Current Events

Rectangle Noir

28. May – 15. July 2026
Group Show, Avant Galerie Vossen, Paris

For its new exhibition, the Avant Galerie Vossen brings together some twenty artists around the theme of the Rectangle. With this exhibition, the gallery continues to forge links between traditional practices and digital forms. *Black Rectangle* brings together painting, sculpture, installation, and new technologies.

A legendary motif
In the Lascaux caves, beneath the deer and bison we’ve known since childhood, researcher Stanislas Dehaene uncovered something unexpected: a black rectangle beneath the painting of the deer. The first geometric shape drawn by humankind. A minimal yet decisive sign—the beginning of symbolic thought, according to the researcher; this ability to create symbols is what makes us human; we are symbolic beings. Several millennia later, the black rectangle is still there, more than ever. It has multiplied; it covers our phone screens and our digital interfaces. The black rectangle censors, protects, hides. It is the form of imposed silence as much as it is of minimalist art. It is the browser window and the redaction bar. And it covers the walls of the Avant Galerie Vossen.

The black rectangle—poetic, humorous, political, algorithmic…
In the exhibition, the black rectangle takes on a poetic form for painters and sculptors. It is a humorous form for Apolline Régent when she plays with the legacy of the painter Malevich. It is a political form when Enora Denis finds it in facial recognition patents, masking the faces that feed the algorithms. It is an algorithmic form when Olivain Porry programs an AI to lie to other AIs and other humans. It is a physical form, rooted in the street, when Aram Bartholl seals a USB drive into the wall on Rue Chapon. It is fabric and sound when Cécile Babiole weaves electrical cables as one would weave wool.

In collaboration with Galerie Placido, 41 rue Chapon, 75003 Paris

With:

Clarisse AÏN, Jean-Michel ALBEROLA, Cécile BABIOLE, Robbie BARRAT, Ronan BARROT, Aram BARTHOLL, Louise BELIN, Ross BLECKNER, Benoit de BRETTES, CÉSAR, Mattia CUTTINI, Judith DEGOULET, Enora DENIS, David GUEZ, Grégoire HESPEL, Denis LAGET, Takesada MATSUTANI, Albertine MEUNIER, Hélène MILAKIS, PIERRE EDOUARD, Piero PIZZI CANNELLA, Olivain PORRY, Michel POTAGE, Apolline RÉGENT, Park SEO-BO, James SIENA, u2p050, Bernar VENET

SPEED SHOW Paris: Black Rectangle

28. May 2026
Curatorial, MILK, Paris

SPEED SHOW is back! We are very pleased to present a super diverse field of artists from net.art of the 1st generation to current web and screen based practice turning away from the platforms and smartphones to make work for the computer screen again. Back in the days monitors were heavy and computers weren’t mobile. Internet cafes were social spaces to meet and to be on the internet together. Over the years screens became smaller and flatter. Today we spend most of our time isolated on the black rectangle of a smartphone screen but a general fatigue of social media filled with clickbait-aislop has been making its way in the last few years. A young generation of digital artists is again producing exciting works for the computer screen, with pixels, HTML, as games, interaction and with a deep understanding of the web as the true social space. CU you at the cyber cafe!

Curated by: Aram Bartholl, Hugo Du Plessix & Emilie Blanchard / L’Avant Galerie Vossen

with: Cécile Babiole, Raphael Bastide, Nadja Buttendorf, Shu Lea Cheang, Vuk Ćosić, Insa Derk Wagner, Nathan Ghali, David Guez, Leander Herzog, Dasha Ilina, Jonas Lund, Stella Jacob, Cassie Mc Quater, Albertine Meunier, Vincent Moulinet, Rhea Myers, Nephilia, Eleonore Sense & Reem Saleh, Nicolas Sassoon, Antoine Schmitt, Florie Souday, Zero Crossing Point

May 28th 7:30-10:00pm, MILK cyber cafe, 31 BD SÉBASTOPOL, PARIS 1ER
Same night! ✨@avant.galerie opening „Rectangle noir“ group show! 6:00-9:00pm 58 rue chapon, 75003

Kunst Gegen Rechts

8. May – 7. June 2026
Group Show, Mieze Südlich in der NGfZK, Gera

From the exhibition flyer: ‘In our country, we are witnessing a strengthening AfD as a rallying party of the far-right and right-wing conservative spectrum. This year, significant events are taking place. On July 4th, the party intends to hold a federal party conference in Erfurt, the state capital of Thuringia — the very place where, exactly 100 years earlier, an NSDAP party conference was held. The NSDAP Reich Party Congress of 1926 is regarded as a turning point of the völkisch movement. At the time, the Nazis made a demonstrative march into the German National Theatre in Weimar…’

curated by Dirk Teschner und MIEZE SÜDLICH

Artists: Stefan Alber, Aram Bartholl, Benedikt Braun, Mirjam Dorsch, Thomas Draschan, Tony Franz, Tino Helbig, kanaluntersuchung (Frank Maibier / Andreas Winkler), Tonia Karn, Wilhelm Maria Elfriede Leithold, Dirk Leitloff, Eric Meier, MINETTA, Caterina Mitwalsky, Anne Mundo / Peter Wawerzinek, Ulrike Mundt, Alexander Neugebauer, Tommy Neuwirth, Thomas Prochnow, Christian Rothe, Hanna Schiller, Berni Bernchen feat Moritz Schleime, Marco Schmitt, Michal Schmidt, Bettina Scholz, Elisabeth Sonneck, Moritz Stumm, Ronny Szillo, Raul Walch, Ina Wudtke

Unfinished Reality

10. April – 5. June 2026
Group Show, United Art Museum, Wuhan

Moi et les autres

12. March – 13. September 2026
Group Show, Fondation EDF, Paris

By occupying nearly a third of our waking hours, screens are profoundly reshaping the contours of our relationships with others. In response, numerous journalistic and academic discourses echo concerns about the digital migration of our social lives: the idea frequently arises that the socio-technical systems at work in this migration are making us more resistant to diversity.

Our intention is to nuance this concern by acknowledging a foundational aspect of the internet—its original design to facilitate the virtuous and unprecedented emergence of communities of specific interests, often far more specialized than what our traditional offline social circles can accommodate. This utopia inevitably carries a tension between, on the one hand, the benefits of more efficient and far-reaching sociability, and on the other, the widely discussed risks of a social life limited to alters who are most similar to ourselves.

Curated by Aurélie Clémente-Ruiz, director of the Musée de l’Homme in Paris, and Camille Roth, a researcher at CNRS in social sciences.

With: Nicolas Bailleul, Aram Bartholl, Léa Belloousovitch, Neïl Beloufa, Sophie Calle, Paola Ciarska, Laurent Grasso, Juliette Green, Ben Grosser, Özgür Kar, Béatrice Lartigue, Lauren Lee MacCarthy, Katherine Longly, Randa Maroufi, Magalie Mobetie, Martine Neddam, Philippe Parreno, Françoise Pétrovitch, Valentina Peri, Marilou Poncin, Jeanne Suspuglas

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Upcoming Events

Self Storage

15. – 20. September 2026
Group Show, Espace Commines, Paris

We are made of memory, but memory itself is a fiction 

The exhibition Self Storage investigates how individuals construct identity through personal and intimate recollections, as well as through the technical and social systems that shape their traces. Memory is not an objective recording: it is an assemblage, a selective construction built from both forgetting and persistence. A memory emerges within a space shaped by desire, loss, and reconstruction. Self Storage foregrounds this subjective and unstable dimension of remembering. Diaries, family archives, obsolete technologies, and bodily reminiscences become raw materials to examine the materiality of memory and its capacity for reinvention.

Hard drives, clouds, online profi les, and social networks are gradually replacing notebooks and photo albums. This massive externalization questions the boundary between private memory and public exposure, between lived traces and standardized data. Self Storage extends this inquiry into a contemporary era where identity is stored, outsourced, and endlessly duplicated. Through the works assembled, the exhibition off ers a poetic and critical drift between real and invented memory, intimate and externalized. It prompts us to consider: What do we need to retain? What do we choose to forget? And what becomes of the “self” when it is reduced to archives, content, and imprints?

curation : Nicolas de Chérisey & Philippine de Salaberry in collaboration with Ellia gallery

participating artists:
Joël Andrianomearisoa, Maxime Antony, Marcella Barceló, Aram Bartholl, Federica Belli, Matthias Bitzer, Borgial, Victor Boyer, Amélie Caussade, Salomé Chatriot, Coucou Bébé, Nick Coutsier, Fleur Cozic, Paul Créange, Corentin Darré, Oli Epp, Léonor Fini, Nan Goldin, Gregor Hildebrandt, Ryoji Ikeda, Victoire Inchauspé, Éloïse Labarbe-Lafon, Octave Lauret, Louis Lekien, Inès Longevial, Keegan Luttrell, Shiva Lynn Burgos, Matisse Mesnil, Sabine Mirlesse, Polina Osipova, Louise des Places, Joséphine de Rohan-Chabot, Philippine de Salaberry, Tehotu, Egon Thuile, Thu-Van Tran, Louis Verret, Francesco Vezzoli, Rose Vidal, Xolo Cuintle, Kai Yoda, Yugnat999.

Grand Snail Tour

10. – 11. September 2026
Group Show, Urbane Künste Ruhr, Hattingen

The Grand Snail Tour activates public spaces in the region through artistic formats of exchange, participation, and co-production – often in collaboration with local actors. Over the course of three years, it will travel through all 53 cities in the Ruhr region. The project addresses important questions of social coexistence in an experimental and innovative way: Who owns public space and how can we create places for communal activities or activate existing spaces? What role does art play in this? The Grand Snail Tour aims to leave a variety of impressions, offer shared experiences and invite people to join the journey.

After Memory

10. July 2026 – 10. September 2026
Group Show, Kunstraum Kreuzberg, Berlin

AFTER MEMORY reflects on how memory is affected by endless social media feeds, clouded storage spaces, automated data storage, and networked communication technologies. This bears both challenges and chances, as practices of remembering and forgetting are reconfigured and their competences are transferred from institutional actors to civic initiatives and individuals. In turn, the role of museums and archives is redefined, too, whose collections no longer preside over a sovereign narration of the past, but constitute shared repositories for the future.

AFTER MEMORY is a project by: Nathalia Lavigne, Lisa Deml, Víctor Fancelli Capdevila

Recent Events

readOn Konferenz

31. March 2026
Talk, LUX Pavillon, Hochschule Mainz, Mainz

Am 31. März findet im LUX Pavillon der Hochschule Mainz die ganztägige, vierte Ausgabe der readOn Konferenz unter dem Titel AT THE EDGE OF KNOWING statt.

Die Konferenz richtet den Blick auf jene Momente, in denen Wissen brüchig wird – wenn sich zwischen Gewissheit und Vermutung, Erkenntnis und Ahnung ein offener Raum auftut. Ein Raum, der sich eindeutigen Definitionen entzieht: Fragen werden wichtiger als Antworten, Prozesse bedeutsamer als Ergebnisse – und Unsicherheit erscheint nicht als Mangel, sondern als produktive Kraft.

AT THE EDGE OF KNOWING lädt dazu ein, diese Schwelle des Verstehens bewusst zu betreten. Gemeinsam suchen wir nach neuen Perspektiven auf Gestaltung, Begegnung und das Denken möglicher Zukünfte. Nicht-Wissen wird dabei nicht umgangen, sondern als Ausgangspunkt ernst genommen.

In Vorträgen und Diskussionen untersuchen geladene Gäste, welche Rolle Unsicherheit in gestalterischen Prozessen, in der Forschung und in unserer Haltung zur Zukunft spielen kann. Die Konferenz versteht sich nicht als abgeschlossener Zustand, sondern als Reflexion eines Prozesses, der sich in die Ungewissheit hinein entfaltet – und lädt dazu ein, gemeinsam an den Rand des Wissens zu treten und die Weite des Unscharfen zu erkunden. In ungewissen Zeiten möchten wir Raum schaffen, um zusammenzukommen – und statt am scheinbar Sicheren festzuhalten, bewusst loszulassen und neu zu denken. Die Teilnahme ist gegen eine freiwillige Spende möglich.

Organisiert von den Studierenden des Masterstudiengangs Kommunikationsdesign der Hochschule Mainz.

Well informed. Badly disposed.

15. March – 24. May 2026
Group Show, Galerie Eigenheim, Weimar

Well informed. Badly disposed.
Doomscrolling, Negativbias und die sozialen Herausforderungen

Ort EIGENHEIM Weimar, Asbachstraße 1, 99423 Weimar / Eröffnung 14.03.2026 um 19 Uhr mit dem DJ Set Druck – Resonanz – Kontrollverlust von Christoph Höfferl / Dauer 15.03.2025 – 25.04.2026

beteiligte Künstler*innen: Anna Bittersohl, Aram Bartholl, Simon Baumgart, Jonas Blume, Benedikt Braun, Elisa Jule Braun, Paolo Cirio, Ben Grosser, Esra Gülmen, Susanne Junker, Philipp Kummer, Marc Lee, Kayla Mattes, Signe Pierce, Theresa Rothe, Michal Schmidt, Stefan Schiek

Der Auftakt des Jahresprogramms, das sich Zuversicht, Positivität und kollektiver Lebensfreude widmet, wird durch die Ausstellung “Well informed. Badly disposed.” markiert. Zugleich versteht sich diese erste Ausstellung als bewusste Problemanalyse: Sie benennt die Bedingungen, unter denen ein positives Jahresthema heute nicht naiv, sondern notwendig erscheint – als Haltung, um zunehmender Polarisierung, Emotionalisierung und politischer Vereinnahmung von Information etwas entgegenzusetzen.

Im Zentrum stehen die Mechanismen von Doomscrolling und Negativbias – Phänomene, die unsere Wahrnehmung, unsere Stimmung und zunehmend auch den gesellschaftlichen Diskurs prägen. Eine immersive, düster-dystopische Ausstellungskulisse definiert einen bewusst abstoßenden Raum und schafft einen von Reizüberflutung geprägten Erfahrungsrahmen, der Angst, Erschöpfung, Ekel und Abgründigkeit vermittelt. Die Ausstellung macht jene emotionale Überforderung erfahrbar, die aus der permanenten Konfrontation mit negativen Nachrichten entsteht.

Künstlerische Positionen untersuchen, wie digitale Informationsflüsse, soziale Medien und algorithmische Logiken unser Denken und Fühlen beeinflussen. Dabei wird deutlich: Plattformen sind nicht neutral. Sie spiegeln ökonomische und politische Machtverhältnisse wider, verstärken Polarisierungen und prägen demokratische Öffentlichkeiten weltweit. Zugleich zeigt sich, dass individuelle Mediennutzung eng mit Fragen von Verantwortung, Vertrauen und Bildung verknüpft ist. Die Ausstellung macht sichtbar, wie stark wir dazu neigen, das Negative stärker zu gewichten als das Positive – und wie soziale Medien und Informationsplattformen diesen Bias gezielt nutzen, um Aufmerksamkeit zu maximieren.

„Well informed. Badly disposed.“ beleuchtet bewusst die negativen Einflüsse unserer medialen Umwelt und macht zugleich neugierig auf die weiteren Ausstellungen des Jahresthemas. Sie eröffnet den notwendigen Kontrast, um die Kraft der Zuversicht in den folgenden Projekten umso stärker erfahrbar werden zu lassen. So bildet diese erste Ausstellung den kritischen Auftakt für ein Programm, das Schritt für Schritt Perspektiven auf Optimismus, Empathie und kollektive Freude entfaltet.

Bring Your Phone!: TOUCH FARM

16. January 2026
Curatorial, panke.gallery, Berlin

🤳🏾Bring Your Phone! : TOUCH FARM 🌾👩‍🌾 reclaims the idea of the farm for the screen age. If farming once organized land, labor, and life, today it organizes attention and clout. TOUCH FARM takes the architecture of click farms and flips it from extraction to participation.

Bring your phone. Exhibit your work. Everyone participates.
🐷🐐🐰🐖🐴🐑🐓🐖🐔🐮🐇🌾🚜👩‍🌾
Curated by @arambartholl & @socratesstamatatos.

🎉 #Vorspiel 2026 Opening Party at @panke.gallery

📍panke.gallery, Friday, 16 January 2026 at 7 PM (Gerichtstr. 23, Hof 5, 13347 Berlin)

Blog Archive for Tag: howto

Your Prof Application

April 17, 2023

Dos & Don’ts for your application in art & design, 

Your professor hearing / interview situation: 

This is a total random and uncomplete list of the top of my head from personal experience in these situations over the past 10 years, (from both ends of the table) There is much more to say about this of course, but here is a start to avoid the most classic mistakes. Also disclaimer, in other disciplines total different rules may apply…. and all of this my private opinion. Aram 2021

Preparations

  • Know the school in detail! Study their website, their programs, the people teaching there. This will make a good impression when you can relate to this knowledge in the conversation.

  • Also make sure that you know who is running the workshops that are relevant to your field. Those workshop leaders have a high chance to be in your selection committee as well.

  • If you still have questions calling the school or a professor who is in the selection committee might be beneficial.

  • Know the address of the school and come early. It gives you time to look at the campus. I was in interviews where the applicant took a taxi that brought them to the wrong campus.

  • Normal but crucial: Check all your hardware, cables, adapters etc. Make sure the presentation really works, videos play, sound etc. Test your presentation in a two monitor setup.

  • In case it is a remote presentation  (Zoom), make 100% sure you have a top internet connection. Use an ethernet cable not the kitchen wifi. Dont have people walk in your room interrupt you.

  • Some committee members will right away search on google for you, not paying attention to the exquisit PDF you crafted. what and where will they find? it makes sense to have a website. (always! 😉



Portfolio

  • The traditional portfolio has an Anschreiben, a CV with teaching experience, exhibitions, publications, things you did in the self organisation of other universities, people you worked with can also be added.

  • One part should talk about the way you teach and how you imagine the teaching at the school you are applying at. Universities are always interested with whom you might collaborate.

  • If it’s a digital application then a horizontal screen optimized portfolio makes the most sense.

  • If you are not a graphic designer yourself it can be beneficial to ask one to support you with your portfolio but try not to over do it.

  • In case you re not getting invited for a hearing+interview within 3-6 months after the deadline of the application, it is very likely you are not selected for the 2nd round. It will take another 12months or so till you get a rejection notice. the whole process needs to be finished before they can let you know, german burocracy.



Hearing / lecture situation

Normally this will take 30 to 45 minutes. You will give a lecture in front of the hearing commitee and students from the school (“hochschulöffentlich”). After your presentation their will be 15 minutes for q&a.

  • Come early and check if your laptop works with the projector. It is good to have some kind of backup (usb stick with the keynote file ect.)

  • Don‘t read from notes!! Freely spoken lecture for a professor job is mandatory! It can be K.O. reason later.

  • Check the time. You need to keep track of the time yourself. (maybe you need to switch to other content you were asked to at some point) Make sure to stay in the asked time frame.

  • Yes, be self confident, show your works but don‘t bragg too hard about it. Your are not talking to a customer, gallerist or collector etc.

  • Important! Also show student works, not just your own work. They know already your work is great, but they will judge you also on your students results. When showing student work, be very precise with the attribution! (Who, when, where, what) (I would say it also depends on how applied the school is. The more applied it is then show more student work and how you want to structure the course. The more artistic the school is the more talk about your artistic vision/portfolio ect)

  •  ….

Interview situation with Berufungskommission

After the hearing there will be a more private q&a with the application commitee. Normally this will happen in a different room then the lecture.

  • Yes, you wrote a long application with all your info and CV etc but not everyone in the room (10-15 people) has read that or already forgot details. Assume they don‘t actually know you.

  • Classic tip, but here again. Unless you re asked to, don‘t talk about your weaknesses, things you are missing in your qualification or in your education. (they don‘t know, they already forgot your CV)

  • Besides individual questions these are the most common, sort of default questions for a professor hearing in Germany you can expect:
  • Why do you think you fit this position? (classic, always, everywhere)


  • What would you teach next semester in your class? What topics? How would it look like? Who would you invite? Etc.

  • This is a full time position! Aren’t you afraid this position will throw over your art/design career? How will you handle that?
    Besides teaching, what are you planning to research? What is your research field?

  • What ist your vision for your class/program? what do you need in terms of equipment/space?

  • Are you interested in interdisciplinary collaborations? Who could be a partner? (In school, city, world wide)

  • Are you willing to participate in akademische Selbstverwaltung/ commitee work? Do you have experience?

  • Will you move to the city? (they usually want that of course) Just answer with yes, you can always change your mind later 😉

  • From when on are you available? (obligations, other contracts?)

  • What are your questions? They will ask you that. What do you want to know?

  • Questions like: “You just got a kid. How will you be able to handle the work load?” are very unethical but they get asked sometimes. You should think about how to answer them in a polite way and make clear that this is not an appropriate question. Every commitee has a “Gleichstellungsbeauftragte(r)” a person for diversity and equal rights. They should intervene in such cases

  • ….

Some background info 

  • Often the Berufungskommission doesn’t know what they want or have internally very different ideas who to employ.

  • Also, they want everything. You need to be international but need to have local connections. You have to have experience in teaching but als be great in research. Should be super famous but that could also be a problem (depending on school) and it goes on like this. It s impossible to fit it all.

  • It is important to understand that that they will judge you not only for your expertise but they also wonder “do i want to work with this person in commitee meetings next couple decades?”

  • Not everyone in the Kommission is an expert in your field. Sometimes they have weird ideas.

  • These Kommissions can be very erratic and come to conclusions which are hard to follow (politics)

  • If you get invited but not actually fit the requested profile, meaning you re ‘fachfremd’ it is not very likely for you to get the position. They just wanted to please themselves with “Oh look, we invited such a diverse crowd”

  • The whole process for new positions in germany takes unfortunately super long most of the times. This means you had your interview but don’t hear back from them for months or even years. They can only let you know you ve been rejeted once the position is confirmed and a contract has been signed etc.

Fun fact!

You don t need to wear a suit jacket (sakko) to be taken serious (unless you are wearing those for real)

Dont give up! try again and again!

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How to share a UCLA all day parking ticket

May 17, 2016

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How to share a 12,-$ UCLA parking ticket:

  1. Get your 12,- $ all day visitor parking ticket .
  2. Leave it in the car as long as you park at UCLA.
  3. When you leave pass it on!
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POST HACK or How To Send A Letter For Free

October 27, 2015

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POST HACK or How To Send A Letter For Free:
A letter is a message written with a pen on a piece of paper (dead tree) which gets delivered in its physical original form[!!] to the recipients physical home address (house in a city i.e.). Wow, pretty cool concept, no?

  1. Materials: Paper (blank paper is ususally almost impossible to find but if you’re lucky there might be some sheets left in a printer near by), Pen (just ask your friend or cubical neighbor for a pen to borrow. I recommend to keep it after writing the letter, you might need it again later…)
  2. Write a letter (ask your friend for a FB like or something…) and fold the paper to an envelope (see video)
  3. Adress!: Now the important part! On the envelope swapp the names of sender and recipient!  put the real recipient in the field of the sender and make up a non existing address for the official recipient field.
  4. NO STAMP!!  Send it off and wait for the letter  to ‘return’ to the ‘sender’.

How does it work? The postal service will try to deliver the letter to the recipients home. Due to wrong address it will  fail and the letter will ‘go back’ to ‘the sender’ which is the real recipient. In my first try below I just swapped sender and receiver which led to a visit at the post office in Berlin where I had to reject my own letter to make it ‘go back’ to ‘the sender’ in Berlin.

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On Tuesday October 20th after class I posted the letter at a letter box (funny metal container in public, different colors depending on the country you re in) in Kassel
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Since I put my real address as recipient the Deutsche Post did send me a note (another piece of paper!)  to my Berlin address to let me know they have a letter for me. They also announced it’s gonna cost extra money because the sender was so stupid to put no stamp.
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So I went to the Post office on Torstrasse in Berlin and told the clerk that I don t know the sender and that I m not gonna pay 62 cents + 51 cents fine for this strange piece of paper. No problem she said and filed it away…
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Finally!! Yesterday on Sunday (prolly on Saturday, five days later) the letter arrived at Constants place in Berlin. Thanks for the tweet! 🙂 https://twitter.com/constantdull/status/657978567381397504  Love it! What a beautiful envelope with all these extra notes and stamps on it.
 

How to make a POV headband for your phone

February 11, 2015

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You always wanted to shoot hands free Point Of View video but there is no Google Glass or a GoPro around? Here is how you can make a simple POV headband to shoot video from your forehead with your phone!  “Yes, I am actually filming you!”
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1. Materials & tools: Sticky velcro, headband, scissors, needle and thread.
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2. Stick the sturdy side of the velcro to your phone.
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3. Any headband, winter or sports stlyle should be fine.
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4. Stick the soft side of the velcro to the headband. For safety do a few stiches on the four corners.
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5. Stick the phone to the headband.
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6. Done! Make a lot of them! Shoot POV video together with your friends!
Aram Bartholl: Point Of View at Babycastles (FB), NYC
Feb 20. – April 10, 2015, Preview Feb 19, 6:00 pm (RSVP)
Workshop on opening night: Build your own POV head band for your phone!


Point Of Vision video shooting experiments with Atlantic Center of the Arts residents: Bonnie Ebner, Sally Hill, Maja Kalogera, Katie Loughmiller, Jane Remick, Tom Smith, Chase Starr, Merav Tzur at BayBar New Smyrna Beach, Oct 2014
THX everyone!!! :))
See also KATSU Mumble Cam™ for super quick & dirty POV video shooting!

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How to make a light bulb to AC socket adapter

July 30, 2012


(since you can t buy these in EU … w/ @daviddarts at Offline Filesharing workshop at Baltan labs, Eindhoven NL)
 

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How To Avoid Facial Recognition

May 15, 2012

or ‘YOU GOTTA FIGHT FOR YOUR RIGHT TO PAAARTY (ANONYMOUSLY!!)

How To Avoid Facial Recognition from Aram Bartholl on Vimeo.

This is not a hoax! It really works! But you ll need some extra training for your neck muscles 😉 Don’t be worried about party pictures any more. Just keep your head tilted when ever a friend pulls a camera or you travel to the UK. You’ll be safe! In case you are not an expert in software like Kyle’s ofxFaceTracker you can also test this just with your phone or camera. Facial recognition is default nowadays (especially on all the Faceboogles….)!!


by Kyle McDonald & Aram Bartholl
Berlin 2012
first posted on fffff.at/how-to-avoid-facial-recognition May 9 2012

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‘How To Vacuum Form’

January 31, 2012

How To Vacuum Form from Aram Bartholl on Vimeo.

http://youtu.be/eE26y-r63vY, track byDanny Dive Thru
I am very pleased to finally publish this new project I’ve been working on the last couple months (def. not a Speed Project 😉 It was premiered last week at my solo show opening ‘Reply All’ at [DAM] Berlin. If you are in town drop by, check out the show and make your own mask! FOR FREE!!
‘Reply All’
Solo show: Aram Bartholl, January 28 – 10th March 10 2012
[DAM] Berlin, Neue Jakobstr. 6/7, 10179 Berlin


Materials:

  • polysterol 1-1,5 mm, 23 x 33 cm
  • plaster
  • hose, hose connectors
  • clamps
  • vacuum hand pump, (camping supply)
  • toaster
  • wooden board, rods
  • stop watch
  • original, prototype or master mask to make copies from

Tutorial:

  1. positive plaster cast from mask
  2. additional plaster modeling (chin and forehead) optional
  3. negative plaster cast from model to obtain master mold
  4. include hose, hose connector and holes for decompression in the cast
  5. toaster parts rearranged to heating board, mounted on stand
  6. heat 1mm polysterol approx. 2 min in 6cm distance
  7. and keep pumping !!


all pics on flickr!
Vacuum forming is a quite old technique and is used a lot in mass industry especially packaging and such. The lid of your coffee cup is vacuum form i.e. Students in product design are used to vacuum form their prototypes, it’s a very common technique in that field. You also find all kinds of tutorials on the web how to build your own DIY vacuum former (Instructables). The one I am proposing is less flexible in what you can produce but are able to produce the same piece in a rather fast cycle (2:30 min) The setup above was inspired by this video.
I think we live in a super interesting era. This is just the start of a paradigm shift from mass industry production to self DIY fabrication. And it s going to get very interesting with all the patents and copyright issues for physical objects very soon. Like Cory Doctorow puts it: “… to fight what we thought was the final boss at the end of the game, but it turns out it’s just been the mini-boss at the end of the level, and the stakes are only going to get higher.” I am super curious to see someone print a pair of Nike sneakers on the new makerbot replicator or just imagine Apple would sue everyone because your DIY tablet looks like an iPad. It might happen soon. – Aram Bartholl 2012
Build your own vacuum forming gear today. Copy, experiment and remix! Start coping physical things! And keep pumping!! 😉


Transparent Guy Fawkes


“You don’t know the power of the dark side! We are Legion. The force is with you. Expect us. Join the dark side !”

Darth Fawkes
“How To Vacuum Form”
by Aram Bartholl 2012

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How To Turn Code Into Art

October 12, 2011

[1st published on fffffat]

Art aware hackers!! Your code can be art! Yes, no kidding!!!

Recent events have shown again that computer code and its power is still underestimated by the public and governments. The way software is written, it s quality, openess, closedness etc. has a very high impact on which way society is taking.  Some small changes or features in code can result in an enormous loss of democratic values or lead to a hidden surveillance state.  Because comparably only few people can read and understand code it is so important we communicate it, discuss it in public and make it art! 🙂
Congrats to the CCC for revealing and revers engeneering this incredible piece of software and to FAZ (a leading german news paper, circulation of 360.000) which went of the charts by printing 5 full pages assembler code. Awesome!

BOINGBOING: Chaos Computer Club cracks Germany’s illegal government malware, a trojan that spies on your PC and lets anyone off the street hijack it
Germany’s Chaos Computer Club published the sourcecode for a piece of malware used by the German government to spy on citizens. The software was discovered in the wild and reverse engineered. It can be used to spy on or control remote PCs. Because of flaws in the software, anyone who was infected with this by German police was vulnerable to spying by “anyone on the street.” The German supreme court banned the use of trojans to spy on German citizens in 2008. ….

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