Current Events

The Glass Room

18. January – 26. November 2022
Group Show, MOD, Adelaide

Domestic Drama

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

“Alle Gegenstände, die uns umgeben, haben eine eigene Seele, haben menschliche Qualitäten, weil sie nur in einer menschlichen Welt existieren. Es gibt eigentlich keine Gegenstände, die der Mensch wahrnimmt. Es gibt keine rohen, unmenschlichen Objekte. In dem Moment, in dem Möbel, Häuser, Brot, Autos, Fahrräder oder andere Produkte in unserem Leben auftauchen, sind sie mit uns verbunden, sie sind menschlich.”Ernest Dichter, The Strategy of Desire, Martino Publishing, Mansfield, 2012. S. 93.

Domestic Drama möchte durch den bewusst ​„theatralen Auftritt“ der künstlerischen Arbeiten und die gattungsüberschreitende Art der Inszenierung des Wohnraums eine körperliche Teilhabe beim Publikum herausfordern. Im weiteren Schritt erkennt die Ausstellung Emotionalität als einen wichtigen Faktor für unser Handeln an, das längst nicht mehr autonom von uns selbst sondern auch durch die uns umgebenden Objekte und Prozesse gesteuert wird. Die poetische aber dennoch subversiv-kritische Narration, die in Domestic Drama gesponnen wird, versucht so die Vielschichtigkeit der Fragen, Probleme und Mechanismen, die in unserem Alltag im ​„Zuhause” auftauchen, ins Zentrum der Aufmerksamkeit zu rücken.

Curated by Cathrin Mayer

With:
Larry Achiampong, Ayo Akingbade, Aram Bartholl, Camille Blatrix, Oscar Enberg, Vera Frenkel, Nigel Gavus & İlkin Beste Çırak, Antony Gormley, Mona Hatoum, Kaarel Kurismaa, Nicola L., Bertrand Lavier, Olu Ogunnaike, Laura Põld, Bruno Zhu

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

Museum of Cryptography

10. November 2021 – 23. June 2022
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

The Principle of Hope

16. October 2021 – 27. February 2022
Group Show, Inside-Out Art Museum, Beijing

Artistic Directors: Carol Yinghua Lu, Luo Xiaoming
Curatorial Team: Huang Wenlong, Li Xiangning, Liang Chouwa, Yin Shuai, Jerome, Zhou Boya, Zhu Siyu

 

pictures

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Upcoming Events

Metapolitisches Hüpfen

10. June 2022
Performance, Grosse Bergstrasse / Goetheplatz, Hamburg

Erweitertes Symposium, antifaschistische Hüpfburg im öffentlichen Raum.

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.

Konzipiert von: Frieder Bohaumilitzky

Call Me

19. March – 30. April 2022
Group Show, galeriepcp, Paris

curated by Francesca Gavin

Recent Events

Stampede

26. November 2021 – 9. January 2022
Group Show, Horse & Pony, Berlin

Stampede, Eight Years at Horse & Pony

Opening 26 November, 14-21h
On view 27 November – 9 January, Saturdays & Sundays, 12-18h and by appointment
U-Bhf Leinestrasse / S- & U-Bhf Hermannstrasse
Altenbrakerstrasse 18, 12053 Berlin

Including work from Shahin Afrassiabi, Matt Ager, Josefin Arnell, Diana Artus, Khaled Barakeh, Aram Bartholl, Julie Beugin, David Blandy, Elijah Burgher, Julia Colavita, Beth Collar, Zuzanna Czebatul, Christa Joo Hyun D’Angelo, Caroline David, Lucinda Dayhew, Herbert de Colle, Cheryl Donegan, Claude Eigan, Paul Ferens, Kasia Fudakowski, Dakota Gearhart, GeoVanna Gonzales, Monika Grabuschnigg, Seamus Heidenreich, Nate Heiges, Kathi Hofer, Nick Jeffrey, Jake Kent, kg, Julian-Jakob Kneer, Nuri Koerfer, leckhaus, Carol Anne McChrystal, Ryan McNamara, Liz McTernan, Zoë Claire MIller, Adrien Missika, Robert Muntean, Nightmare City, Yotaro Niwa, Florian Oellers, Omsk Social Club, Anne-Sofie Overgaard, Silas Parry, Tamen Perez, Angelo Plessas, Tobias Preisig, Hannes Ribarits, Tina Ribarits, Liz Rosenfeld, Lorenzo Sandoval, Fette Sans, Isa Schmidlehner, Maximilian Schmoetzer, Jonas Schoeneberg, Sarah Schoenfeld, Pacifico Silano, Louise Sparre, Jennifer Sullivan, Valinia Svoronou, Anna Szaflarski, Johanna Tiedtke, Viktor Timofeev, Titre Provisoire (Marcel Dickhage & Cathleen Schuster), Marie von Heyl, Derick Decario Ladale Whitson, Helga Wretman, Thomas Yeomans, Lauryn Youden, & Anna Zett.

Glass Room – An exhibition by Tactical Tech

5. November 2021 – 16. January 2022
Group Show, OBA, Amsterdam

Me And My Machine

18. September – 13. December 2021
Group Show, Lehmbruck Museum, Duisburg

Blog Archive for Tag: olialialina

Computer art of today

September 25, 2014

‘Hurt me plenty’ opening speech by Olia Lialina

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Opening speech by Olia Lialin on Sept 12th 2014, DAM gallery Berlin.
Aram Bartholl – Hurt me plenty (pictures )
13th September – 1st November 2014
DAM Gallery, Berlin
 
Good evening,
I’m happy to have a chance to talk at the opening of Aram Bartholl’s, “Hurt me plenty” exhibition. Please allow me to start by mentioning another artist, Herbert Franke. His work was exhibited at the DAM Gallery many times I believe. Some year ago I invited him as a computer art pioneer to tell young designers about the origins of Algorithmic Art and Generative Graphics.
It was a very inspiring and energetic talk. One of the most thought provoking parts though was Franke explaining that there were times such as in the late 50’s/early 60’s when you had to fight for the idea that you can make Art with computers. Computer Artists were outcasts of the Fine Art scene. They couldn’t claim to be called Artists. It was just not accepted, because computers are algorithmic and Art is spiritual. Art was not allowed to come from computers or algorithms. These times are long gone. Digital computers became medium, then meta-medium, and turned in to new media. There is hardly any art today made without computers in Fine Arts and in Contemporary Art. Moreover, there is a whole universe of Media Arts with at least a 30 years old tradition of creating art with digital technology as being medium specific, not just by producing the work with some application, but with being critical or at least attentive to the software itself.
Today we find ourselves surrounded by post-digital and post-internet art, whereas renouncing of digital technology is so important and paying attention to the computer is supposed to be of ‘yesterday’. In post-digital art, hybrid forms are preferred and ambiguous, veiled messages are sent around. Like, common, digital is everywhere. Don’t even mention it. Be an Artist. Don’t be Computer Artist. Full circle.
In particular, this state of the arts makes me think about the possible revival of Computer Art as a notion and term that nowadays could belong to artists who make an effort to show the computer itself. It is neither algorithmic, nor nostalgic. Not 8 bit.
Art of direct messages and gestures. Clear and totally explicit.
Here are 10.000 passwords from Yahoo messenger. Find yours.
This is the graphic card. A computer inside your computer. It is expensive and powerful.
This is your phone. You have no idea when it is off or on. Come to a workshop and make a copper bag to put it inside and find out for sure.
This is the Hard Disk Crusher. This is your hard disk.
Computer art of today is hardware art. Art of hard messages. It hurts.
These brutally scratched hard disk plates are there. They refer to a significant case that happened a year ago when the Guardian received an order to destroy the computer where Snowden’s files were stored. In the mass media we saw explicit pictures of damaged computer parts and images of journalists executing drives and chips. It hurts to see it, hurts to listen to the Guardian’s Editor in Chief, who says, “Its harder to smash up a computer than you think”. Yeah, it’s even harder to accept it as a reality, journalists drilling though hard drives.
They were forced to do so. It was an act of intimidation. But, I think soon we’ll do it voluntarily and on a regular basis. There is less and less certainty of what you are doing with your computer on the level of software. There is hardly a proper way to save, and almost no way to delete by giving commands to the software. When you really would want to delete information, you’ll have to put your hard drive into the hole of this machine.
You are probably familiar with classic images of the first ever computer called ENIAC from 1945. It’s a computer the size of this space, and it is operated by many people who rewire or rebuild it for every new tasks. ENIAC was operated on the level of hardware, because there was no software. These images are from the remote past, but maybe, they are also of the nearest future.
Software is developed in a way that makes us helpless and desperate and there are less and less commands available. I don’t have an ‘undo’ available on my phone any more. So if something crucial, if I really need to ‘undo’, the only way is to throw my phone into this hole. I’m exaggerating. Whats this phone after all? This dumb terminal through which I connect to the Cloud? But the Cloud is in the same routine.
Earlier this year at the Transmediale Festival, Sebastian Schmieg and Johannes Osterhoff showed their project “10 kilograms from the Google factory”. It’s a box of shredded hard disks from the Google Data Center in Belgium with hundreds of useless, formless objects looking like fragments of a meteorite. It’s of no importance for Science, but could be well suited for the gift shop of a science museum. Artists were actually selling them as a souvenir – 85 Euros per piece. Buy part of the Cloud, say hello to your files.
But there is also good news. There is a computer artist who brings a hard disk ‘crasher’ in to the gallery. It looks small here. It is three times smaller than the graphic card on the wall. These cards will not fit inside there. The ‘crasher’ looks rather harmless here. Looks like there maybe alternatives. There is a future for software. That there is a chance for software transparency, a chance to delete by giving a command to the computers not the computer terminators. You should see clearly to think about it.
Dimensions and scale matter.
Last semester we had the honor of hosting Aram at the Merz Akademie. He made a project with my students titled, “For your eyes only”. It was about wearable smart objects: smart watches, smart glasses. These are technologies that promise to be very helpful and almost invisible. Week after week this group was doing the opposite, working on projects and objects that would bring awareness about the presence of the devices. Works that would made them visible and that would make us notice them. Two students decided to build a big model of Google Glass. Like really big. Three to two meters or something like this. Yeah, surprise, of course, invite the author of the monumental ‘Marker’ and ‘Dust’ to teach, and wonder that his students will search for some vivid element of the digital realm to erect a statue of in public space. I know that Aram was not really comfortable with this and tried to guide students into more subtle solutions, but they were steadfast in their decision. And in the end of the semester, they carried in a huge clumsy model of this trendy high-tech accessory. I don’t know what grade they got, but it still stays there, an unusable and sad object like Google Glass itself. But now you can clearly see it.
The thing is, we are not blind, but invisible computing made us longsighted, we don’t see what is right in front of our eyes because we are not supposed to see it. Computer Art can help. It has an optic.
Enjoy magnification, zoom in, clear images and binary statements.
Olia Lialina 2014
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Olia Lialina
Net Artist, one of the net.art pioneers.
Co-founder of Geocities Research Institute
New Media Professor at Merz Akademie, Stuttgart

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'Curiosity'

August 7, 2012


**love it** 🙂
Curiosity
by Olia Lialina
2012

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