Current Events

Olympics x Art

25. September – 10. October 2020
Group Show, Co Gallery, Paris

Faster? Higher? Stronger?

This group show explores aesthetic and mentalities related to sports: to go beyond your limits, to feel part of a community, to be tied to a territory and to try to take care of it as we are taking care of ourselves. Marketing, major brands and sponsors of the Olympics induce us to think that sports are also a way of life: adapt your style, improve your fitness, optimize your performance, transform your body.

In times of mass circulation of images, these injunctions influence our canons of beauty and our behaviour, leading to obsession with self-optimization, driving us to be always more competitive and more productive. But this year, the Olympics have been postponed; no competition, time out.
So: Faster? Higher? Stronger?*

curated by Alexis Loisel-Montambaux
conceived by Victor Le de Doisy & Jonathan Schurdevin

The Sea Is Glowing

21. August – 1. November 2020
Group Show, Exportdrvo, Rijeka

An international group exhibition which deals with the invisible economics linked to the sea. With their works, world-respected artists deal with unusual and radical phenomena, from strange online shops to the empires of amateur pornography and other golden coasts.

In the geographical sense, Europe is a maritime continent: considering the ratio of the length of the coast to the total land surface, Europe has more contact with the sea than any other continent. For Rijeka, the port, as well as the sea, is not only a place of loading and unloading or the arrivals and departures of boats. The port is the heart of the city and symbolically important for the identity of the city. This is why the sea, i.e. new forms of work and economy which are connected to the sea, is extremely important for both Rijeka and Europe.

The Sea is Glowing exhibition focuses primarily on new invisible economies that are inextricably linked to the sea, such as the exploration of oil and ores in the depths of the sea, the establishment of offshore tax havens on the coasts and the launch of libertarian start-ups in self-sufficient colonies which float in international waters. All of the mentioned activities are part of the new economies which include new forms of work (such as care and welfare) or new forms of capital circulation (such as free ports). Considering the (occasional) specificity of their tax models, port cities such as Rijeka are very important for such types of economies. The exhibition brings together the works of artists who investigate unusual Amazon shops, the increasingly present outsourcing of healthcare, “the black chimneys” and deep-sea mining, the hidden offshore havens, the dark empires of amateur pornography and other golden coasts.

The curator of the exhibition is Inke Arns (DE), famous for her work in media art. She is the artistic director of the Dortmund Hartware MedienKunstVerein (HMKV) organisation and the curator of numerous international exhibitions that have been shown around Europe and the world – from Berlin, Glasgow and Warsaw, from Ljubljana and Nova Sad, all the way to Moscow, Tel Aviv and Hong Kong.

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Upcoming Events

A Brief Inquiry Into Empty Space

3. – 7. October 2020
Group Show, ZhdK, Zurich

ArtTech Talk: Technology Off Screen

27. September 2020
Talk, Vienna Contemporary, Vienna

Sunday, 27 September 2020, 1:30-2:30 pm

ArtTech Talk: Technology Off Screen

Artists are increasingly using new techniques and materials that address our relationship to a technological world. Artist Aleksandra Domanovic emerged with work that directly addressed a screen context with her collaborative project vvork.com before establishing a largely sculptural practice that incorporates 3D printing and ideas around the use of technology and biological innovations. Aram Bartholl is a Berlin-based conceptual artist whose work unpicks the digital and the physical in inventive ways.

Speakers:
Aleksandra Domanovic, artist
Aram Bartholl, artist
Moderated by Francesca Gavin, art theorist, curator and writer

Recent Events

The Days Are Just Packed

18. – 20. September 2020
Group Show, THE POOL, Istanbul

THE POOL is a new artist run initiative organized by Ece Cangüden and Marian Luft.
Our aim is to speculate, develop and display new dynamic, collaborative, interdisciplinary
aesthetics and attitudes. THE POOL is meant to function as an independent and
international platform for exhibitions, research and residency.

THE POOL is based in Heybeliada, an island in Istanbul, Turkey. The place itself is an old
villa with a huge abandoned property including an old pool which will function as the main
exhibition space. It has a beautiful view to the asian skyline of Istanbul. Wild horses hanging
out of the property.

EC(centri)CITY – Die exzentrische Stadt

10. September 2020
Talk, Akademie der Künste, Berlin

urbainable – stadthaltig
EC(centri)CITY – Die exzentrische Stadt

Gespräche, Filme, Performance, Installation

Das von Nadim Samman (KUNSTWERKE BERLIN e.V.) kuratierte Veranstaltungsprogramm lädt bildende Künstler*innen, Architekt*innen und Wissenschaftler*innen ein, über die europäische Stadt des 21. Jahrhunderts als Kompressor und Zentrifuge für die bildenden Künste zu diskutieren. Mit Audiobeiträgen, Podiumsgesprächen und einem ausgewählten Filmprogramm reagieren die Akteure auf Themen der Ausstellung „urbainable – stadthaltig“. Sie weiten das Spektrum hin zu Schnittstellen der bildenden Kunst und zeigen Visionen für ein neues – globales – städtisches Leben.

Talks: 16 Uhr: Die letzte Schritt: Mikromobilität, Städte & Privatisierung

Globale Startups haben in den letzten Monaten europäische Städte mit Leihfahrrädern und -E-Scootern überschwemmt. Da Fußwege zunehmend von parkenden Fahrzeugen eingenommen werden, entschließen sich einige Bürger dazu, ihrer Frustration durch Vandalismus-Aktionen Luft zu machen und entsorgen die Leihgeräte. In der Tat ist diese Form von Zerstörung und Verlust ein durchaus kalkulierter Teil dieses Geschäftsmodells mit de Ausleihe.

Kann diese Form von alternativen, nicht nachhaltigen Transportmodellen die städtische Verkehrslösung der Zukunft sein? Was kommt als nächstes? Wie verhalten sich diese Modelle zu unserem Verständnis vom öffentlichen Raum? Welche Debatten müssen über den öffentlichen Raum und dessen Wandlung geführt werden?

Mit Regine Keller (Landschaftsarchitektin), Aram Bartholl (Künstler), Ludwig Engel (Futurist), Peter Haimerl (Architekt)

Tap To Edit

10. – 14. September 2020
Group Show, Renk Rosenblat Alexa, Berlin

TAP TO EDIT

The exhibition Tap to Edit draws on a postmodern reality in which the pursuit of absolute freedom has shaped an omnipresence of powerlessness and exhaustion; Tap to Edit is both an exploration of and a search for some of the many ways ‚in‘ and ‚out‘ of todays static relationship between society and the self. In an array of works displayed over white cube, dark room and outside areas, symptoms of neoliberal ideals are set to juxtapose the individuals abilities in proposing change for such system itself.

VALERIA ABENDROTH
ARAM BARTHOLL
DISTRIBUTED GALLERY
MHER BRUTYAN
OLIVIA WALSH
DANIELLE ORCHARD
ERIC WINKLER
LUCIA BERLANGA
SOPHIA KELLY – KEEGAN
ALEXANDER GNÄDINGER

11 – 14 SEPT 2020
OPENING 10 SEPT 2020 — 6 PM
MARIENBURGER STR . 18/19
10457 BERLIN

Better Off Online

9. – 13. September 2020
Group Show, KÖNIG GALERIE / KÖNIG DIGITAL, Online

#KönigDigital: The international group show „better off online“ is presented by @koeniggalerie as part of @arselectronica. Enter the exhibition by typing ars.webb.game in your browser.

“It is increasingly necessary to be able to think new technologies in different ways, and to be critical of them, in order to meaningfully participate in that shaping and directing“, writes James Bridle in his book “New Dark Age. Technology and the End of Future“. During the lockdown nearly everything that was left for the art world to connect, share and experience were digital devices and new technologies. The digital boom was hit by a wave of criticism of technology. Artists have always worked with new technologies, and at the same time critically question them.

Experiencing a global lockdown is an excuse for utopian escapism into a game environment as the only place left to experience and interact with art. The British artist Thomas @Webb built a virtual world for new media artists to share their thoughts on what technology is and could be.

The WORLD WIDE WEBB is a virtual world the digital visitor enters through the browser on a smartphone. It is a multiplayer video game, a digital exhibition space and a world full of art and characters the visitor is invited to interact with. Webb recreates the social spontaneity of the world pre-Covid-19. Net art is presented in its genuine medium, the digital realm, where video art is also easily accessible. The visitor meets AI avatars designed by Webb, to reflect the human nature and to question the use of technology in the digital age.

Artists: Koo Jeong A, Aram Bartholl, Alice Bucknell, Arvida Byström, Stine Deja, Keiken, Kesh, Jonas Lund, Rachel Maclean, Tabor Robak, Manuel Rossner, Nicole Ruggiero, Sebastian Schmieg, Thomas Webb

Concept: Anika Meier & Thomas Webb

Blog

Wearable Dazzle – Gesichtserkennung abgeschminkt

February 14, 2020

Wearable accessories to oppose automated face recognition developed by design students of HAW Hamburg, winter semester 19/20 “Face The Face” class. ( based on Adam Harveys CV Dazzle project)

All pictures –> flickr.com/photos/bartholl/albums/72157713103071956

Radio Show:

Discussion with Anna Biseli (netzpolitik.org) at DLF radio show Kompressor about face recognition and surveillance, featuring student works of HAW Hamburg. Full article and show to listen to at –>

https://www.deutschlandfunkkultur.de/kompressor-deluxe-gesichtserkennung-abgeschminkt

„Das Interessante an Gesichtserkennung ist, oder auch das Spannende daran, zu kommunizieren, was Überwachung heißt, das verstehen alle“, sagt Bartholl. „Bei all diesen Projekten, die sich auf kreative Weise damit beschäftigen, ist das Wichtigste, dass dadurch eine Öffentlichkeit und eine Wahrnehmung stattfindet, dass diese Themen total wichtig sind. Es geht darum, die Diskussion am Laufen zu halten und zu überlegen als Gesellschaft: Wollen wir das oder wollen wir das nicht?“

Best Friends Forever

January 11, 2020

found on Invalidenstr. Berlin

Why Berlin, Why? ;)

January 7, 2020

https://www.artsy.net/article/artsy-editorial-berlin-artists-transforming-trash-sculpture

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Der große Bruder des “Cybertrucks”

November 24, 2019

Picture of the day at Monopol Magazin: Der große Bruder des “Cybertrucks”

“Die Zukunft ist eckig: Der “Cybertruck” von Tesla (oben) und Aram Bartholls Installation/Performance “WannaCry (Weeping Angels)” 2017 im Hyperpavilion in den Arsenale der Venedig-Biennale.” 24.11.2019

More info at the project page: “WannaCry (Weeping Angels)” 2017

“Open” solo at Roehrs & Boetsch

September 22, 2019

Last spring when I was visiting San Francisco I was wondering how to work with the Facebook sign at Menlo Park. This sculptural transformation came out …. and more new works for my upcoming solo at Roehrs & Boetsch, opening on Sept. 25th!

ARAM BARTHOLL – OPEN
Roehrs & Boetsch, Zurich
26.9.­–3.11.2019, preview 25.9.

For his first solo exhibition in Switzerland, Aram Bartholl chooses to address origins, effects and legacies of our daily usage of social media through portable devices. Built on the ashes of a scaled, thin-paper model of the thumbs up sign of Facebook in Menlo Park, which burned down in a fire before the opening, the exhibition brings together in a cohesive installation a new set of printed, sculptural and video works.

 

Näh mir ein Funkloch

September 9, 2019

Näh mir ein Funkloch
Aram Bartholl zeigt mit „Strike Now!!“, wie unser Leben stetig, aber unaufhaltsam mit dem Internet verschmilzt
Anika Meier | Ausgabe 36/2019 |  der Freitag

(read)

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Strike Now!!

September 4, 2019

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.

11. – 15. September 2019
panke.gallery, Berlin
Opening Sept. 12. 7 pm

14 SEP, 4:00 – 7:00 pm, Panel discussion

This panel brings togther three different perspectives on how the so called gig economy impacts working conditions around the globe. The participants focus ranges from artistic analysis and applied political research in the field to active union related work on the ground.

Participants: Joanna Bronowicka, Sebastian Schmieg, Akseli Aittomäki moderated by Aram Bartholl

Sebastian Schmieg is an artist who’s work engages with the algorithmic circulation of images, texts and bodies within contexts that blur the boundaries between human and software, individual and crowd, or labor and leisure. At the centre of his practice are playful interventions into found systems that explore hidden – and often absurd – aspects behind the glossy interfaces of our networked society. Schmieg works in a wide range of media such as video, website, installation, artist book, custom software and lecture performance.

Joanna Bronowicka is a sociologist and community organiser living in Berlin. She is researching the impact of technology on society at the European University Viadrina in Frankfurt (Oder). Until recently, she was the director of the Centre for Internet and Human Rights. Joanna has been fighting for rights of women, workers and migrants for over a decade. She is a member of Polish left-wing party Razem which has an active branch in Berlin.

Akseli Aittomäki is a dance artist and experimental theater-maker. His works involve different productions, research and activism. His art practice ranges from experimental theater to contemporary dance and philosophically motivated performance works. Critics characterize his choreography productions as ‘essayistic’. Economic questions and political protest play an important role in his research. Aittomäki was a rider for Deliveroo for over two years. He was engaged in campaigns to improve the working conditions of the riders, such as protests, strikes, collaboration with media or providing help for workers after work accidents. Deliveroo pulling out of Germany is the moment for him to share his perspective.

Speed Show: FACE THE FACE

July 2, 2019

FACE THE FACE
A Speed Show on the Post-Digital Self

curated by
Anika Meier & Aram Bartholl
5.7.2019, 7:00 – 10:00pm
Internet Cafe – Midnightshop
Schönhauser Allee 188, Ecke Torstr., 10119 Berlin

Participating artists:
Lisette Appeldorn, Jeremy Bailey, Nadja Buttendorf, Petra Cortright, Constant Dullaart, Tom Galle, Lauren Huret, Johanna Jaskowska, Andy Kassier, Hanneke Klaver, Lynn Hershman Leeson, Echo Can Luo, Ines Marzat, Jillian Mayer, Andy Picci, Selam X

Social media algorithms have a preference for faces. People prefer friends to strangers and are more comfortable with the familiar in general. This preference applies to their own faces, too. Studies have shown that people like their mirror-reflected face most because that is how they are used to seeing themselves. “The selfie,” writes Nathan Jurgenson, “lets us share that mirror-view, what we see when contemplating our self, considering what we are.” Science is not yet convinced of what the critics are absolutely sure of: people who take selfies are narcissistic exhibitionists.

These days, when a person takes a photo to their plastic surgeon, it is of their own face. Smoothed and beautified by Snapchat and Instagram filters, it is the new ideal. Filters make people feel attractive. Masks and filters function as a barrier between the individual and the world, and people have always felt the need to change themselves by wearing makeup, getting plastic surgery, donning masks ,or using filters that simultaneously hide and reveal. Mask culture, thousands of years old, is currently undergoing a digital renaissance. Software-driven face-recognition apps on smartphones enable a new, shared experience of this ancient tradition. “The self one tries to express tends to be new, exciting, confessional, sexy, etc., because it plays as an advertisement. Identity is a series of ads for a product that doesn’t exist,” writes Rob Horning on digital identities.

In the early 1980s Lynn Hershman Leeson addressed the ways media changes the view of the self and promotes stereotypical norms in her series “Phantom Limbs.” Jeremy Bailey has been playing with floating, 3D objects in front of the camera since the early 2000s. The elaborate hardware and tracking programs he began with have now completely disappeared into the smartphone. Petra Cortright started using commercially-available webcam software with basic effects and folklore-inspired filters to create her series of YouTube portraits in 2009.

Now, a new generation of net artists is reflecting on the presentation of faces in the digital age. @AndyKassier, for example, explains in his video how to make the perfect selfie, while @jillianmayer gives tips on how to hide from surveillance cameras with makeup in her tutorial. @andypicci uses filters to criticise the desire for image cultivation in the era of social media and @johwska addresses the sort of beauty ideals promoted by celebrities like Kim Kardashian and Kylie Jenner every day. The @selamxstudio collective, in turn, shows what happens when a beauty AI does Kyle Jenner’s make-up.

http://speedshow.net/speed-show-face-the-face/

The SPEED SHOW exhibition series was conceived by artist Aram Bartholl in June 2010. The basic idea of this exhibition format is to create a gallery like opening situation for browser-based internet art in a public cyber cafe or internet shop for one night. The exhibition format is free and can be applied by anyone at any place.

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Modell und Ruine

May 9, 2019


‘Common Ground’, Aram Bartholl 2019

Werkleitz Festival 2019
Modell und Ruine [Model and Ruin]
May 25–June 10

modell-und-ruine.werkleitz.de
The 2019 Werkleitz Festival Modell und Ruine [Model and Ruin] curated by Daniel Herrmann and Alexander Klose presents the works of 13 international artists as part of the Bauhaus Centenary celebration. Their projects are developed for the festival and play with the tension between the phenomena of models and ruins and their relevance in modern history. The works will be shown from May 25 to June 10 2019 in Dessau, Germany.

As powerful images, models—much like ruins—serve to construct history, explain the present and generate the future. The recurring rise and fall of Dessau seems somehow to draw such connections together like a burning glass. The exhibition parcours connects the classicistic Georgengarten with the classical modern architectural ensemble of the Meisterhäuser and the historicistic Mausoleum. The intention is to present Bauhaus in the larger context of the 250-year history of the modern age.

The featured artists are:
Haseeb Ahmed (US/BE), Rosa Barba (IT/DE), Aram Bartholl (DE), Michael Beutler (DE), Haris Epaminonda (CY/DE), Holmer Feldmann feat. Piotr Baran (DE), Angela Ferreira (MZ/PT), Nikolaus Gansterer (AT), Christoph Girardet (DE), Cornelius Grau (DE), Romain Löser (FR/DE), Andrea Pichl (DE) and Magdalena Rude (DE).

0,16 – Resolution

May 9, 2019



0,16 – Resolution

RAUM SCHROTH im Museum Wilhelm Morgner
Soest, NRW  http://www.museum-wilhelm-morgner.de

11. Mai – 30. Juni 2019

Die Stiftung Konzeptuelle Kunst widmet dem Medien- und Konzeptkünstler Aram Bartholl eine Einzelausstellung im RAUM SCHROTH im Museum Wilhelm Morgner.

Aram Bartholls Werk bewegt sich an der Schnittstelle zwischen analoger, digitaler und kultureller Realität. Das Spannungsfeld von öffentlich und privat, online und offline, von Technologieverliebtheit und Alltagsleben liegt im Kern seines Schaffens. Seine von Humor und großer Sensibilität geprägten Interventionen und Installationen bringen oft eine erstaunlich physische Manifestation der digitalen Welt mit sich und stellen unsere Konzepte von Realität und Virtualität infrage.

So ist die zentrale Arbeit dieser Ausstellung, „0,16“, eine Lichtinstallation, die das Pixelprinzip von Bildschirmen in die analoge Welt überführt. Digitale visuelle Kommunikation wird nachvollziehbar und sinnlich erfahrbar, ihre Methoden mit realen Inhalten gefüllt. Das verpixelte Bild eines lebendigen, in Echtzeit vorbeilaufenden Menschen erscheint in einer Auflösung von 0,16 ppi (pixels per inch) auf einem Schirm aus Holz, Papier und Stoff.