Eingeladene Künstler:innen:
Ulf Arminde, Stefan Alber, Aram Bartholi, Fehmi Baumbach, Marc Bijl, Jessica Buhlmann/Zao, Zuzanna Czebatul, Moritz Frei, Jana Gunstheimer, Christian Henkel, Verena Issel, Zoe C. Miller, Anne Mundo, Rainer Neumeier, Angelika Nguyen, Thomas Prochnow, Regina Schmeken, Schroeter&Berger, Kristina Schuldt, Raul Walch, Christian Werner, Ina Wudtke
Die siebte Ausstellung der Reihe KUNST GEGEN RECHTS nimmt den 30. Jahrestag der Pogrome von Rostock-Lichtenhagen als Anlass, um kritisch auf aktuelle, gesellschaftliche Konflikte einzugehen.
Deutschland ist eine postmigrantische Gesellschaft der Vielen. Immer noch wird diese Tatsache viel zu wenig zur Kenntnis genommen. Der Wiedervereinigung am 3. Oktober 1990 folgten rassistische Ausschreitungen und Mordanschläge in Rostock, Mannheim, Hoyerswerda, Mölln und Solingen bis zur Terrorserie des NSU. Es folgten Anschläge auf jüdische Friedhöfe und emanzipatorische Projekte. Eine wiedererwachte deutsche Volksgemeinschaft kroch aus den Löchern hervor.
Der rechte Populismus, der die Kultureinrichtungen als Akteure einer gesellschaftlichen demokratischen Vision angreift, steht der Kunst der Vielen feindselig gegenüber. Die Neue Rechte hat die Kulturpolitik als Kampffeld entdeckt, um ihre völkischen Vorstellungen umzusetzen. Rechte Gruppierungen und Parteien stören Veranstaltungen, verhindern Ausstellungen, greifen in Theater-Spielpläne ein, polemisieren gegen die Freiheit der Kunst, gegen Dekoloniale Erinnerungsprojekte und arbeiten an einer Renationalisierung der Kultur. Es wird einFeldzug gegen zeitgenössische, „undeutsche“ Kunst geführt, die als „neumodische Extravaganzen“ und „exzentrische Randgruppenkunst“ bezeichnet wird, wie aktuell gegen den Kunstverein in Zwickau.
Seit dem Ausbruch der Pandemie, stehen viele Dinge auf dem Prüfstand. Es zeigte sich, wer ein solidarisches Miteinander praktiziert und wer als Pandemiegewinnler oder Coronaleugner die Krise für eigene Interessen nutzt. Bei den sogenannten Querdenken-Demonstrationen kommt es zu einer fatalen Zusammenarbeit verschiedener Akteure. Rechte Gruppierungen und Parteien gewinnen immer mehr an Einfluss. Antisemitismus ist in der neuen Bewegung stark vertreten, wie auch eine Verharmlosung der Shoa und der Gleichsetzung der NS-Zeit mit der aktuellen Situation.
Since very early on, artists have understood the power of transformation of play, integrating it into their works with distinct purposes -evasion of reality, social construction and transformation, subversion or criticism of the very mechanisms of play and games. The exhibition Playmode proposes a reflection on these aspects and on the period of ludification that contemporary societies are going through, bringing together the work of several artists who adopt the theme and explore new ways of seeing, participating in, and transforming the world, using play in a critical manner.
with:
Aram Bartholl, Bill Viola + Game Innovation Lab, Bobware, Brad Downey, Brent Watanabe, Coletivo Beya Xinã Bena + Guilherme Meneses, David OReilly, Filipe Vilas-Boas, Harum Farocki, Isamu Noguchi, Jaime Lauriano, Joseph DeLappe, Laura Lima + Marcius Galan, Lucas Pope, Mary Flanagan, !Mediengruppe Bitnik, Milton Manetas, Molleindustria, Nelson Leirner, Pippin Barr, Priscila Fernandes, Raquel Fukuda + Ricardo Barreto, Samuel Bianchini, Shimabuku, Tale of Tales (Auriea Harvey e Michaël Samyn) e The Pixel Hunt.
Curators: Filipe Pais and Patrícia Gouveia.
Communication pervades our lives more than ever before. With the digital channels, we are constantly accessible and can publish ourselves wherever and whenever we want. But despite the many great opportunities, the tide of information may often appear confusing, polarizing or hateful, and our public conversation is challenged.
On November 19, 2022, ENIGMA will open new exhibition areas and a large children’s area, in which we look forward to welcoming everyone.
The current mutated “epidemiological” societies within which we exist reveal that any previous indication we had about the term “safety” is now in limbo. TILT Platform has started exploring and developing the concept “Safe Mode” likening it to the indication safe mode appearing on our computers and smart devices, when they stop functioning properly after a major technical crisis. The process of safe mode emerges as the only possible solution. Comparing this state of technological malfunction to the processes of contemporary life, psychology and human behaviour, the term safe mode acquires an anthropological character.
Participating Artists
Nikos Arvanitis (GR), Aram Bartholl (DE), Browser Based (Zsolt Mesterhazy & Alex Zakkas) (NLD / GR), Sofia Caesar (BR), Paolo Cirio (IT), Manja Ebert (DE), Adrianos Efthymiadis (GR) & Iria Vrettou (GR), For Cancel (Makis Faros, Zoi Pirini, Takis Zerdevas) (GR), Elisa Giardina Papa (IT), Basim Magdy (EGY), Theophanis Melas (GR), Simon Menner (DE), Yorgos Papafigos (GR), Michalis Zacharias (GR), Apostolos Zerdevas (GR)
Curated by
Foteini Vergidou in collaboration with TILT Platform (Makis Faros, Zoi Pirini, Apostolos Zerdevas, Takis Zerdevas)
T3 PHOTO FESTIVAL TOKYO is a photo festival that develops three pillars: (1) photo exhibitions, (2) talks and events, and (3) student projects, with the vision of becoming “an Asian hub for nurturing the next generation of photography culture. After holding its predecessor “Tokyo International Photography Festival” in Jonanjima, Ota-ku, Tokyo in 2015, the first festival was held in Ueno Park in 2017 as Tokyo’s first outdoor international photography festival. From 2020, the Tokyo International Photography Festival will be held as an urban outdoor photography festival using public open spaces in Tokyo Station and the east side area (Yaesu, Nihonbashi, Kyobashi). The festival will take the margins of the city as a medium to challenge new interpretations of urban space and the possibilities of photography by exhibiting works by photographers and developing events that will generate new human interaction.
I am not a Robot. On the Borders of the Singularity.
As a harbinger of the (supposedly) imminent arrival of the Singularity, the exhibition explores the powerful impact of technological development on our daily lives.
One of the defining global phenomena of our time is digitalisation, which has transformed human life in an evolutionary leap over the past decades, rewriting centuries of fixed habits, forms and behavioural patterns. The digital turn is still ongoing, with our lives moving from offline to online, and the digital presence growing rapidly. Digital technology in its current state is a new normativity that is part of work and life: not an enemy, not a friend, but a natural part of life…
with:
Memo AKTEN, BarabásiLab, Aram BARTHOLL, Katriona BEALES, BINAURA (NAGY Ágoston & SAMU Bence), BIRKÁS Mona, BIRÓ Dávid, Zach BLAS & Jemima WYMAN, James BRIDLE, Arvida BYSTRÖM, Juan COVELLI, Jake ELWES, FÜLÖP Szabolcs, Fabien GIRAUD & Raphaël SIBONI, Neil HARBISSON & Pol LOMBARTE, Vladan JOLER & Kate CRAWFORD, KÚTVÖLGYI-SZABÓ Áron, Lawrence LEK, Cristina DE MIDDEL, Joana MOLL, PÁLL Tamás, Wilfredo PRIETO, SoniLab (Marco Buongiorno Nardelli), ZÁMORI Eszter
Curators: KÉSZMAN József, MAJ Ajna, NOLASCO-RÓZSÁS Lívia, ÜVEGES Krisztina
From September 15 to 25, the Uferhallen will present the group exhibition On Equal Terms.
With:
Stefan Alber , Aram Bartholl , Antje Blumenstein , Benedikt Braun , Lou Cantor , Peter Dobroschke , Maria Eichhorn , FORT , Heiner Franzen , Wolfgang Ganter , Asta Gröting , Christian Henkel , IOCOSE , Šejla Kamerić , Bianca Kennedy , Peter Klare , Werner Liebmann , Tommy Neuwirth , Manfred Peckl , Alona Rodeh , Hansjörg Schneider , Bettina Scholz , Ann Schomburg , Mark Wallinger , Klaus Weber , Nicole Wermers
Curated by Sophia Gräfe und Arkadij Koscheew.
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
New piece I made for the group show “Odyssey” at Möhnesee. http://odyssey.to/
AV / DV
intervention & object
rubber, metal, 40x5x2cm, video 1:49 min
AV /DV is a customized 40 cm pressure hose – AV Auto valve / DV Dunlop valve adapter – to balance pressure between a car and bicycle tire. First tested and shown at Remind me later solo show at Kunstverein Arnsberg.
Aram Bartholl, ‘Aluthut Workshop (tinfoil hat workshop)’ 2016. Display view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Remind me later’ 2016. Exhibition view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Remind me later’ 2016. Exhibition view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Remind me later’ 2016. Exhibition view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘5 min, 1h, tonight, tomorrow…(Remind me later)’ 2016. Display view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Aluthut Workshop (tinfoil hat workshop)’ 2016. Display view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Aluthut Workshop (tinfoil hat workshop)’ & Shooting Your Film With Quality’ 2016. Display view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Shooting Your Film With Quality’ 2016. Display view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘AV/DV’ 2016. Performance in public, video still. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘AV/DV’ 2016. Display view. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘AV/DV’ 2016. Performance in public. Vdeo 1:49. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘The Internet’ 2015 & ‘Shake it!’ 2015. Display view. Courtesy Kunstverein
Aram Bartholl, ‘Atlas Shrugged’ 2016. Display view. Courtesy Kunstverein
Aram Bartholl, ‘Atlas Shrugged’ 2016. Display view. Courtesy Kunstverein
Aram Bartholl, ‘Greenscreen Arnsberg’ 2016. Performance in public, video still. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Greenscreen Arnsberg’ 2016. Performance in public, video still. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Greenscreen Arnsberg’ 2016. Performance in public. Video 3:47. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Phone Zone’ 2016. Display view, installation in public. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Phone Zone’ 2016. Display view, installation in public. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Touch screen to begin’ 2016. Display view, installation in public. Courtesy Kunstverein Arnsberg
Aram Bartholl, ‘Touch screen to begin’ 2016. Display view, installation in public. Courtesy Kunstverein Arnsberg
Thanks to the whole team of the Kunstverein Arnsberg!! It was a crazy good week putting this together with a lot of help of many people, thank you everyone! THX to Vlado Velkov making all this possible! :))
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Pressrelease:
ARAM BARTHOLL
Remind Me Later
8.07. – 28.09.2016
Kunstverein Arnsberg e.V.
Königstraße 24
59821 Arnsberg
www.kunstverein–arnsberg.de
Perhaps you are reading this text on your mobile device?.
Do you have your phone under control or does it have a grip on you in its grip?
The consequences of technological developments on our social lives and relationships is a central theme in the work of Aram Bartholl.
In the current exhibition, Bartholl looks into the digital everyday live. ‘Remind me later’ is a very well known term for us instantly recognisable to us as users. As a form of reflex and self-defence against the constant stream of new automatic updates, we immediately the click tap othe ‘Remind me later’ button has become a habitual immediate reaction.
Digitalisation can undoubtedly connect us, but can also produce alienation. Meet with friends? Spend time outdoors in nature? Remind me later. Often, the mobile phone is more captivating of attention than the person sitting opposite. The limitless possibilities of communication have more to offer than real life? Really?
Aram Bartholl investigates the social side effects of digitalisation, and examines their influence on our analogue lives. In doing so, his work often incorporates outdoor space and blends perceptions of the real and the virtual. His work in Arnsberg continues in this vein, with humour and great sensitivity.
Aram Bartholl was born in Bremen in 1972 and lives in Berlin. He is guest professor at the Kunstakademie in Kassel and at UCLA in Los Angeles.
All pictures -> flickr.com/photos/bartholl/albums/72157670961661206/with/28305068065/
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