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Marimba mix release party!

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*MARIMBA MIX* release PARTY!!
New MIX by Selector NUTTENDORF

Thursday Sept.21, 18:00 – 20:00, Afterwork-Sunset-Party!
Location Outdoor! Humboldthafen, Berlin -> HERE!

MARIMBA MIX is the finest Collection of Songs based on the pre-installed iphone ringtone, worlds most famous ringtone now a days, selected by Selektor NUTTENDORF. The Marimba ringtones’ origin is based on a percussion instrument called Marimba, similar to a Xylophon. It is the national instrument of Guatemala. MARIMBA MIX is developed in the Presence of Aram Bartholl’s artwork ‘Obsolet Presence’ as seen in the cover. The art piece was installed @Humboldthafen in Berlin for one month in September 2017. The MARIMBA MIX released on the 21.09.2017 as an irl CD.

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UPDATE:

The party was a great success!! The mix is for DOWNLOAD available at http://nadjabuttendorf.com/marimba-mix/

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Written by Aram

September 20th, 2017 at 9:11 am

‘Obsolete Presence’ at Futurenows, Berlin

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Obsolete Presence

at Festival of Futurenows, Hamburger Bahnhof, Berlin
14. – 17.9.2017

After the install at Möhnesee Obsolete Presence is currently shown in Berlin during the Futurenows festival. It is setup right next to Hauptbahnhof (central station) at the Humboldthafen. The piece will be up till October 10th.

Credits: Wasser- und Kulturbau GmbH Hönow, Thx!

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Written by Aram

September 15th, 2017 at 10:12 pm

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3V / 5V / 12V

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Skulptur Projekte Münster 2017
10.6. – 1.10.2017

I am showing three new works at Skulptur Projekte Münster this summer. Visitors are invited to charge their phone at a bonfire (5V). They can use the otherwise closed pedestrian tunnel lit up by candle powered LED chandeliers (3V). A standard home router with no internet connection, powered by fire offers a database of guides how to live an offline life is hanging on the TV tower Münster (12V). Thermo electricity as a source of energy played a central roll developing these site specific works. The three pieces deal with idea of fire as the first human technology.  In each situation all sorts of communications are triggered.  The thermo generators used in these projects convert the heat of the fire directly into electricity. For more info on that please check Wikipedia here: Thermoelectric effect. More info to come!

It was very much fun developing these new works for Münster in the past couple years. Skulptur Projekte  has a faboulus team! I want to thank everyone in the production and the curatorial team very much! Please go and see the show. It is very good! Still up till 1st of October.

Aram Bartholl, 2017

 

3 V
Material
Aluminium, acrylic glass, thermoelectric generator, electronics, LEDs, tea candles, steel chain

 

5 V
Material
Campfire, wood, steel, thermoelectric generator, cables, electronics

 

12 V
Material
Router, grill, thermoelectric generator, cables, electronics, software, database
12 V / 5 V / 3 V

 

Aram Bartholl (* 1972 Bremen; lives in Berlin) deals with the possibilities and effects of increasing digitalization in his role as an installation and performance artist. Since the early 2000s he has been actively involved in the production of a digital public sphere—anonymity, open source, and hacking are the key buzzwords of this fledgling Internet generation. In 2010, as part of the project Dead Drops, he showed how conventional USB drives can be cemented into walls as dead letterboxes, thus initiating an on-going international wave of similar interventions. The drives allow data to be exchanged in the urban space without being stored and evaluated by algorithms on the Internet. Although it is normal for large amounts of data to be stored and sent on the Internet and for USB drives to be passed from hand to hand on a private basis, by publicly installing them in an urban setting, he creates disturbing situations for people and—in light of what is already happening and what might happen on any given day—fuels people’s anxieties.

Bartholl’s installations in Münster are all based on thermoelectric devices that directly transform fire—the primeval medium of communication—into electrical energy. At the same time, the artist alludes to three construction projects that have played a key role in Münster’s urban development: the building of the palace (1767) and the canal-water pumping station (1901) and the installation of a DVB-T-antenna (2007) on top of the telecommunications tower. In the underground passageway leading to the palace square, Bartholl has hung up five chandeliers, each consisting of ten thermoelectric LED reading lamps powered by tea candles. In the event of an emergency they could serve to illuminate a shelter. At Münster’s Theater im Pumpenhaus, Bartholl has provided devices for charging mobile phones: visitors can hold sticks—equipped with generators—in a campfire to charge their phone batteries. On the playground at the base of the telecommunications tower Bartholl has set up a small stove, equipped with a thermoelectric generator that provides electricity to the router on the tower without using the Internet. Visitors can log into an offline database via Wi-Fi to download instructions for living without the Internet and upload their own files.

Bartholl’s playful and experimental work contributes to the demystification of technology. It prompts critical, self-determined, and independent interaction with the possibilities of digital networking and is based on an idea closely associated with technē: the arts are combined with craftsmanship, manual dexterity, and self-reflection.

Nicola Torke, Skulptur Projekte

 

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Picture set flickr.com/photos/bartholl/sets/72157684555214574/

 

INTERVIEW (german)
Aram Bartholl mit Vlado Velkov

V.V.: Wir können das Gespräch gleich mit dem Ende beginnen. Deine Arbeiten in Münster sind eine Art Survival-Kits für post-apokalyptische Umstände. Ist das das neue Ende: Ein Tag ohne Internet?

Wenn das Internet mal ausfällt, ist die Lage für viele Betroffenen dramatisch. Allein schon wenn der Akku des Smartphones gegen null Prozent geht, macht sich Hektik bemerkbar. Wir sind im großen Maße von den Geräten und dem Internet abhängig. Mit einem kompletten Internetausfall über längere Zeit wäre auch der Kollaps jeglicher Infrastruktur vorprogrammiert. Wie wäre das, wenn es kein Strom gibt und wir das Handy am Feuer aufladen müssen? Oder, dass wir an einen bestimmten Ort in der Stadt fahren müssen, um an frische Daten zu kommen? In anderen Teilen der Welt sind solche Umstände Alltag.

V.V.: Post-digitale Kunst bezieht sich oft auf technische Entwicklungen und ihre Auswirkungen. Bei Dir steht aber der Mensch im Vordergrund. Welche Begegnungen erwartest Du am Lagerfeuer?

Wie alt ist das iPhone? Es ist erstaunlich mit welcher Selbstverständlichkeit wir die technologische Entwicklung mit all seinen Nebenwirkungen als Status quo akzeptieren. Soziale Medien verändern die Gesellschaft, bringen Menschen einander näher, aber entfremden uns auch voneinander. Das Telefon am Lagerfeuer aufzuladen, ist der Versuch, einen sehr alten, gar archaischen Begegnungsort mit unserer aktuellen Kommunikationswelt zu verbinden. Die Arbeit kann Geräte aktivieren, möchte aber vor allem Menschen zu einander führen, nicht über eine App, sondern ganz klassisch im direkten Kontakt. Ich erwarte einen spannenden Austausch, neue Freundschaften und vieles mehr.

V.V.: Du bist einer der wenigen Künstler, der aktiv und konsequent den digitalen Wandel im öffentlichen Raum erkundet. Woher kommt diese Leidenschaft für den öffentlichen Raum?

Meine Neigung zum public space stammt aus meiner Kindheit in den 70er Jahren, einer politisch bewegten Zeit mit vielen Demonstrationen, Straßenfesten, etc. Später habe ich Architektur studiert und viel Zeit dem öffentlichen Raum in seiner Komplexität gewidmet. Für mich bietet der Außenraum viel mehr Emotionen, Reize und Möglichkeiten als der klassische White Cube. Der öffentliche Raum ist stets in Bewegung, da sind die Menschen, die Probleme, da tobt das Leben. Und ich bemühe mich, die Evolution des öffentlichen Raums durch die Vernetzung und Digitalisierung zu erkunden.

V.V.: Ist das Internet öffentlicher Raum?

Das Internet ist kein öffentlicher Raum, obwohl wir das gerne glauben wollen. Die News und Social Media Plattformen, auf die wir unsere Meinung kund tun, sind zu 100% Privaträume von börsennotierten Unternehmen. Die kostenfreie Nutzung bezahlen wir mit unseren Daten, die schon lange von diversen Netzen und Filtern aufgefangen werden. Mein öffentlicher Raum ist weiterhin die Stadt, mit den realen Menschen, die sich mit der Digitalisierung auf viele Veränderungen vorbereiten müssen.

V.V.: Dein erstes Kunstwerk hast Du auf einer Konferenz des Chaos Computer Clubs gezeigt. Jetzt bist Du Kunstprofessor, man vermutet etwas anständiges, aber Du agierst inzwischen im Team des Hacker Congress. Welche Reize hat das noch zu bieten?

Ich bin mit meinen Arbeiten in unterschiedlichsten Kontexten eingeladen worden. Dieser Crossover zwischen Kunst, Internet, Architektur, Design und Technik hat stets meine Arbeit geprägt. Seit Ende der 90er Jahre bin ich auf der CCC Veranstaltungen regelmäßig aktiv und habe dort immer wieder mit neuen Werken und Projekten experimentiert. Es ist mir wichtig, die Kunst, die Realität und das Internet immer wieder zu verlassen und aus einer neuen Position zu hinterfragen.

V.V.: Findest Du es eine Frechheit, dass das Café, indem wir jetzt sprechen, kein WLAN hat?

Ja ist doch gut! Es gibt inzwischen ja viele Cafés, die nachdrücklich Werbung damit machen, dass sie eben kein Internet haben. It’s time to go offline.

From the Skulptur Projekte Katalog 2017

Written by Aram

August 14th, 2017 at 9:25 am

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Obsolete Presence

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 New piece I made for the group show “Odyssey” at Möhnesee. http://odyssey.to/

‘Obsolete Presence’, Arrr…
Dimensions: 200 x 240 cm
Medium: 4C print on forex, wood, mirror
Aram Bartholl
2017


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Written by Aram

July 29th, 2017 at 7:30 pm

Odyssee

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The exhibition ‘Odyssee’ takes place in water. All artworks have been conceived for the water, and visitors are invited to swim, row or sail between the works.

Instead of the usual foundational elements of walls, ceiling and floor, in this exhibition the artists have to deal with water, weather and wildlife. Even the water is not entirely reliable, with the water level varying depending on rainfall and industry. In the absence of the kind of certainties they are used to, the artists had to rethink their methods of artistic production and presentation in order to develop new works especially for the exhibition. The dynamics of the surrounding area and the spontaneity of the visitors open up the exhibition for further developments beyond the artists’ intentions.

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Painted sails by Raul Walch

The Möhnesee is the largest lake in North-Rhine Westphalia, located between Kassel and Münster. Visitors to documenta and Sculpture Projects Münster can complete their triathlon at Möhnesee. The exhibition can best be reached from Körbecke, on the north side of the lake – in the wild lakeside area between the pedestrian bridge and the Westphalia Yacht club. The second part of the exhibition takes place from 28th July until 10th September 2017 at Kunstverein Arnsberg, and in August on the river Ruhr. The project will be further expanded by workshops on location with students. There will be a comprehensive education programme with guided tours from the lakeside and on the water. Entry, tours and performances are free.

‘Odyssee’ is a Project by Kunstverein Arnsberg, realised with the generous support of Kunststiftung NRW, the Ministry for Family, Children, Youth and Sport of North-Rhine Westphalia, C. & A. Veltins Brewery, Sparkasse Soest, the district parish of Möhnesee, the city of Arnsberg and Yachtclub Westfalia Arnsberg.

Odyssey
20. July – 30. July 2017

Opening on the Möhnesee lake: 20th July, 7pm
Opening at Kunstverein Arnsberg: 28th July, 7pm

Participating artists:

Øystein Aasan, Aram Bartholl, Kerstin Brätsch, Julian Breuer, Marco Bruzzone, Nine Budde, Burghard, Eric Ellingsen, Andreas Greiner, Knut Henrik Henriksen, Theresa Kampmeier, Daewha Kang, Fabian Knecht, Daniel Knorr, Tanaz Modabber, Swantje La Moutte, Ulrike Mohr, Reto Pulfer, Anton Quiring, Yorgos Sapountzis, Mirjam Thomann, Alvaro Urbano, Raul Walch, Tilman Wendland, Ella Ziegler,

Curated by
Vlado Velkov / Juliane Rogge

Kunstverein Arnsberg e.V.
Königstraße 24, 59821 Arnsberg
www.kunstverein-arnsberg.de 

 

 

 

Written by Aram

July 17th, 2017 at 4:13 pm

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WannaCry (Weeping Angels)

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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

Written by Aram

May 19th, 2017 at 7:44 am

Hyper Pavilion

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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

Written by Aram

May 14th, 2017 at 9:07 pm

MAKE IT FIT

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Group Show: MAKE IT FIT 

http://make-it-fit.net

New works by the students and members of the class ‘New Media’, visiting Prof. Aram Bartholl, Kunsthochschule Kassel.

Participating artists:
Nicole Brauer, Echo Canluo, Christopher Casper, Hannes Drescher, Lou Hardt, Saskia Kaffenberger, Hannah Kretzschmar, Jonas Leichsenring, Jasper Meiners, Isabel Paehr, EIEE, Fritz Laszlo Weber, Zhifeng Zhang, Aram Bartholl.

04.02.2017 – 05.02.2017, Opening Feb 4th, 7pm
http://panke.gallery , Gerichtstr. 23, Hof 5, 13347 Berlin —>> RSVP fb-event

Opening: 4th February 7:00 pm

07:00 pm – 12:00 am: Exhibition FREE ENTRANCE!,
09:00 pm – 10:00 pm: Video Screening FREE ENTRANCE!,
10:00 pm – open end: AfterParty, Live Acts, DJs FREE ENTRANCE!
01:00 pm – 04:00 pm 05.02.2017: Exhibition FREE ENTRANCE!

MAKE IT FIT

Kunsthochschule Kassel – The New Media class is proud to present new works at panke.gallery, Berlin. The pieces range from installation, performance, screen-based and interactive works to video and film. ‘Make it fit’ refers to the restrictive cabin baggage rules of budget airlines, including their painfully meticulous control mechanisms. A lifestyle-conscious, hyper-mobile generation rattling trolleys along pavements has become the hallmark of gentrified neighborhoods in travel-hyped European capitals.

Kassel’s New Media students are using the classic travel suitcase as a constraint and metaphorical context for art production to meet the challenge of setting up a group show in Berlin in less than one day. Each work must fit into a suitcase to be transported, and setup time has to be either instant or not more than two hours. Hyper-mobile art also facilitates instant pop-up micro shows and performances in trains, in stations, and in other public spaces.

Curatorial processes often see artists selected on the basis of friendship networks or name dropping rather than actual works. How far can an artwork be ‘bent’ to make it fit an art show? An art market open secret is that paintings and sculpture that are small enough to fit in an ‘Upper Westside’ elevator have a better chance of being sold. Does it fit?

Klasse Neue Medien, Visuelle Kommunikation, Kunsthochschule Kassel, 2017

PROGRAM

Video Screening:

Insert your nipple here,
InternetRestroom Trailers,
LAST CHANCE JUNCTION,
Passt doch,
making waves unmastered,
29°01′53″N 111°41′56″E

AfterParty:

GRUPPE FORMAL (live),
Mo Chan & SEABA$$_T_ύN,
DJ Thunder Touch

LINKS
http://make-it-fit.net
http://newmediakassel.com/
http://kunsthochschulekassel.de/

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All pictures on flickr: https://www.flickr.com/photos/bartholl/sets/72157678572549491

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Written by Aram

January 24th, 2017 at 5:14 pm

The Glass Room

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Forgot your password? currently on show at “The Glass Room” NYC by Tacticaltech

THE GLASS ROOM: LOOKING INTO YOUR ONLINE LIFE is a pop-up shop with a twist: – a space for reflection, experimentation and play on how our we live our lives online. The Glass Room – 201 Mulberry Street New York, NY – November 29 to December 14, 2016 – https://tacticaltech.org/projects/glass-room

Press:

 

Written by Aram

December 6th, 2016 at 11:15 pm

8k

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8k

12 x 3 meter print, car, audio collage
Aram Bartholl
2016

Commissioned by NEON festival Dundee.
8k, Aram Bartholl’s newly commissioned installation for NEoN, features a panoramic view of Sin City from Grand Theft Auto 5. The scene is a screenshot presented as a twelve-metre long print. A car parked in front of the billboard beckons visitors to take a seat and enjoy the view of the vast digital cityscape while listening to an audio collage of YouTubers playing the game.

Grand Theft Auto is an open-world, action-adventure video game series published by Rockstar Games. The title of the series makes reference to legal terminology for motor vehicle theft in the USA. The series has its origins in Dundee where it was first developed by Rockstar North (formerly DMA Designs) in 1997. The third chronological title, Grand Theft Auto III, released in 2001, was widely acclaimed for bringing the series to a 3D setting and offering a more immersive experience. The series has garnered controversy for its adult nature and violent themes.

The vast, open world of GTA 5 offers total free interaction for the player, like a huge playground with no moral boundaries. As a result, players tend to test the limits of what is possible in the game. YouTube hosts a massive collection of GTA 5 videos in which players frequently, hysterically, ‘go nuts.’ The ‘City of Sin’ in GTA 5 serves as a metaphorical excess flow valve, a projection plane and a mirror of today’s society, which has become increasingly regulated and controlled.

NEoN (North East of North)

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all pictures on flickr

Written by Aram

November 24th, 2016 at 7:36 pm

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