Current Events

The Artist Is Online

18. March 2021 – 18. April 2021
Group Show, König Galerie, Berlin

KÖNIG GALERIE is happy to present the exhibition THE ARTIST IS ONLINE curated Anika Meier & Johann König

with works by:
Trey Abdella, Ai-Da, Gretchen Andrew, Daniel Arsham, Banz & Bowinkel, Aram Bartholl, Arno Beck, Lydia Blakeley, Ry David Bradley, Arvida Byström, Damjanski, Stine Deja, Rachel de Joode, Maja Djordjevic, Chris Drange, Johanna Dumet, Hannah Sophie Dunkelberg, Ben Elliot, Oli Epp, Liam Fallon, Travis Fish, Rosie Gibbens, Evgen Copi Gorišek, Cathrin Hoffmann, Andy Kassier, Nik Kosmas, Brandon Lipchik, Jonas Lund, Miao Ying, Pascal Möhlmann, Rose Nestler, Hunter Potter, Grit Richter, Rachel Rossin, Manuel Rossner, David Roth, Aaron Scheer, Pascal Sender, Sarah Slappey, Fabian Treiber, Theo Triantafyllidis, Anne Vieux, Amanda Wall, Fabian Warnsing, Thomas Webb, Jessica Westhafer, Anthony White, Chloe Wise, Hiejin Yoo, Janka Zöller

pictures
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Upcoming Events

Decision Making – L’instant décisif

9. December 2021 – 13. March 2022
Group Show, Canadien Cultural Centre, Paris

Decisions are the result of complex cognitive processes. Considering them collectively when they involve our shared futures makes them harder to make. But, more and more often, we include machines into such processes through algorithms qualified as decisional. Of course, it raises questions that artists know how to put into perspective. Because of the age that we are currently living in, a brief instant regarding the whole history of our planet, is decisive considering the choices available to us for a responsible development of Artificial Intelligence. Therefore, it is now that human rights are at stake, for instance, about what will emerge from the use of our personal data. The consideration of artworks coming from decisive processes connecting humans to machines could only spring us into an immediate future that still belongs to us.

Curated by Dominique Moulon & Alain Thibault

Domestic Drama

2. December 2021 – 20. February 2022
Group Show, Halle Für Kunst, Graz

Museum of Cryptography

5. September – 31. December 2021
Group Show, Museum of Cryptography, Moscow

2021 году в Москве откроется первый в России Музей криптографии.

Широкой аудитории будет представлено прошлое, настоящее и будущее криптографии, математики и смежных дисциплин. Музей криптографии станет новой точкой притяжения на карте города — местом, где доступно и просто говорят о развитии современных технологий.

Здание, в котором будет расположен Музей криптографии, впервые откроет свои двери для широкой публики. В советские годы это была знаменитая «шарашка» в Марфино, где ученые разрабатывали аппаратуру для шифрования телефонной связи.

Важной частью музея станут мультимедийные экспонаты, инфографика и интерактивные островки формата look&feel, а также редкие экземпляры научных трудов.

Внимание! Молодежная команда Музея криптографии сформирована. Подробности

How to Win at Photography

5. June 2021 – 5. September 2021
Group Show, Fotomuseum Winterthur, Winterthur

Recent Events

Mind Over Matter

11. December 2020 – 15. March 2021
Group Show, Technische Sammlungen Dresden, Dresden

MIND OVER MATTER, eine englische Redewendung, die mit der deutschen Volksweisheit DER WILLE VERSETZT BERGE verglichen werden kann.

Die Redewendung wird ebenso in der Parapsychologie für die Beschreibung von paranormalen Phänomenen, wie z.B. der Psychokinese verwendet. Es sollen im Rahmen der Ausstellung und des Vortragsprogramms vor allem Fragen der Bewusstseinsforschung, des Machine Learning und der Struktur des Selbst und Selbsterlebens nachgegangen werden. Seit jeher werden diese Fragen im Rahmen von Science-Fiction Literatur, aktuellen Filmreihen wie Matrix oder Westworld in Zukunftssettings projiziert, die mittels fortschrittlicher Technologie die Frage zu lösen versuchen, wie sich Geist und Bewusstseinsphänomene innerhalb von komplexen Materieansammlungen, die aus kleinsten, atomaren Bestandteilen zusammengefügt sind, entwickeln und manifestieren
kann. Diese aktuellen philosophischen Fragen, die sich anhand unserer technischen Errungenschaften in Hinblick auf elektronische Datenverarbeitung und umfassende Massenkommunikation mit neuer Vehemenz stellen, sind aber bereits seit Jahrhunderten auch in unseren Breiten im Zentrum der philosophischen Spekulationen, angefangen beim Bewusstseins- und Gottesbegriff von Rene Descartes und Gottfried Wilhelm Leibnitz im 17. Jahrhundert. Es werden unterschiedliche philosophische Grundfragen nach der Struktur des Seins, der Materie und der Zeit aufgeworfen, die mittels technologischer und künstlerischer Versuchsanordnungen erforscht werden.

Die Frage nach der Natur unseres Bewusstseins, und wie es möglich ist, dass es in unserem Universum existiert und es erlebt, ist wohl das faszinierendste Rätsel, mit dem wir konfrontiert sind. Das Forschungsgebiet der Künstlichen Intelligenz (KI) wurde nicht zuletzt ins Leben gerufen, um darauf eine Antwort zu finden. Die Medienkunst bezieht sich seit ihren Anfängen auf die Erforschungen dieses Verhältnisses von Mensch, Technologie und Bewusstsein, unter Zuhilfenahme technologischer und künstlerischer Modelle und technischer Hilfsmittel. In dem Versuch, auf Computern die kognitiven Prozesse des Menschen zu realisieren, entwickeln wir ein testbares Verständnis und Begriffe davon, wie elementare Informationsverarbeitungsprozesse zu komplexem Erleben führen, es handelt sich um nicht weniger als dem Versuch einer Theory of Everything , mittels der Spiegelung und Überführung in ein maschinell-abstraktes Informationsverarbeitungssystem, welches aber nach dem Vorbild der menschlichen Informationsverarbeitung modelliert wurde.

Was unterscheidet heutige KI-Systeme vom menschlichen Geist? Die heutigen Anwendungen der KI konzentrieren sich vor allem auf die Klassifikation von Daten und die Steuerung technischer Systeme. Unser Geist ist jedoch mehr als ein Klassifikator: er erschafft aktiv ein dynamisches Modell der Umwelt, einen Traum, der in den sensorischen Daten verankert ist, und den er erlebt und reflektiert. Künstlerische Arbeiten, die diese Modellierung in technischer wie humanistischer Hinsicht exerzieren und reflektieren sollen vorgestellt und diskutiert werden, dabei sind lokale, nationale und internationale Beiträge eingeladen.

Owned By Others

1. December 2020 – 31. January 2021
Group Show, Museum Tropicana, Berlin

Owned by Others is an artistic endeavor uncovering narratives, places, and artifacts from, around, and on Berlin’s Museum Island. The dialogical initiative fosters actions, interventions, research, performances, and social encounters in the public realm which link the island’s multi-layered history-scapes to global contemporary artistic practices. The project unfolds in fall 2020 through a series of interventions, a map-based website, and a publication. As collaborations span from Baghdad to Guatemala City, from Addis Ababa to Tijuana, and from Singapore to Dakar, the démarche revolves around the structures of Museum Island. The Initiative translates ongoing political discussions into contemporary, post-national collaborations, relations, and methods that negotiate globality, historicity, and the present.

OWNED BY OTHERS
Fremdbesitz and tracing narratives of an island

Owned by Others is an artistic endeavor uncovering narratives, places, and artifacts from, around, and on Berlin’s Museum Island. The project assembles methods for thinking about and tactics for claiming the site as a new city center of the commons. Who is responsible for telling the story of this place, and where might they be stuck in times of the pandemic?

RE-INVENT CENTRALITY
A map-based website www.ownedbyothers.org and public archive as well as events, exhibitions, and weekly gatherings complete the project. The physical center of all processes is the newly established Museum Tropicana at Spreeufer 6 opposite the Berliner Schloss. It accommodates the Owned by Others offices; hosts a supporting program with exhibitions, presentations, and lecture performances; and convenes a weekly Tuesday evening get-together strictly following the latest hygiene regulations.

a project by Lutz Henke & Raul Walch

With contributions by:
Adam Kraft, Andreas Gehrke, Anna-Sophie Springer, Albrecht/Wilke, Alvaro Urbano, Aram Bartholl, Arijit Bhattacharyya, Cinema Lada, Fernando Sánchez Castillo, Ina Weise & Marcus Große, Jeewi Lee & Aliou Badou Diack, Kasia Fudakowski, K-Verlag, Lutz Henke, Miguel Buenrostro, Peter Behrbohm,  Raul Walch, Regina José Galindo, Santiago Sierra, Tarkib, Teresa Margolles, Yuichiro Tamura, Zentral- und Landesbibliothek Berlin, Zoë Claire Miller, Zuzanna Czebatul

pictures

Zeitmaschine

12. November 2020
Talk, FH Potsdam, Potsdam

Zeitmaschine: A mini conference at FH- Potsdam

with:
Kim Albrecht
Aram Bartholl
Dorit Mielke

Blog Archive for Tag: keepalive

Keepalive in german press

October 17, 2016

keepalive-haz-3

http://www.haz.de/Nachrichten/Der-Norden/Uebersicht/Ein-Stein-mitten-im-Wald-in-der-Lueneburger-Heide-ist-ein-WLAN-Hotspot
 
keepalive-mopo

http://www.mopo.de/news/panorama/bizarres-kunstprojekt-dieser-felsbrocken-gibt-ueber-wlan-ueberlebens-tipps-24841340
 
After a recent visit by a DPA reporter at Springhornhof museum, Neuenkirchen a series of articles about “Keepalive” came out in Germany.
More:

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DOMENICO QUARANTA: Oh, When the Internet Breaks at Some Point

May 15, 2016
An essay by Domenico Quaranta about the piece Keepalive recently published on mefsite.wordpress.com – MEDIA IN THE EXPANDED FIELD, A collaborative platform for the participants in the think tank ‘Media in the Expanded Field’, curated by Montabonel & Partners.
THX!!

DOMENICO QUARANTA: Oh, When the Internet Breaks at Some Point

   mefsite.wordpress.com/2016/05/12/domenico-quaranta-oh-when-the-internet-breaks-at-some-point/

keepalive-neuenkirchen-aram-bartholl-05-1000
“Walked out this morning / Don’t believe what I saw / A hundred billion bottles / Washed up on the shore / Seems I’m not alone at being alone / A hundred billion castaways / Looking for a home” The Police, “Message in a Bottle”, 1979
Back in October 2010, German artist Aram Bartholl cemented 5 USB flash drives in various locations in New York, as part of an Eyebeam residency. [1] Referring to the way, in espionage, items are passed between two individuals using a secret location and without an actual meeting, he called the project Dead Drops. The first five dead drops were empty, except for a small readme file explaining the project. A dedicated website was set up, featuring a video tutorial and a simple “how to” and inviting people to participate in the project.

In interviews, Bartholl explained that at the beginning he was just fascinated by the power of an image: a small data container plugged in the wall, in public space, and a person trying to access it with her own device. He invited people to participate by dropping files in and taking files out, installing their own dead drop and sending the GPS coordinates to Bartholl. As in many collaborative projects, he wasn’t particularly confident about people’s participation, and he believed that the project was conceptually strong enough even in the shape of a small, five-nodes network. But people liked the idea, and as I’m typing on my keyboard today, the online database features almost 1500 registered dead drops for a total storage space of 9891 gigabytes. I installed my own a while ago and I’ve noticed some others along the years, and I’ve always been fascinated by the precariousness of these tiny, rusty artifacts. I’ve never seen anybody plugging in, and probably most of them are almost empty, or out of work. But they are, still, extremely powerful as an image.

Message in a Bottle
“A Dead Drop is a naked piece of passively powered Universal Serial Bus technology embedded into the city, the only true public space. In an era of growing clouds and fancy new devices without access to local files we need to rethink the freedom and distribution of data. The Dead Drops movement is on its way for change! Free your data to the public domain in cement! Make your own Dead Drop now! Un-cloud your files today!!!” Aram Bartholl, “The Dead Drops Manifesto”, 2010 [2]
The dead drops network emerged in an age that saw a major shift in the general perception of the internet as a public space. Widespread Wi-Fi access, the massive adoption of social networking sites, and the advent of smartphones made people start to think about the internet as a new public space, with no physical boundaries and infrastructure, where data can be shared and taken easily and seamlessly. The metaphor of the cloud, already used in the Nineties to describe the internet, became more and more popular in the late 2000s, when cloud computing emerged – further reinforcing the idea of an immaterial public space and eroding the difference between public and private, local and shared. As Annet Dekker wrote in 2008:
……
READ ON FULL ESSAY HERE
‘

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Keepalive

August 26, 2015

Full project page here!!  –> http://www.datenform.de/keepalive-eng.html

DSC01617
keepalive-survival-guides-5.
 
Keepalive
Aram Bartholl 2015
permanent outdoor installation
material:  rock, steel, router, usb-key, thermoelectric generator, fire, software, PDF database
size: 100 x 110 x 90 cm
at Landart Kunstverein Springhornhof Neuenkirchen, Niedersachsen, Germany
commissioned by Center for Digital Cultures, Leuphana University Lüneburg
curated by Andreas Broeckmann, Leuphana Arts Program
inauguration: Sunday, August 30, 2015, 11:00 am at Springhornhof
The boulder from the region Neuenkirchen, Niedersachsen contains a thermoelectric generator which converts heat directly  into electricity. Visitors are invited to make a fire next to the boulder to power up the wifi router in the stone which then reveals a large collection of PDF survival guides.  The piratebox.cc inspired router which is NOT connected to the Internet offers the users to download the guides and upload any content they like to the stone database .  As long as the fire produces enough heat the router will stay switched on. The title Keepalive refers to a technical network condition where two network endpoints send each other ’empty’ keepalive messages to maintain the connection. https://en.wikipedia.org/wiki/Keepalive   To visit the piece please arrange an appointment with Springhornhof.de.
The project “Keepalive” by Aram Bartholl was realised in the context of the research project “Art and Civic Media”, as part of the Innovation Incubator Lüneburg, a large EU project funded by the European Fund for Regional Development and the Germna State of Lower Saxony.
 
Press
http://hyperallergic.com/231483/fire-up-a-wifi-router-hidden-inside-a-rock/
Official Invitation (german)
http://springhornhof.de/aram-bartholl-keepalive/
Pictures
https://www.flickr.com/photos/bartholl/sets/72157655953293283


keepalive-flickrset
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You are warmly invited to the Keepalive opening on Sunday, 30th of August 2015
11.00 a.m. Meeting point at Kunstverein Springhornhof
Leave for Hartböhn by car (approx. 10 min) or by bicycle (approx. 20 min, rental bikes are available)
11.30 a.m.
Greeting: Prof. Dr. Martin Warnke (Chair of Art Association)
In discussion: Andreas Broeckmann (Leuphana Arts Program) & Aram Bartholl
Afterwards
Food, drinks and data sharing at the campfire
__________________________________________________________________
“Keepalive” by Aram Bartholl (*1972 in Bremen) looks just like a normal rock from the outside. There is no sign that the stone, which lies inconspicuously in Lüneburger Heide on the edge of idyllic Hartböhn, contains hundreds of digital books. An internal thermoelectric generator and WiFi router must be activated by a lighting a fire under the rock before an electronic survival guide library can be accessed. Data and text can also be added by smartphone or laptop.
Media artist Aram Bartholl works with paths of knowledge and information communication that work against the developments of the digital age and question our handling of data. In this and other projects, he undermines power structures and control mechanisms in the use of internet services and data transmission, mostly through the introduction of a random, uncontrollable element.
In “Keepalive” the stone itself becomes the data medium. In a very archaic, but at the same time clandestine manner, information can be exchanged only locally — in contrast to networked servers, services and clouds worldwide, this rock is not connected to the internet. You have to get close to nature in the countryside, find the stone and make a fire to activate the data source. Anyone can do it once they have found out the exact location of the stone from either the nearby Kunstverein Springhornhof or another source.
Following the advice in the survival guides prepares you — this is the promise at least — for solo survival in the chaotic world of computer programming as much as for solo survival in the wilderness. “Keepalive” examines what “survival” really means and sounds out our true needs. The work resists the centralising forces of the Internet, raises questions about the democracy of knowledge management and ignites an autonomy backlash.” (Jennifer Bork)
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The “Keepalive” project by Aram Bartholl was created in conjunction with the research project “Art and Civic Media” as part of Innovations-Inkubators Lüneburg, a major EU project supported by the European Regional Development Fund and the State of Lower Saxony.

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