Upcoming

“Kleine wendige Truppen”

13. – 14. February 2020
Performance, Brecht-Haus, Berlin

“Kleine wendige Truppen” Dead Drop installation and lecture at Brecht Haus Berlin. Curated by Cornelius Puschke.

The Supermarket Of Images

11. February – 7. June 2020
Group Show, Jeu de Paume, Paris

Art and economics have entertained a complex and decisive relationship since ancient times. But for over a century, what is at stake goes far beyond the mere art market: what we face now is the commodification of all that is visible.

The photographs, drawings, paintings, videos, films, digital works and multimedia installations selected for this exhibition explore the raw materials that go into creating these images, the enormous reserves and databases they accumulate in, the human (or non-human) toil involved in their creation, and the fluctuations in their value as they circulate around the world.
The exhibition offers a critical take and unexpected perspectives on the making of the great image market that structures our gaze.

We live in a world that is increasingly saturated with images. Their number is growing so exponentially – on social networks and on screens of all kinds – that the space in which we live is literally overflowing with images, as if it were no longer possible to contain them, as if there were no more gaps between them. (We could be said to be approaching the limit which, as long ago as 1929, Walter Benjamin described as “a one hundred percent image space”.) Faced with this overabundance and overproduction of images, the question of storing them, managing them, circulating them and transporting them (even electronically), their weight, the fluidity or viscosity of their exchange, fluctuations in their values – in short, the whole business of the image economy – is more pertinent now than ever before. In the book that provided the starting point for this exhibition project (Le Supermarché du visible, published by Éditions de Minuit in 2017), I suggested the word iconomie (“iconomics”) to refer to the economic dimension in the life of images.

The works and artists chosen for the exhibition cast a keen and watchful eye over these issues. On the one hand, they reflect the upheavals that currently affect economics in general, whether in terms of unprecedentedly large storage spaces, scarce raw materials, labour and its mutations towards immaterial forms of work, or in terms of value and its new manifestations, such as cryptocurrencies. At the same time, however, these artists’ works repeatedly interrogate the future of images and things visible in the age of their globalised iconomics.

In the supermarket on display here, images of the economy always involve the economics of the image. And vice versa, as if there were a recto and a verso to all of them.

Curators : Peter Szendy, Emmanuel Alloa and Marta Ponsa
Exhibition organised by the Jeu de Paume

Link in bio

16. December 2019 – 14. March 2020
Group Show, MdbK, Leipzig

The use of social media has become part of everyday life, established and young artists cannot and no longer want to do without it. They work with it. They are where their audience is. Once they were websites, now they’re social media, especially Instagram when it comes to visual arts.

After the protagonists of Net Art, the technology utopians of the early 1990s, soon realized that the Net would not undermine classical art institutions as exhibition venues, the next generation of artists who responded to the Internet took over. The buzzword Post-Internet Art quickly spread. The term was coined by the artist and theorist Marisa Olson: “I’m going to toggle back and forth between video and internet because some of the internet art that I make is on the internet, and some is after the internet.” What sounds like an attitude to life became a collective term for artists who, instead of making art in the browser, again made art for the exhibition space.

Social Media Art, on the other hand, takes up Net Art’s utopia of being able to democratize the art world. The audience can be reached directly via Instagram, Facebook, YouTube, Tumblr and Twitter. Young artists react to social media and their content, to new features and technologies.

The show “Link in Bio. Kunst nach den sozialen Medien” at the Museum der bildenden Künste Leipzig curated by Anika Meier presents over 50 works on how the production and reception of art change in the age of social media. The exhibition shows installations, photographs, sculptures, videos and paintings. The show is a follow-up to “Virtual Normality. Net Artists 2.0” (2018).

Participating artists: Thomas Albdorf, Jeremy Bailey, Viktoria Binschtok, Aram Bartholl, Arvida Byström, Nadja Buttendorf, Petra Cortright, Filip Custic, Constant Dullaart, Hannah Sophie Dunkelberg, Anna Ehrenstein, Oli Epp, Tom Galle, Adam Harvey, Lauren Huret, Andy Kassier, Lynn Hershman Leeson, Olia Lialina, Brandon Lipchik, Jonas Lund, Jillian Mayer, Florian Meisenberg, Marisa Olson, Andy Picci, Sebastian Schmieg, Leah Schrager, Kristina Schuldt, Thomas Webb, Steffen Zillig and many others.

Opening 16.12.2019, 18 o’clock

The exhibition is sponsored by the Kulturstiftung des Bundes.

Translated with www.DeepL.com/Translator

Stadstriennale: Screen It

5. October 2019 – 5. January 2020
Group Show, Stadstriennale Hasselt Genk, Hasselt, Genk

The main exhibition SCREEN IT takes place on the Corda Campus, currently one of the fast growing tech incubators in Europe. But also the former basecamp of Philips where technologic innovations as audio and videocassettes or Laservision were invented that help spreading the western visual culture over the world. The dominance of this culture, linked to the omnipresence of screens is the starting point of the exhibition. Artist as Nam June Paik or Wolf Vostell already tackled the possibilities of screens in art and culture in the ’60. Paik’s famous quote “Television tortured the intellectuals for a long time… it is about time that the intellectuals torture television” clearly presents this generation ambiguous positions towards screens. This approach can easily be transferred towards our current society filled with buzz words as big data, social media, VR or augmented reality. The exhibition thus will tackle the current status of the arts towards the cultural impact of the screen fueled culture we live in.

Sometimes as a source of inspiration, as a canvas or as starting point for debate, the current and future generation of artists is touching the limits of technology or the impact on contemporary art esthetics, news gathering, politics, social commitment and more. The generation of digital natives, born with their fingers clued on a screen, is investigating a world with or without screens, questioning virtual worlds and augmented realities in an intriguing way.
Artists (22)
Nam June Paik
Hito Steyerl
Rodney Graham
Mounir Fatmi
Wolf Vostell
Bill Viola
Cory Arcangel
Aram Bartholl
Constant Dullaart
Jonas Lund
Tabor Robak
Tabita Rezaire
Rafaël Rozendaal
Carla Gannis
Émilie Brout & Maxime Marion
Karl Philips
Dries de Poorter
Arvida Byström
Molly Soda
Jeroen Van Loon
Olga Fedorova
Tom Galle

Coventry Biennial of Contemporary Art

4. October – 24. November 2019
Group Show, Coventry, Coventry

The highly anticipated second Coventry Biennial will unfold across the city from the 4th October to the 24th November 2019 and we invite people to learn, look, make, talk, think and walk with us.

The biennial’s title this year is The Twin and it comprises a series of exhibitions, events and activities about relationships.

We are an international city; Coventry and Volgograd, Russia, were the first modern twin cities in the world and this year marks the 75th anniversary of that historic bond of friendship.

The core programme of The Twin will unfold across the city in medieval and modernist buildings as well as in artist studios, galleries and museums. We will be exhibiting new and existing artworks by individual artists, duos and groups from Coventry, across the UK and from many of our international twin cities as well as other international locations. We are delighted to be exhibiting the artists listed below and will be announcing a small number of additional practitioners over the coming weeks and months:

Isobel Adderley & Jazz Moreton, Tully Arnot, Art & Language, Jonny Bark, Aram Bartholl, Jordan Baseman, James Birkin, Simon & Tom Bloor, James Bridle, Lorsen Camps, Paul Chan & Badlands Unlimited, David Cheeseman, James Clarkson, Anna Columbine, Maud Cotter, Paul Crook, Matthew Darbyshire, Joseph DeLappe, Lisa Denyer, Jacqueline Donachie, Caitriona Dunnett, EVOL, Anne Forgan, Dylan Fox, Darryl Georgiou & Rebekah Tolley, Zuza Golinska, Noémie Goudal, Lawrence Abu Hamdan, Mona Hatoum, Corey Hayman, Nicky Hirst, Clare Holdstock, Fred Hubble, Andrew Jackson, Juneau Projects, Navi Kaur, Smirna Kulenović, Liz Lake, Ollie Ma, Ioana Marinescu, Tony McClure, Lorna Mills, Anna Molska, MTAA, Alexandra Muller, Edie Jo Murray, Uriel Orlow, OUTLINE & Smirna Kulenović, Paper Rad, Bharti Parmar, Parmar & Piper, Partisan Social Club, Mathew Parkin, Matthew Picton, Duncan Poulton, Adele Mary Reed, Lis Rhodes, Rafaël Rozendaal, Ana Rutter, Richard Scott, Shirana Shahbazi, Larissa Shaw, Thomson & Craighead, Leonid Toprover, Chidera Ugada, Mhairi Vari, Nilupa Yasmin

Immortality – The Ural Bienniale

12. September – 1. December 2019
Group Show, uralbiennale.ru, Ekaterinburg

The Ural Industrial Biennial is the largest regional art project with international participation among those existing on the territory of the Russian Federation. The Biennial takes place at former industrial and non-exhibition spaces in Ekaterinburg and other cities of the Ural region.

In its 5th edition, the Ural Biennial explores concepts behind the Immortality, both secular and sacred; it is seen as a powerful utopist idea, as technocratic obscurity, as a symbolic tool and as a condition which might cause evident ethical schisms.

CURATOR:
Xiaoyu Weng

ARTISTS:
Zarouhie Abdalian & Joseph Rosenzweig | Agency of Singular Investigations (Stanislav Shuripa, Anna Titova) | Carlos Amorales | Petr Antonov | Evgeny Antufiev & Lyubov Nalogina | Elena Artemenko | Aram Bartholl | Yin‑Ju Chen | Anya Cherepanova & Vitalik Cherepanov | Ali Cherri | Bruce Conner | Danilo Correale | Vladislav Efimov | Ilya Fedotov-Fedorov | Cyprien Gaillard | Claudia Martínez Garay | Felix Gonzalez-Torres | Gorod Ustinov | Ivan Gorshkov | Ilya Grishaev | He Xiangyu | Francisco Camacho Herrera | James T. Hong | Chia-Wei Hsu | Geumhyung Jeong | Tarik Kiswanson | Egor Kraft | Gabriel Lester | Liu Chuang | Liu Qingyuan | Qinmin Liu, Pan Lu & Bo Wang | Cristina Lucas | Tala Madani | Jill Magid | Ksenia Markelova | Chris Marker & Alain Resnais | Sara Modiano | Yuko Mohri | Christian Nyampeta | Adrian Piper | Pavel Pepperstein | Ivan Petrokovich | Gala Porras-Kim | Charlotte Posenenske | Diana Fonseca Quiñones | Araya Rasdjarmrearnsook | The Recycle Group | Ana Roldán | Roee Rosen | Maria Safronova | Aki Sasamoto | Kirill Savchenkov | Masha Sedyaeva | Lieko Shiga | Shimabuku | Alexander Shishkin-Hokusai | Timur Si-Qin | Nikolay Smirnov | Maria Taniguchi | Diana Thater | Anastasiya Tsayder | Franco Vaccari | Stan VanDerBeek | Anton Vidokle | Peter Watkins | Wong Ping | Ustina Yakovleva | Yan Xing | Arseny Zhilyaev

Playmode

10. September 2019 – 28. February 2020
Group Show, Maat, Museum of Art, Architecture and Technology, Lisbon

The exhibition Playmode offers a reflection on these aspects and on the era of gamification that contemporary societies are now experiencing, bringing together pieces by several artists, such as Brad Downey, Gabriel Orozco and Ana Vieira, who incorporate the theme while exploring new ways of seeing, participating and transforming the world, using gaming in a critical light. Picture: House of Cards #3. Brad Downey, 2007. Photo: Brad Downey

Blog Archive for Tag: press

Näh mir ein Funkloch

September 9, 2019

Näh mir ein Funkloch
Aram Bartholl zeigt mit „Strike Now!!“, wie unser Leben stetig, aber unaufhaltsam mit dem Internet verschmilzt
Anika Meier | Ausgabe 36/2019 |  der Freitag

(read)

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Interview #RTIYWMF

May 28, 2013

An interview I gave at the opening of ★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★ by Yvette Neliaz THX!!

http://www.damepipi.tv/2013/05/aram-bartholl-retweet-if-you-want-more.html
ARCHEOLOGIE DU PRESENT IS A WORK IN PROGRESS BY YVETTE NELIAZ POUR http://DAMEPIPI.TV

RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★
XPO gallery, Paris
17.5.-26.6.2013, opening May 16, 7pm

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arte Tracks

June 17, 2012

 

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BAL

June 4, 2012

 Article by Max Schreier, photos by Chloé Richard in Berlin; Saturday, June 2, 2012

Aram Bartholl is a tech artist who makes objects by capturing electronic moments, developing them into classical forms, and using the most analog processes to create digital forms. His work falls into the avant garde not by its innovative methods, but rather by its means of handling the often difficult-to-tame medium of the Web. When I visited Bartholl in his studio he humbly downplayed how innovative his work is, choosing instead to discuss the more abstract ideas that inform his process. For Bartholl the duality of analog and digital is a false exclusivity; his art is digital in its concepts but analog in its presentation, an execution that sets him apart from many of his peers in the tech art world.

Aram Bartholl, photo Chloé Richard

Bartholl moved to Berlin in 1995 to earn a degree in the architecture department of the UdK. After his initial two years of study he found himself more excited by the T1 connection in the computer lab than the plotters in the architecture studios. Unlike many of the programmers who were discussing the newfound wealth of information and visual possibilities of writing code to develop art, Bartholl was primarily interested in the front end of the Internet; the user experience with, and the presentation of, the aesthetic of the web. Instead of designing websites and becoming a student of online presentation, Bartholl started to observe the visual trends of the web and to interpret these tropes into handmade art works.

Aram Bartholl, photo Chloé Richard

The openness of the Internet is integral to the physicality as well as the philosophy of Bartholl’s work. He posts detailed instructions for the recreation of his works online, and some of his works are the instructional videos themselves. While many of Aram’s works question where the inherent value of an artworks lies, that is not the primary intention of his creations. Posting the intricacies of the work to the Internet is “obvious” to Bartholl; the fact that his work exists in three dimensions and in space, does not preclude it from also having the interactive and open elements that are intrinsic to the web. Just as an artwork posted on YouTube is viewed thousands of times, a physical work of Bartholl’s also has the same accessibility. It is this well-established openness along with the content that sets him apart as such a unique web artist.

Aram Bartholl, photo Chloé Richard

The ubiquitous conversation of how the Internet decreases our attention spans and thoughtfulness is universally accepted and derided, while at the same time we all participate in this perceived decline. Bartholl sees this haste as opportunity, creating Speed Projects — time restricted art events, self-monitored and self-approved — that are assigned their artistic merit by their completion and often uploading to the web. Bartholl calls these small works “freeing”, as he also considers the brevity of online media. Often he will work months on a work that is only appreciated for a second on the web before it is clicked through, and steadily decreases in viral significance because it is no longer new. The response is Speed Projects, some of which pick up Internet steam and find themselves trending on various forms of social and real media, and others that fall away as quickly as they were made.

Aram Bartholl is showing his work Online Gallery Playset at the group show, 404 Not Found, opening on Friday, June 8 at Berlin project space, Sur la Montagne.

 

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Additional Information

See more of Aram Bartholl’s work:
datenform.de

SUR LA MONTAGNE
“404 NOT FOUND” – GROUP SHOW
Exhibition: Jun. 9, 2012; 12-5pm
Opening Recption: Friday, Jun. 8; 7-11pm
Torstrasse 170 (click here for map)

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Max Schreier was born in 1985 in New York City. He is an independent curator and the Associate Director at DUVE Berlin.

Chloé Richard is a Berlin-based French photographer and a regular Berlin Art Link collaborator. Her portrait work is internationally published. www.chloerichard.com

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tagr.tv – ISEA2010

September 13, 2010

Documentation on ISEA 2010 by tagr.tv featuring ‘0,16‘ a.o. works. The umbrella is nice!

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