The term “cringe” has resurfaced on the internet in recent years. According to Google Trends statistics, there has been a significant increase in searches for this term, which has been steadily rising since 2016. “Cringe” refers to a reaction of embarrassment or social awkwardness. This feeling arises when we become aware of our own uncomfortable actions or when we empathize, or even mock, someone else’s behavior that causes us secondhand embarrassment.

The term “cringe” encompasses a wide range of emotions, making it a versatile word to describe various incidents. However, its usage and application have been shaped by internet communities. Not only is it widely known and used, but it has also managed to bridge divergent identities.

People of different ages, races, genders, political affiliations, and other backgrounds find a common language of communication through “cringe” online. Similar to the existence of metaphorical languages for artistic subjects, “cringe” has spawned a metaphorical language for artistic expression. This is evident in many contemporary works, both digital and non-digital, and has given rise to new artistic media such as memes. “Cringe” has become an overarching concept that encompasses a broader range of social embarrassments.

The universality of identifying with “cringe” when faced with discomfort or socially awkward situations could position it as a contemporary Sublime. Historically, the Sublime has been associated with aesthetic theories heavily influenced by the social dynamics of the time. However, does “cringe” represent a modern form of the Sublime? Has it emerged in response to a shift away from a prescribed aesthetic? We currently exist in a time where collective digital languages are being created to understand a wider range of identities and where a diversity of aesthetic influences is prevalent.

Considering that aesthetics today are multifaceted due to the World Wide Web and the widespread dissemination of information, this exhibition aims to explore these ideas. Through artworks that construct an intimate fusion of references to our digital identity, it presents a familiar chaos that challenges viewers to organize it, while deeply engaging with their present human identity.

*cringe* Curated by: Socrates Stamatatos, Dimi Kalabo 29 SEPTEMBER-08 OCTOBER 2023

On the occasion of its 30th anniversary, the Kunsthalle Osnabrück is showing Aram Bartholl’s most comprehensive solo exhibition to date. Aram Bartholl is one of the pioneers in Germany who deals with socially relevant conflicts of digitality and automation through art. Originally coming from the field of architecture, he uses his performative interventions, sculptures and workshops to question our current media behaviour as well as the public economies that are linked to social networks, online platforms or digital distribution strategies. He puts socially relevant topics such as surveillance, data security or dependency on technology up for discussion by transferring the gaps, contradictions or absurdities of our digital everyday life into spatial settings.

For the Kunsthalle Osnabrück, Aram Bartholl transformed the Kunsthalle´s church space into a walk-in recycling yard for electronic waste. The scenery is illuminated by three sculptures hanging from the ceiling, reminiscent of chandeliers that are made from recycled televisions. The result is a sensual as well as functional installation of complementary exhibition parts that invite us to reflect on the cycles, consequences and future perspectives of our daily consumption of media and goods. The walk-through parcours made of piled up electronic waste makes the amount of recycled material of our belongings visible and creates a unique environment for a diverse art mediation programme  including workshops, plena by local climate activists, repair cafés, excursions, lectures and film screenings. Oversized QR codes on the church walls frame the setting and raise critical questions about our handling of energy resources, raw materials and labour rights in the digital society. Opposing the electronic waste, the exhibition contains a 30-metre-long DHL Packstation, which is put into operation during the exhibition period. Osnabrück citizens and visitors are able to pick up their parcels at the Kunsthalle Osnabrück and drop them off in the respective lockers.

Curators: Anna Jehle and Juliane Schickedanz
Curators public programme: Louisa Behr, Joscha Heinrichs, Anna Holms and Christel Schulte.

Funded by the Stiftung Niedersachsen (Foundation of Lower Saxony) and the Niedersächsische Ministerium für Wissenschaft und Kultur (Lower Saxony Ministry of Science and Culture). The VGH Stiftung (VGH Foundation) is funding the accompanying exhibition’s art mediation programme. With the kind support of Deutsche Post AG, Lerec Elektrorecycling GmbH and Osnabrücker ServiceBetrieb.

Credits:

Curated by: Anna Jehle, Juliane Schickedanz (duo team, directors of Kunsthalle)
Curatorial assistance: Anna Holms
Public Programming: Aram Bartholl, Louisa Behr, Joscha Heinrichs, Anna Holms, Christel Schulte
Installation team: Norbert Hillebrand, Timo Katz, Andreas Zelle
Exhibition office: Natali Märtin
Visitor service: Frank Berger, Ulla Brinkmann, Harcharan Gill, Sina Lichtenberg, Kaan Ege Önal, Josef Wegmann
Finances: Viktoria Puskar
Janitor: Wilfried Wienstroer
Janitorial assistance: Frank Berger
PR: Kristina Helena Pavićević
Art mediation and education: Christel Schulte

pictures

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.