with:
Artists: Aram Bartholl (DE) – Varvara Guljajeva (EE) and Mar Canet (ES) – Rafael Lozano-Hemmer (MX) – Martín Nadal (ES) – Persuasion Lab (IN)
with:
ARAM BARTHOLL, ALICE CREISCHER, FANTASTIC LITTLE SPLASH, FREDERIK FOERT, SOPHIE GOGL, BARBARA HAMMER, MIRIAM JONAS, RALF MEYER, MICHAEL SAILSTORFER, PHILIP SCHEFFNER, CONSTANTIN SCHRÖDER, ALEEN SOLARI
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.
Online, interactive and endless ones and zeroes in algorithms and coding; digital art, in all its forms and designs, is occupying an increasingly important place. And not only that. The growth and developments in the field of digital art also force us to think about the definition and meaning of concepts such as ‚unique‘ and ‚authentic‘. With more than 50 works by 29 artists, the group exhibition Behind the screens – 50 years of computer art shows the various forms of digital art and the developments from the 1970s to the present. A large part of the works of art in this exhibition come from a private collection from Apeldoorn, which includes a number of iconic works of art and gives an impression of the development of digital art.
2023 👋🏻 I am looking fwd to this solo. It will be the 30th anniversary of the Kunsthalle and 375 Jahre Westfälischer Friede 2023. The Kunsthalle is partly located in a former church. It’s quite a space to work in 😮😅 looking fwd to this! It will be a fun project. 🙂 Stay tuned! ✨
Social Media prägt unseren Alltag und unsere Gesellschaft. Messenger-Dienste, Plattformen zum Teilen von Bildern und Videos, bis hin zu Dating Plattformen sind Teil unserer Kommunikation geworden. Auch aus den Künsten sind die Sozialen Medien nicht mehr wegzudenken. Einerseits genutzt als Website, andererseits als Ort der Selbstdarstellung, scheint das eigene Publikum nur einen Klick entfernt.
Die Ausstellung „:-#“ zeigt Arbeiten zum Thema Social Media in der Kunst und stellt die Frage was sozial an den Sozialen Netzwerken ist und inwiefern diese unser Verhalten und Gesellschaft verändern. In unterschiedlichsten Medien setzen sich Künstler*innen damit auseinander, was es bedeutet in einer digital geprägten Welt künstlerisch zu agieren.
Ausstellende:
Aram Bartholl, Felix Chauvin, Michael Dörner, Veronika Domp, Finn Geiger, Gunilla Jähnichen, Amy Justen, Kira Keune, Echo Can Luo, Zhiyi Liu, Julian Öffler, Eun Jung Sim und weitere
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.
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)
I am very pleased to announce that Dead Drops won an Honorary Mention at Prix Ars Electronica 2011!
TELE-INTERNET from Aram Bartholl on Vimeo.
more documentation on http://datenform.de/teleinternet/documentation/
bit.ly/teleinternet
#TELEINTERNET bit.ly/teleinternet at Ars Electronica last weekend was awesome! Thanks to everyone for participating and thx to the As team for support! Most popular ‚piece‘ in the show was our coinopperated coffee machine 🙂
Stay tuned for more documentation …
„A new cultural economy“ was the title of the symposium curated by Joichi Ito at Ars Electronica a week ago. I enjoyed a lot the brillant speakers most of them from the US and Jonah did write a good abstract on the presentations for Rhizome.
Buzz word collection: Intellectual property, copyright, creative commons, sience commons, GPL, open source, closed, amateur, creativity, remixing, sharing, crowd sourcing/computing, citizen journalism, lost authority, chaos, noise, truth, fear ….. and again and again the big examples: Music, Film and Wikipedia.
Sure we are talking about cultural economy and the example of the music economy development in last decade or the success of Wikipedia shows very well what’s going on. But in retrospective I ‚ve been missing some crucial questions:
– How will/can this whole development affect economy in general?
– What is the role of DIY (Do it yourself) and the free instructions culture development?
– In wich way will physical objcts/products be involved? (Just think of the upcoming rapid prototyping era.)
– Are we only talking about cultural/intellectual property?
– Is there a reason to wait for companies to come up with great new products like a green car, alternative energy sources or just day to day life simplicity?
– Where is the DIY mobile medicin prototyping lab kit for the 3rd world? And will medical industry do the same faults like spoiled music people?
Podcasts of all talks
Unfortunately there are no videos, but I can recommend the talk of Yochai Benkler.
Picture:
Watering cans on a graveyard in Berlin. Instead of having a few public cans everybody has its own one looked to a stand. A very good symbol on a current mindset of property in society. (with a maybe typical german twist.)
The Image Fulgurator by Julius von Bismarck (winner of a Golden Nica) was of course my favorite piece at Ars Electronica. In addition to the groundbreaking idea he did a really good job in documenting his latest interventions for the Cyberarts show at Ars Electronica. Besides a crucifix he added to Obamas speakers desk during the Berlin speech he traveled to Beijing and manipulated the most symbolic place of official China. He projected a pigeon related to the Magritte’s painting „L’Homme au Chapeau Melon“ on top of Mao’s face which was then only visible to chinese tourists with digi cams. Wow! A very good way of showing the Image Fulgurator’s power. I hope that he will release that beautiful video documentation online.
A very simple, again paper based and fun interactive project by Richard The » Gunnar Green » Frédéric Eyl » Willy Sengewald got an honary mention and was exhibited at Ars Electronica this year. It reminded me of a picture of an ‚interactive‘ facade I posted a while ago.
Appeel is a virus spreading through interacting individuals. Surfaces are covered by thousands of colored stickers laid out in a grid. Peeling a sticker off leaves a white spot in the grid, hence people start individually and collectively changing its appearance. Once off the wall, the stickers ask to be stuck somewhere: people begin putting them on objects, walls, people; they collect them, they compose new images, they write messages. Slowly, the little stickers spread, appearing further away from their source and occupying space.
Prix Ars Electronica 2008, Honorary Mention Interactive Art
Ars Electronica announced golden nica winners for 2008! In the category INTERACTIVE ART Julius von Bismarck got a golden nica for the Image Fulgurator. This piece is just awesome. Congrats Julius! Good job, jury!
The Image Fulgurator is a kind of inverted photo camera physically manipulating other peoples pictures in realtime. The exact moment someone takes a picture the Fulgurator does a flash projection onto the photographed object. A sensor detects other camera flashes and synchronizes the flash projection to them. In case of the movie below tourists end up having weird text messages in their pictures. A Checkpoint Charlie sign has an additional message on it but you can’t see it in real. This is a good picture explaining the setup.
Wow! I really like this piece a lot. Just imagine what you could do with this technology. (That’s why he is going for patent.)
I finally managed to put together a documentation about Second City Ars Electronica 2007. The festival invited me to make a design for Marienstrasse, to show my work and to involve other artists in collaboration for the Second City all relating to metavers and Second Life.
Pics info and more on the project page.
I had a great team! Thx to everybody!
A forest, half virtual, half real, on Marienstraße, Second City, Ars Electronica 2007. As in most computer games and 3D worlds, objects from the real world are “copied” or simulated in simplified form and in accordance with programming constraints. Textures are applied to 3D structures and, depending on lighting conditions, the images making up the virtual scenery are computed in real time during the game. Most trees are constructed out of two interlocking surfaces, each of which is covered with the same tree-view texture. The transparency of the gaps between the leaves and branches is provided by a so-called alpha channel in the graphics file. From a certain distance and the corresponding perspective, this abstracted form of a tree in virtual space doesn’t stand out as a simplification.
…read on & more pics on project page
