Laufende Termine

I am not a Robot

16. September – 27. November 2022
Gruppenausstellung, Ludwig Múzeum, Budapest

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…

Playmode

20. July – 12. October 2022
Gruppenausstellung, CCBB – Centro Cultural Banco do Brasil, Rio de Janeiro

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.

Curators: Filipe Pais and Patrícia Gouveia.

 

The Glass Room

18. January – 26. November 2022
Gruppenausstellung, MOD, Adelaide

The Glass Room MOD
The Glass Room is a public intervention that aims to educate about technology. With a sleek tech shop vibe, visitors can freely and critically discuss their relationships with data privacy.

Having toured Europe and the US, it will be visiting Australia for the first time in 2022.

From the tech boom to tech backlash, our understanding of the digital has become both deeply personal and deeply political. Our desire for convenience has given way to questions about the trade-offs for how much we can control our data and our understanding about how it is used.

The Glass Room is a place to explore these ideas. The objects here bring to life the hidden aspects of everyday technologies and examine how they are changing the way we live. The objects in The Glass Room provide unconventional and unexpected ways of seeing your relationship with your data.

As technology becomes embedded in every part of our lives, The Glass Room helps you look deeper into the digital: Does your personal data say everything about you, or is it an imperfect portrait? Do more tools, apps, and information make us better and more efficient, or are we giving away more than we want in return? What goes on behind the screens and inside the black boxes of the devices we interact with everyday? If we knew, would we still sign in or click ‘I agree’? How much trust do users invest in big tech companies, and what can be done if that trust is broken? If you want to learn more, you can visit our Data Detox Bar to pick up our Data Detox Kit, which offers you simple tips to enhance your digital privacy, security, and wellbeing.

Featured Artists:

Dries Depoorter, Aram Bartholl, Kiki Mager, Bengt Sjölén, Danja Vasiliev, Sebastian Schmieg, !Mediengruppe Bitnik, Tega Brain / Sam Lavigne, Kyriaki Goni, La Loma, and Tactical Tech

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Kommende Termine

Ihr Paket ist ab sofort abholbereit!

8. July 2023 – 25. February 2024
Einzelausstellung, Kunsthalle Osnabrück, Osnabrück

Enigma

19. November 2022 – 19. November 2023
Gruppenausstellung, Museum of Communication, Kopenhagen

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.

Kunst gegen Rechts

4. November – 22. December 2022
Gruppenausstellung, NGfZK - Neue Galerie für Zeitgenössische Kunst, Gera

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.

Safe Mode: Amplified Realities

8. October – 5. November 2022
Gruppenausstellung, TILT Platform, Athens

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.

How Fish Learn About Water

1. – 30. October 2022
Gruppenausstellung, T3 Photo Festival Tokyo, Tokio

ABOUT T3 PHOTO FESTIVAL TOKYO
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.

 

Vergangene Termine

Kunst gegen Rechts

15. – 25. September 2022
Gruppenausstellung, Uferhallen, Berlin

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.

On Equal Terms

15. – 25. September 2022
Gruppenausstellung, Uferhallen, Berlin

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

Bike In Head

24. July – 18. September 2022
Gruppenausstellung, Städtische Galerie, Bremen

Beteiligte Künstler*innen:

Aram Bartholl, Rainer Ganahl, GRIT3000, Tobias Hübel / Anne Krönker, Stefan Jeep, Hannes Langeder, Kosuke Masuda, Kirsten Pieroth, Jens Weyers, Wolfgang Zach

in Kooperation mit Bike It!, Städtische Galerie Delmenhorst, Kunsthalle Wilhelmshaven

Die Ausstellung bike in head versammelt künstlerische Positionen, die das Fahrrad als Verkehrsmittel, als Status und Statussymbol und als beste menschliche Fortbewegungsart analysieren. Während Fahrräder in der Kunstgeschichte immer wieder als besondere Objekte zum Thema der Kunst geworden sind, zeigt bike in head, was das Fahrrad gesellschaftlich und lebensphilosophisch bedeuten kann. Der japanische Künstler Kosuke Masuda etwa nutzt traditionelle Tuschezeichnung, um in einem Atemzug je ein Bild zu entwerfen, das immer um das Radfahren kreist. Die Bewegung des Geistes, synchron mit dem Atem, wird zur Bewegung der zeichnenden Hand, die alles in die Darstellung einer selbstbezogenen, sich selbst reproduzierenden Fortbewegung überführt. Und diese bietet für die menschliche Wahrnehmung der Umgebung eine ideale Geschwindigkeit und einen perfekten Rhythmus. Über die Serie von über hundert solcher Zeichnungen vermittelt sich eine ganze rad-basierte Welterfahrung.

Wenn Jens Weyers Fahrräder, die seit Jahren eine besondere Verbindung zu ihren Besitzer*innen bezeugen, wie perfekt ausgeleuchtete Topmodels inszeniert und mittels dieser Oberflächenschönheit all die Gebrauchtspuren der Räder, die uns erst auf den zweiten Blick bewusst werden, als ihr Karma feiert, ist er mit einem formal anderen Ansatz auf einer ähnlichen Spur. Wie Fahrräder andererseits zu inszenierten Statussymbolen einer sich selbst optimierenden Freizeit- und Sportgesellschaft werden, komplett mit eigener Social Media-Ästhetik, greifen Tobias Hübel und Anne Krönker in teils großformatigen Fotos auf, die ebenso ironisch wie fasziniert auf eine Welt mit eigenen Grenzen blicken. Wo dies gelegentlich endet, zeigt Aram Bartholl, der sowohl hippe Gefährte wie E-Roller als auch alte Fahrräder als archäologische Relikte dieser Welt aus der Spree gezogen hat.

Das ambivalente, merkwürdige Verhältnis zum Gebrauchsgegenstand und Verkehrsmittel Fahrrad, das in all diesen Arbeiten ersichtlich wird, spielt für Menschen, die heute ihren Beruf schon auf dem Rad ausüben, eine ganz andere Rolle. Das Kollektiv fahrrad express reflektiert in seinem Zine Grit3000 mit Texten und Bildern über das Radkurierfahren, über die Zumutungen und Belastungen, die Faszination und nicht zuletzt die Genderfragen, die mit dem Fahrradfahren allgemein, mit diesem Beruf im Speziellen einhergehen. Dessen Bedeutung als Sisyphos-hafte Betätigung reflektiert auch Kirsten Pieroth in einem konzeptuellen Kunstwerk, welches das Fahrradfahren als Instrument des Kunstschaffens einsetzt und damit die Wertigkeit des Radkurier-Arbeitens als Wertigkeit eines Kunstobjekts umdeutet.

So kommt das Fahrrad in die Kunst zurück, ohne als skulpturales Objekt verwendet zu werden. Das allerdings macht der österreichische Künstler Hannes Langeder, der sein Fahrrad in der perfekten Nachahmung eines Ferrari-Wagens unterbringt. Dieses Fahrradi Farfalla führt alle Qualitäten des Luxusautos ad absurdum und macht im Kontext des Fahrrads als das zentrale Zukunftsverkehrsmittel auch noch einmal deutlich, dass Radverkehr vorerst nicht zu denken ist, ohne sich vom Auto abzugrenzen und unsere autofixierte Gesellschaft und Verkehrssysteme ganz neu zu denken.

Die Städtische Galerie Bremen liegt direkt am Weserradwanderweg und möchte die Sommermonate nutzen, die Fahrradausstellung direkt er-fahr-bar zu machen und sie mit dem eigenen Rad zu befahren und zu erleben. bike in head zeigt in diesem Kontext nicht ausschließlich künstlerische Positionen, sondern lädt zur Fahrradselbstreparatur ein, verweist auf aktuelles Fahrraddesign aus Bremen und zeigt eine Auswahl an Kurzfilmen zum Fahrrad. Diese wird von unserem Kooperationspartner „Bremen BIKE IT!“ kuratiert, der uns außerdem vor allem hinsichtlich aller Fragen von Bremen als Fahrradstadt unterstützt.

bike in head ist die dritte Etappe im Kooperationsprojekt zum umfassenden Thema des Fahrrads in der Kunst, das mit der Ausstellung Fahrradkörper vom 15. August bis 31. Oktober 2021 in der Städtischen Galerie Delmenhorst bereits Fahrt aufgenommen hat. Es wird mit der zweiten Etappe in der Ausstellung Cyclophilia vom 22. Juli bis 18. September in der Kunsthalle Wilhelmshaven mit einem Fokus auf dem Fahrrad als Performance- und Musikinstrument und mit bike in head in der Städtischen Galerie Bremen weitergeführt und ins Ziel gefahren.

Darüber hinaus will die Städtische Galerie Bremen neben der Ausstellung künstlerischer Positionen in Kombination mit soziologischen Fragestellungen und gestalterischen Konzepten vor allem durch ein umfassendes Veranstaltungsprogramm dem Fahrrad als zentrales Konzept einer sich verändernden Gesellschaft nachspüren und die damit verbundenen Fragen mit der Öffentlichkeit verhandeln. Neben Fahrradtouren inklusive einer Befahrung der Ausstellung sind Filmscreenings, Lesungen und Aktionen im öffentlichen Raum geplant. Dies soll um ein innovatives Vermittlungsprogramm ergänzt werden. In einer zweiteiligen Publikation wird die Ausstellung festgehalten. Der eigentliche Ausstellungskatalog erscheint als dreiteiliges Buchprojekt, das die Etappen der Kooperation zwischen den Kunsthäusern in Bremen, Delmenhorst und Wilhelmshaven dokumentiert. Der Bremer Katalog wird außerdem um eine umfangreichere Publikation ergänzt, in der Fragen des Radfahrens in Bremen in diversen gesellschaftlichen Feldern thematisiert werden.

DFG-Schwerpunktprogramms „Das digitale Bild“

7. – 9. July 2022
Talk, Online, München, Marburg

At the fifth conference of the priority program “The Digital Image”, which will take place in Marburg and online from July 7 to 9, 2022, we would like to devote ourselves to this aspect in detail and map various positions, illuminate approaches, and address problems. What is the relationship between the two cultural variables of art and science in the digital? What role do visualizations of abstract program codes play and what do we learn from looking into the black box AI? What are the historical implications of the genesis of the digital in the mathematical sciences, starting with the founders of computer science Alan Turing and John von Neumann? How do artists use specific properties and attributes of the digital image and how do they expand the creative possibilities or even the concept of art?

Are algorithms to be considered only as a tool for art, or are new kinds of cultural aesthetics emerging? Does the digital image change creative production, or should it rather be seen as a communication tool for artists?

The conference will provide an opportunity to look at exemplary phenomena and to compile descriptions, analyses and theses. The aim is to identify intersections from different disciplines and at the same time to reflect current research discourses from a new point of view. Details on the transdisciplinary projects of the first funding period can be found on our homepage:

Participants:

Alexander Galloway
Rosa Monkman
Hell Gette
Aram Bartholl
Helena Nikonnle
Nathalie Bredella
Michae Rottmann
Bernhard Dotzler
Roland Mever
Christi Baur
Felicitv Tattersall
Pah Erdmann
Pamela Scorzin
T. L. Cowan
Tilman Baumgärtel
Andy Donaldson

Full conference program

Blog Archiv für Monat: März 2013

Brand Innovations for Ubiquitous Authorship 2

März 28, 2013


I ll show a new piece „Forgot your password?“ at Eva & Franco Mattes‘ ’stolen‘ show at Carroll/Fletcher next month. (See also where Artie has ’stolen‘ the concept  from before ;))) Nice press release! I took the liberty to OCR it into machine readable format below.  (NOT EDITED!!! 🙂
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i ;_56<57 Eastcastle St London WIW sso www.carrolItletcher.com info@carrolltletcher.com PRESS RELEASE Exhibition: Brand Innovations for Ubiquitous Authorship Date: m2 23 April - 11 May, 2013 Opening reception: 3Fhursday-19-July-2012-,-6-8pm Monday 22 April, 8:30 - 9pm Carroll/Fletcher and Eva and Franco Mattes present Brand Innovations for Ubiquitous Authorship, a group show of anists whose works frequently challenge traditional notions of object production and material constraint. For this exhibition each artist was asked to produce an object using a custom printing or fabrication service. These services, such as CafePress and Zazzle, exist to provide users a cost-effective way of producing fully customized products, from t-shirts to iPhone cases, and a host of other objects- custom 3D printing from companies like Shapeways, full printed books from companies like Lulu, &c. These services have arisen as the result of increasing consumer demands toward customization and print-on-demand objects, offering a venue for traditional “self expression” to be imprinted onto commonplace goods. As the tools for image creation and dissemination have become increasingly democratized, these services attempt to expand this domain into the realm of objects. They are used here to transform images from a plethora of authors into a mass of commodities. Higher-Pietu+es Carroll/Fletcher has not seen a single piece in this show as of the writing of this news release. We expect this backwards approach to be filled with highs, lows, and hopefully more than a few transcendent successes. The result will be a gallery of art, artifact and artifice. For further information wnmct . +44 (0)20 7323 6111 Participating artists andwriters include: Annabelle Arlie Brian Khek Andreas Banderas Martin Kohout Aram Bartholl Bryan Krueger Body by Body Lindsay Lawson Chris Coy Jaakko Pallasvuo Christofer Degrér Jon Rafman Nick DeMarco Sean Raspet Constant Dullaart Rafael Rozendaal Andreas Ervik Borna Sammak Matt Goerzen Oliver Sutherland Aaron Graham Daniel Temkin Toby Huddlestone Brad Troemel Parker Ito Artie Vierkant Justin Kemp Andrew Norman Wilson Exhibition concept stolen from Artie Vierkant's show by the same title.

Vertical Video DVD

März 28, 2013


DVD Dead Drop vol.6: ‚Vertical Video‘
March 19 – May 7, 2013 at the Museum of Moving Image NYC
by Sakrwoki aka curatingyoutube.net and Aram Bartholl. 2013, 62 mins. DVD.
Vertical Video is a one-hour selection of amateur videos captured in the 9:16 aspect ratio, first compiled for a special screening in Berlin entitled Vertical Cinema. The DVD includes a special How To video with instructions for adjusting a home theater or other viewing environment to properly experience these works.
Fueled by a proliferation of mobile, inexpensive, high quality cameras and free online distribution platforms, self-trained media producers continue to invent creative uses for media technologies that challenge contemporary viewing behaviors and expectations. Even though the 9:16 aspect ratio is often understood to be „wrong“ €“the result of using a camera „incorrectly“ €“videos in 9:16 are being created and distributed online at an increasing rate. Unchained from cinema screens, televisions, and computer monitors, media makers are free to create for viewing experiences outside of traditional horizontal exhibition hardware.
Vertical Video is a compilation of videos with a wide range of subjects including architecture, wildlife, bodies in motion, gaming, eyewitness accounts, and current events whose vertical treatment is a natural and fitting decision. Until now, many of these videos have only been seen online where they have been thickly pillarboxed and shrunk to squeeze into the existing horizontal viewing system. This compilation provides evidence that a new generation of media producers, freed from concerns about conventional screening requirements, reject the arbitrary restrictions of the horizontal screen and maintain a more fluid relationship with the frame.
The selection was originally screened at Vertical Cinema Platoon Berlin on Feb 18 2013, see also http://datenform.de/vertical-video-eng.html

How to watch Vertical Video from Aram Bartholl on Vimeo.

OFFLINE ART: new2 opening speech by Olia Lialina

März 6, 2013


Olia Lialina opening the show at xpo gallery Feb 21, 2013
For the opening of OFFLINE ART: new2, curated by Aram Bartholl at XPO Gallery.
Let me steal a few seconds of your attention to remind you about some obvious facts and terms. The Internet and the Web are not the same. The Internet is older and bigger, it is a distributed network born in 1969 and turned into a global Internetwork at the very beginning of the 80s.
The Web is younger. In two months we will celebrate its twentieth birthday. The first cross-platform browser, Mosaic, was released to the public in April 1993. There are people who date the beginning of the Web to 1989, when Tim Bernes Lee invented the WWW system, but nothing happened between 1989 and 1993. Nothing before the rest of us started to shape it.
The Web is younger and „smaller.“ It began in 1993 as a modest service, one of many. I have a book here with me, “The Whole Internet” – I always have it with me. It has 400 pages and only fifteen of them are about the Web. But it was growing very fast. By 1995, it would make no sense to write a book entitled „The Whole WWW“ or something similar, because it was already immense by this time.
The Web became the Internet very quickly. In the 90s many got to know about the Internet through the Web. Many never ever left the Web, so they haven’t seen the rest of the Internet. In the new millennium, most of the users don’t even know there is a difference. I sometimes get angry at new students who don’t know about it, but at the same time, I’m fine with this because the Web is the best thing that happened to the Internet. The best thing that happened to us. It is the best thing that could happen to artists and to the contemporary art world, though not everybody would agree with this.
Apart from the many doors and windows that it has opened to artists and institutions, the Web gave life to a very important movement: net art – or, as one would have called it during the mid 90s, net.art.
Retrospectively, we can say that it gave life to two art forms: web art and net art. The first was busy with browser, HTML and scripts, with the idea – revolutionary at the time – that a browser IS a place for self-expression, for experimentation, for making art. Net art was busy with networking itself.
In the beginning, web and net art were represented by the same people. They – I mean, we, worked for the Web, on the Web and because of the Web. But we didn’t want to be called web artists; we liked being called net artists. The reason is that, for net artists, visual and coding experiments with browsers were less important than the fact that our works were ONLINE.
Artists of that generation emphasized connectivity, networking, and the distributive nature of the works through several means. There was a great desire to create projects that weren’t visible on a computer that was NOT online. Today, we often hear that there is no difference anymore between offline and online, that they are both real life. True. Twenty, fifteen years ago, we knew very well when online stopped and offline started, where net art stopped and where CD-ROM, interactive or whatever art started.
A show that goes back to the initial idea of net art opens tonight. It focuses on connection, its presence, and its absence. It even starts off with a provocative title. I don’t know what you think about when you read OFFLINE art, but I can only think about ONLINE art.
OFFLINE ART: new2 was curated by one of the most important new media artists, Aram Bartholl. His objects and installations in public places precede today’s art and design trends that play with the relationship between the digital and analog worlds. But he is also a net artist, a classic net artist, because he keeps himself busy with the question “am I on or off?”
This question was and still is central to net art, despite new realities, new devices and generational change.
Aram is also a brave artist, because he is not afraid to enter into one of the most slippery issues related to contemporary and media arts: Does it make sense and is it possible at all to show net art in a gallery or real space?
I have been involved with this discussion for the last fifteen years through my own artistic and curatorial work. I can tell you that the answer has changed from a definite No to Maybe, to Yes, but and finally, to Yes.
It became clearly positive some years ago, when the Web stopped being a new medium and became a mass one. It was quite a difficult moment for net art and web art, because these forms are extremely medium-specific. Web artists and net artists are doing work about the medium, but, as soon as it stops being new – when it a matures, when it becomes a mass medium, it becomes very difficult to have a close connection with it. By the way, many net artists went OFFLINE at that time to make works „about the internet and the web“ from the outside, in order to keep a distance, to keep the relationship alive.
But there was also a bright side to this: the fact that the Internet became a mass medium meant that net artists got bigger audiences, both online and offline. Ten years ago it made sense for net artists to only address people in front of their computers; today, I can easily imagine addressing visitors in a gallery because most of them have just gotten up from their computers. They have the necessary experience and understanding of the medium to get the ideas and jokes, to enjoy the works and to buy them.
What is especially interesting about today’s exhibition is the fact that it counts on people who came not only with knowledge but also with their own mobile devices. So you are here and you are in front of your own computers again.
How to show net art in the real space? Another eternal question
OFFLINE ART is not Aram’s first answer to it. Three years ago, he conceptualized Speed Shows, an exhibition format that suggested renting an Internet café for one evening and opening online works on computers in a standard browser with standard preferences. It was a great gesture and I’m happy that these series of events still happen all over the world, because it is important to go to Internet cafés, to sit at least once in a while in front of a public computer. It was great for net art because a standard computer with a standard browser is a natural atmosphere. It is much healthier than installations and custom built objects around a work that only needs a browser. „Net.art never died! It just moved to your local Internet-shop!“ was the motto of the series. The paraphrased motto of OFFLINE ART could be „net.art never died! It just moved to your local network!“
Once again, Aram suggests showing (distributing) the works through standard devices – Wi-Fi routers. They are modified, though. One router, one artist, one work of art: one network per artist. It is elegant and almost absurd.
This can be very attractive for collectors, who were always warned that you couldn’t buy net art; for this, you’ll have to buy the whole network. Well, here it comes, the artwork and the network.
I’m sorry if it sounds a bit sarcastic, but it is not because I’m against selling. I think, and I have repeated this for fifteen years, that selling web art is easy. Any other art form is more problematic than a web-based one, especially when it comes to pragmatic and legal issues. Additionally, there are so many ways to do it, so many ways to reshape and re-contextualize, to keep and collect. OFFLINE ART is an example of how it can be done.
We can try to see today whether this setting works and how it works. Will you look at the router or will you look at the work it is transmitting? Will you go through one router to another, or stay for hours in front of one? Will you keep the files you’ve downloaded on your devices and transfer them to your nextphone or overwrite them immediately?
You can access the works of twelve artists who belong to the tradition of web art through the routers, and then buy the routers. For OFFLINE ART, Aram selected classic and new works that play with web culture and browser aesthetics. They are all accessible through browsers, not apps. I think it is great to do this in 2013, because at this moment it looks like apps are taking other, but it is not true. Web designers and browsers will adjust to the small screens in the near future and the Web will once again become the environment we are in, even on mobile phones.
As soon as you connect your devices to each of the routers you will get a beautiful piece of web art. The exhibition itself is a wonderful net art project. Thank you for paying attention to both, for keeping both movements alive
Olia Lialina, 21 February 2013
I pass this new2.odt to you. Please scan, spell-check and put it online 🙂

Olia Lialina opening the show at xpo gallery Feb 21, 2013
Thx to Olia for this wonderful and very important opening speech!

Go!Go!Go!

März 5, 2013




 
Aram Bartholl
»Go!Go!Go!«

Solo Exhibition
Aksioma | Project Space
Komenskega 18, Ljubljana
6 – 22 March 2013
Exhibition opening and artist presentation:
WED 6 March 2013 at 7 pm
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