence of constantly improved algorithms, startup pressure and ‘bullshit jobs’. Over the period of the exhibition the installation is rearranged and changes in dialogue with the audience.

25.1.2018, 7:00 pm – Workshop – ‘Got a few minutes?’

Got a few minutes? is an open workshop format which invites the audience to experiment in a series of actions and micro performances. With different tasks involving a range of contemporary devices and objects the participants execute and invent unique interactions. Consume, control and privacy are some of the core topics which serve as a basis for this examination of the hyper commercial contemporary life.

IMPORT PROJECTS
KEITHSTRASSE 10
10787 BERLIN
http://import-projects.org/

Stream Capture

January 8, 2018
Ludy_Pond_Wave_2017_WEB_1
Stream Capture explores the role and position of the landscape and natural environment within a world shaped by technology and digital media.

Through the use and lens of digital tools and technology, Stream Capture asks how we might engage with a reimagining of the natural environment if we cannot physically enter it. The work in the exhibition explores human perception, simulation, mapping, time and scale shifts, and historical study and preservation. The exhibition offers a sense of the future and the possibility of movement from place to place (here to there) and from time to time (present to future).
MCAD Gallery
Minneapolis College of Art and Design
Tuesday, January 16, 2018, 9:00 a.m.Sunday, March 4, 2018, 5:00 p.m.
Opening Reception: Friday, January 19, 6:00–8:00 p.m.
The artists featured in the exhibition work in a range of media, including prints, installation, projection, video, software, video games, sculpture, plants, and electronics.
Featured Artists

Stream Capture is curated by Ben Moren, assistant professor of media arts at MCAD.
Image credit: Sara Ludy, Pond Wave, 2017, 4K animation

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