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 Tag: areyouhuman

‘Touch Me’ article – Dominique Moulon

March 11, 2019

An excerpt of the article “Touch Me” about the Biennale de Strasbourg by Dominique Moulon

http://artinthedigitalage.net/blog/2019/02/17/touch-me/

[…]


Aram Bartholl, Are you human?, 2017.

Mais qui pourrait aujourd’hui se passer des services des GAFA ? Quand ce sont des machines qui, régulièrement, nous demandent de prouver que nous n’en sommes pas. Avec cette série Are you human?, Aram Bartholl n’a de cesse de détourner les codes de l’esthétique dominante : c’est-à-dire celle du numérique. Celui-ci s’est d’abord intéressé aux Captchasque l’on doit décrypter sous peine de se voir refuser quelques accès avant de se focaliser sur les systèmes de grilles où il nous faut sélectionner toutes les images de ponts ou de panneaux de signalisation entre autres véhicules. Les tirages grand format de l’artiste berlinois n’offrent toutefois que des vues de paysages où l’on devine parfois des frontières. L’idée étant de nous inciter à reconsidérer les tâches que nous effectuons en cette ère mondialisée. Car souvent, sans même le savoir, nous renseignons des entreprises mieux que ne le feraient des robots. Que les machines ne soient pas encore si intelligentes que cela pourrait être de nature rassurante. Et effectuer très régulièrement de petits travaux sans salaire aucun devrait nous irriter. A moins que l’on ne considère ces travaux comme d’intérêt général.


Bartholl, Point of view, 2015.

Il est admis que les smartphones que Aram Bartholl représente dans son installation sculpturale Point of view, en seulement une dizaine d’années, ont changé notre rapport à l’image. Ce n’est plus le boîtier qui est reflex, mais la photographie elle-même que l’on pratique par réflexe. Puisque l’on documente tout, de ce que l’on adore à ce que l’on déteste, sans omettre les images d’autrui que l’on commente sans retenue aucune sur les réseaux. Le Selfiesymbolisant merveilleusement bien ce désir immodéré que nous avons d’être dans l’image. Au risque parfois de créer des situations incongrues quand, par exemple, tous les fans d’une foule tournent le dos à leur icône pour être au plus près d’elle dans l’image capturée. Il est intéressant de remarquer ici que ce sont essentiellement des jeunes ordinaires qui ont initié cette tendance ô combien narcissique du Selfieavant que les célébrités du monde entier ne les copient. Citons les propos de Charles Baudelaire qui, déjà en 1859, soit vingt ans seulement après l’invention de la photographie, s’exprimait ainsi : « À partir de ce moment, la société immonde se rua, comme un seul Narcisse, pour contempler sa triviale image sur le métal».

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The Last Captcha

October 23, 2016

the-last-captcha-1
the-last-captcha-2
The Last Captcha
b/w print on paper, 250 x 64 cm
Facebook captchas only show when you are about to delete your acount. Captcha codes have been part of our web experience for more than 15 years now. Since recent advances in machine learning it became clear captchas are not suitable anymore to prove that the user is human (and not a bot or dog). Google and others showed they can beat the human brain reading the scrambled characters better than we can. It is the end of an era. I still love them.
Aram Bartholl
2016
related project: ‘Are you human?
 

Are you human? – stamp & drawing @ Node15

May 16, 2015

are-you-human-body-stamp-node15-17
Are you human? –  stamp interaction & floor drawing
ink, stamp 24 x 6 cm, chalk drawing, 18 x 4 meter
Aram Bartholl, 2015
at NODE biennial festival – Forum for Digital Arts.
From April 27th – May 3rd 2015, Naxoshalle, Frankfurt.
Exhibition curated by Jeanne Vogt & Alexandra Waligorski
are-you-human-body-stamp-node15-16
are-you-human-body-stamp-node15-13
are-you-human-body-stamp-node15-14
are-you-human-body-stamp-node15-15
are-you-human-chalk-drawing-node15-05
pictures by NODE forum
are-you-human-chalk-drawing-node15-11
are-you-human-chalk-drawing-node15-04
are-you-human-chalk-drawing-node15-01
are-you-human-chalk-drawing-node15-06
are-you-human-chalk-drawing-node15-08
are-you-human-chalk-drawing-node15-07
are-you-human-body-stamp-node15-09
Thx!! :))

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Are you human? (steel)

September 23, 2013

Are you human?
(ongoing series 2009 – 2013)
550 x 130, 10mm steel
2013
Shown at ‘Hello World!! solo show at Kasseler Kunstverein, Sept 2013






CAPTCHA codes are small images we encounter on the internet almost every day. To prove to the server that we are human we have to decode the distorted random letter-number word. CAPTCHA is the acronym for “Completely Automated Public Turing test to tell Computers and Humans Apart” and was developed in 2000. While at the Turing test humans were to decide if they chat with a program or another human. Today the computer is asking us if we were human. At the same time often it is quite difficult to decode these bend letters and numbers but spammers write specialized software which still is capable to do so. Are you human?
It is also interesting that CAPTCHA codes are generated by a script in the very moment a website is requested. In fact each code is unique but forgotten in digital nirvana very quickly. Once used (or failed) it will never appear as alike again. While many other files on the Internet are being copied and multiplied CAPTCHA codes stay in an ephemeral blind spot. They seem light, sometimes like a micro poem but they ask us the very existential question in an era of digital life.
This code was found on yahoo.com in spring 2013.
 

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Pieces at Pace

September 21, 2011


Google Portrait series at ‘Social Media’ Pace gallery NYC, Sept. 2011, 70 x 70 cm, edding, edding, char coal, stamp ink, all on paper

Are You Human? series at ‘Social Media’ Pace gallery NYC, Sept. 2011, dimension variable, up to 100 x 45 cm, 3 mm aluminum anodized, laser cut

'Social Media'

September 5, 2011

I’ll show new work from the ‘Google Portrait’ series and ‘Are you human?’ series at ‘Social Media’, Pace Gallery, opening mid September… CU there!


“Social Media”
The Pace Gallery & Pace/McGill
510 West 25th Street, NYC
from September 16 through October 15, 2011.

Opening, on Thursday, September 15 from 6–8 p.m.
SOCIAL MEDIA
September 16 – October 15, 2011
Video stills from I Love Your Work, 2011, by Jonathan Harris
NEW YORK, August 22, 2011—The Pace Gallery, Pace/MacGill Gallery and the MFA Photography, Video
and Related Media Department at the School of Visual Arts are pleased to present Social Media. The
exhibition focuses on contemporary artists exploring public platforms for communication and social networks
through an aesthetic and conceptual lens. In an era of increasingly omnipresent new technologies, Social Media
examines the impact of these systems as they transform human expression, interaction, and perception. The
exhibition will feature works by Christopher Baker, Aram Bartholl, David Byrne, Jonathan Harris, Robert
Heinecken, Miranda July & Harrell Fletcher, Sep Kamvar and Penelope Umbrico
.

Are you human? video docu #GFDB

May 18, 2010

Aram Bartholl – Are you human? from Graphic Matters on Vimeo.

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CAPTCHAS in Breda

May 10, 2010


Are you human?
during the
Graphic Design Festival Breda “Decoding”
8th – 30th of May, 2010, Netherlands.
Thx to Dennis and the team!
I had a very good time and it was fun hanging out with Zach and the OF workshop crowd! CU around guys!

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DECODING

May 7, 2010



I am showing “Are you human?” at GDBF.
Graphic Design Festival Breda (GDFB) is a biannual festival on graphic design. The festival goes into present developments on this subject and a large part of it takes place in the public space.
GDFB

8th – 30th of May, Breda, Netherlands

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Inside

October 27, 2009

ayh-vienna
Are you human?
dimensions
variable , ~ 40 x 90 x 1 cm
metallic coated acryl 3mm, foam core 5 mm, lasercut

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