Laufende Termine

Unfinished Reality

10. April – 5. Juni 2026
Gruppenausstellung, United Art Museum, Wuhan

Well informed. Badly disposed.

15. März – 24. Mai 2026
Gruppenausstellung, Galerie Eigenheim, Weimar

Well informed. Badly disposed.
Doomscrolling, Negativbias und die sozialen Herausforderungen

Ort EIGENHEIM Weimar, Asbachstraße 1, 99423 Weimar / Eröffnung 14.03.2026 um 19 Uhr mit dem DJ Set Druck – Resonanz – Kontrollverlust von Christoph Höfferl / Dauer 15.03.2025 – 25.04.2026

beteiligte KĂŒnstler*innen: Anna Bittersohl, Aram Bartholl, Simon Baumgart, Jonas Blume, Benedikt Braun, Elisa Jule Braun, Paolo Cirio, Ben Grosser, Esra GĂŒlmen, Susanne Junker, Philipp Kummer, Marc Lee, Kayla Mattes, Signe Pierce, Theresa Rothe, Michal Schmidt, Stefan Schiek

Der Auftakt des Jahresprogramms, das sich Zuversicht, PositivitĂ€t und kollektiver Lebensfreude widmet, wird durch die Ausstellung „Well informed. Badly disposed.“ markiert. Zugleich versteht sich diese erste Ausstellung als bewusste Problemanalyse: Sie benennt die Bedingungen, unter denen ein positives Jahresthema heute nicht naiv, sondern notwendig erscheint – als Haltung, um zunehmender Polarisierung, Emotionalisierung und politischer Vereinnahmung von Information etwas entgegenzusetzen.

Im Zentrum stehen die Mechanismen von Doomscrolling und Negativbias – PhĂ€nomene, die unsere Wahrnehmung, unsere Stimmung und zunehmend auch den gesellschaftlichen Diskurs prĂ€gen. Eine immersive, dĂŒster-dystopische Ausstellungskulisse definiert einen bewusst abstoßenden Raum und schafft einen von ReizĂŒberflutung geprĂ€gten Erfahrungsrahmen, der Angst, Erschöpfung, Ekel und AbgrĂŒndigkeit vermittelt. Die Ausstellung macht jene emotionale Überforderung erfahrbar, die aus der permanenten Konfrontation mit negativen Nachrichten entsteht.

KĂŒnstlerische Positionen untersuchen, wie digitale InformationsflĂŒsse, soziale Medien und algorithmische Logiken unser Denken und FĂŒhlen beeinflussen. Dabei wird deutlich: Plattformen sind nicht neutral. Sie spiegeln ökonomische und politische MachtverhĂ€ltnisse wider, verstĂ€rken Polarisierungen und prĂ€gen demokratische Öffentlichkeiten weltweit. Zugleich zeigt sich, dass individuelle Mediennutzung eng mit Fragen von Verantwortung, Vertrauen und Bildung verknĂŒpft ist. Die Ausstellung macht sichtbar, wie stark wir dazu neigen, das Negative stĂ€rker zu gewichten als das Positive – und wie soziale Medien und Informationsplattformen diesen Bias gezielt nutzen, um Aufmerksamkeit zu maximieren.

„Well informed. Badly disposed.“ beleuchtet bewusst die negativen EinflĂŒsse unserer medialen Umwelt und macht zugleich neugierig auf die weiteren Ausstellungen des Jahresthemas. Sie eröffnet den notwendigen Kontrast, um die Kraft der Zuversicht in den folgenden Projekten umso stĂ€rker erfahrbar werden zu lassen. So bildet diese erste Ausstellung den kritischen Auftakt fĂŒr ein Programm, das Schritt fĂŒr Schritt Perspektiven auf Optimismus, Empathie und kollektive Freude entfaltet.

Moi et les autres

12. März – 13. September 2026
Gruppenausstellung, Fondation EDF, Paris

By occupying nearly a third of our waking hours, screens are profoundly reshaping the contours of our relationships with others. In response, numerous journalistic and academic discourses echo concerns about the digital migration of our social lives: the idea frequently arises that the socio-technical systems at work in this migration are making us more resistant to diversity.

Our intention is to nuance this concern by acknowledging a foundational aspect of the internet—its original design to facilitate the virtuous and unprecedented emergence of communities of specific interests, often far more specialized than what our traditional offline social circles can accommodate. This utopia inevitably carries a tension between, on the one hand, the benefits of more efficient and far-reaching sociability, and on the other, the widely discussed risks of a social life limited to alters who are most similar to ourselves.

Curated by AurĂ©lie ClĂ©mente-Ruiz, director of the MusĂ©e de l’Homme in Paris, and Camille Roth, a researcher at CNRS in social sciences.

With: Nicolas Bailleul, Aram Bartholl, LĂ©a Belloousovitch, NeĂŻl Beloufa, Sophie Calle, Paola Ciarska, Laurent Grasso, Juliette Green, Ben Grosser, ÖzgĂŒr Kar, BĂ©atrice Lartigue, Lauren Lee MacCarthy, Katherine Longly, Randa Maroufi, Magalie Mobetie, Martine Neddam, Philippe Parreno, Françoise PĂ©trovitch, Valentina Peri, Marilou Poncin, Jeanne Suspuglas

Bilder

Today Is a Good Day to Discuss Digital Rights

20. November 2025 – 3. Mai 2026
Gruppenausstellung, Fundacion Telefonica, Madrid

A look at how our online practices leave a trace and shape our rights. Drawing on the Charter of Digital Rights (2021), the exhibition explores seven key areas with humour and everyday examples. Framed within the Observatory of Digital Rights and curated by FundaciĂłn TelefĂłnica and Domestic Data Streamers, the show encourages reflection and debate around the safe, responsible, critical, and creative use of technology.

We accept cookies as if they were freshly baked biscuits, without having the slightest idea of what ingredients they contain. We share photos of our children’s birthdays or family trips as if they were WhatsApp stickers, without knowing where they might end up. We use the same password for our bank account and our grocery app (spoiler: not a good idea). We check a website to see if it’s going to rain, only to give away our data like candy on Halloween.

The exhibition Today Is a Good Day to Discuss Digital Rights seeks to raise awareness about the rights and duties that citizens exercise and develop in the digital sphere. Moreover, the show invites us to keep debating and building a system of guarantees around the digital ecosystem — a kind of ethical guide that helps us understand what digital rights and duties are, what they imply, and the opportunities the technological environment offers citizens.

Framed within the initiative of the Observatory of Digital Rights and curated by Fundación Telefónicatogether with the artistic collective Domestic Data Streamers — which presents six installations —, the exhibition features works by contemporary artists such as United Visual Artists, Eva & Franco Mattes, Paolo Cirio, Noemí Iglesias Barrios, Theresa Reiwer, Hasan Elahi, and Aram Bartholl, among others. Their works challenge visitors, help them understand, and encourage reflection on our actions as digital beings. A much-needed exhibition, it fuels the debate around digital rights and duties, and calls for a safe, responsible, critical, and creative use of technology. Because today is a good day to discuss Digital Rights.

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Kommende Termine

Grand Snail Tour

10. – 11. September 2026
Gruppenausstellung, Urbane KĂŒnste Ruhr, Hattingen

The Grand Snail Tour activates public spaces in the region through artistic formats of exchange, participation, and co-production – often in collaboration with local actors. Over the course of three years, it will travel through all 53 cities in the Ruhr region. The project addresses important questions of social coexistence in an experimental and innovative way: Who owns public space and how can we create places for communal activities or activate existing spaces? What role does art play in this? The Grand Snail Tour aims to leave a variety of impressions, offer shared experiences and invite people to join the journey.

Self Storage

6. – 10. Mai 2026
Gruppenausstellung, Galerie Ellia, Paris

We are made of memory, but memory itself is a fiction 

The exhibition Self Storage investigates how individuals construct identity through personal and intimate recollections, as well as through the technical and social systems that shape their traces. Memory is not an objective recording: it is an assemblage, a selective construction built from both forgetting and persistence. A memory emerges within a space shaped by desire, loss, and reconstruction. Self Storage foregrounds this subjective and unstable dimension of remembering. Diaries, family archives, obsolete technologies, and bodily reminiscences become raw materials to examine the materiality of memory and its capacity for reinvention.

Hard drives, clouds, online profi les, and social networks are gradually replacing notebooks and photo albums. This massive externalization questions the boundary between private memory and public exposure, between lived traces and standardized data. Self Storage extends this inquiry into a contemporary era where identity is stored, outsourced, and endlessly duplicated. Through the works assembled, the exhibition off ers a poetic and critical drift between real and invented memory, intimate and externalized. It prompts us to consider: What do we need to retain? What do we choose to forget? And what becomes of the “self” when it is reduced to archives, content, and imprints?

curation : Nicolas de Chérisey & Philippine de Salaberry in collaboration with Ellia gallery

participating artists:
JoĂ«l Andrianomearisoa, Maxime Antony, Marcella BarcelĂł, Aram Bartholl, Federica Belli, Matthias Bitzer, Borgial, Victor Boyer, AmĂ©lie Caussade, SalomĂ© Chatriot, Coucou BĂ©bĂ©, Nick Coutsier, Fleur Cozic, Paul CrĂ©ange, Corentin DarrĂ©, Oli Epp, LĂ©onor Fini, Nan Goldin, Gregor Hildebrandt, Ryoji Ikeda, Victoire InchauspĂ©, ÉloĂŻse Labarbe-Lafon, Octave Lauret, Louis Lekien, InĂšs Longevial, Keegan Luttrell, Shiva Lynn Burgos, Matisse Mesnil, Sabine Mirlesse, Polina Osipova, Louise des Places, JosĂ©phine de Rohan-Chabot, Philippine de Salaberry, Tehotu, Egon Thuile, Thu-Van Tran, Louis Verret, Francesco Vezzoli, Rose Vidal, Xolo Cuintle, Kai Yoda, Yugnat999.

Vergangene Termine

readOn Konferenz

31. März 2026
Talk, LUX Pavillon, Hochschule Mainz, Mainz

Am 31. MÀrz findet im LUX Pavillon der Hochschule Mainz die ganztÀgige, vierte Ausgabe der readOn Konferenz unter dem Titel AT THE EDGE OF KNOWING statt.

Die Konferenz richtet den Blick auf jene Momente, in denen Wissen brĂŒchig wird – wenn sich zwischen Gewissheit und Vermutung, Erkenntnis und Ahnung ein offener Raum auftut. Ein Raum, der sich eindeutigen Definitionen entzieht: Fragen werden wichtiger als Antworten, Prozesse bedeutsamer als Ergebnisse – und Unsicherheit erscheint nicht als Mangel, sondern als produktive Kraft.

AT THE EDGE OF KNOWING lĂ€dt dazu ein, diese Schwelle des Verstehens bewusst zu betreten. Gemeinsam suchen wir nach neuen Perspektiven auf Gestaltung, Begegnung und das Denken möglicher ZukĂŒnfte. Nicht-Wissen wird dabei nicht umgangen, sondern als Ausgangspunkt ernst genommen.

In VortrĂ€gen und Diskussionen untersuchen geladene GĂ€ste, welche Rolle Unsicherheit in gestalterischen Prozessen, in der Forschung und in unserer Haltung zur Zukunft spielen kann. Die Konferenz versteht sich nicht als abgeschlossener Zustand, sondern als Reflexion eines Prozesses, der sich in die Ungewissheit hinein entfaltet – und lĂ€dt dazu ein, gemeinsam an den Rand des Wissens zu treten und die Weite des Unscharfen zu erkunden. In ungewissen Zeiten möchten wir Raum schaffen, um zusammenzukommen – und statt am scheinbar Sicheren festzuhalten, bewusst loszulassen und neu zu denken. Die Teilnahme ist gegen eine freiwillige Spende möglich.

Organisiert von den Studierenden des Masterstudiengangs Kommunikationsdesign der Hochschule Mainz.

Bring Your Phone!: TOUCH FARM

16. Januar 2026
Curatorial, panke.gallery, Berlin

đŸ€łđŸŸBring Your Phone! : TOUCH FARM đŸŒŸđŸ‘©â€đŸŒŸ reclaims the idea of the farm for the screen age. If farming once organized land, labor, and life, today it organizes attention and clout. TOUCH FARM takes the architecture of click farms and flips it from extraction to participation.

Bring your phone. Exhibit your work. Everyone participates.
đŸ·đŸđŸ°đŸ–đŸŽđŸ‘đŸ“đŸ–đŸ”đŸźđŸ‡đŸŒŸđŸšœđŸ‘©â€đŸŒŸ
Curated by @arambartholl & @socratesstamatatos.

🎉 #Vorspiel 2026 Opening Party at @panke.gallery

📍panke.gallery, Friday, 16 January 2026 at 7 PM (Gerichtstr. 23, Hof 5, 13347 Berlin)

Spazi di Transizione

9. – 11. Dezember 2025
Talk, Spazio Murat, Bari

Blog Archiv fĂŒr Schlagwort: deaddrops

#BrechtDrop

Februar 16, 2020

As part of a discussion panel at the Brecht Haus Berlin last thursday I made a Dead Drop in the entrance hallway. Come by visit the house and drop some files!

Die kleine Intervention: Weniger Spektakel, mehr Wirkung?

Do 13.02.19:30
Installation und GesprÀch
Brecht-Tage 2020, Literaturforum im Brecht-Haus

Mit Aram Bartholl und Helgard Haug (Rimini Protokoll)
Moderation Cornelius Puschke

Anhand von Aram Bartholls „Dead Drops“ (mit Live-Installation) und Projekten von Rimini Protokoll geht es um die Frage, ob die kleine, unauffĂ€llige oder parasitĂ€re Aktionsform wirksamer ist als die skandalösen Groß-Interventionen, die ebenso schnell wieder verschwinden wie sie erschienen sind.

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Dead Drops appear on Elementary

November 3, 2016

@arambartholl dead drop on Elementary 🙂 pic.twitter.com/BslUrpBKrv

— Theodore Watson (@theowatson) https://twitter.com/theowatson/status/793612879928885248 November 2, 2016

Thanks to Jonah Brucker-Cohen & Theo Watson for pointing out the appearance of a Dead Drop in the TV show ‚Elementary‚. Cool! 🙂

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Interview – Dead Drops on Huffpo

September 1, 2016


The internet revolutionized information sharing, allowing people all over the world to post content and distribute it among networks. But as the internet has grown, surveillance on the web has exploded as well. So one artist is encouraging people to forget the cloud and share information in a totally anonymous way.
In 2010, Berlin-based media artist Aram Bartholl started “Dead Drops,” his participatory file-sharing art project, by cementing a USB drive into a brick wall in New York City.

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Save The Data

September 24, 2015

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Save the data!
27.09. –  22.11.15
Von Kunst und datentrÀgern
Kunstpalais Erlangen · www.kunstpalais.de
In Erlangen, der Stadt, in der mit Entwicklung des mp3-Formats die Digitalisierung einen ganz bedeutenden Entwicklungsschritt getan hat, fokussiert mit der Gruppenschau „Save the Data!“ erstmals eine Ausstellung das Zusammenspiel von bildender Kunst und verschiedenen Speichermedien.
Auf welche Weise werden die technischen Speichermedien – aktuelle und ĂŒberholte – fĂŒr den kĂŒnstlerischen Ausdruck genutzt, und wie werden deren unterschiedliche Bedeutungsebenen miteinander verwoben? Welchen Einfluss hat die Digitalisierung auf die Bildgenerierung in den Medien Fotografie, Film und Skulptur? Inwieweit wird der Bedeutungswandel, den die Speichermedien von analog bis digital in den letzten Jahren und Jahrzehnten erfahren haben, durch den kĂŒnstlerischen Umgang mit ihnen hinterfragt?
Schallplatten, Compact Discs und CD-ROMs, vor allem aber Musikkassetten, Disketten und VHS-Tapes verschwinden einerseits zunehmend aus dem tĂ€glichen Gebrauch –andererseits taucht solcherlei Hardware in den letzten Jahren vermehrt in Museen und Galerien auf. Als kĂŒnstlerischer Werkstoff sind sie fĂŒr viele KĂŒnstler zunehmend von Interesse, und auch der Betrachter freut sich ĂŒber die Wiederbegegnung mit solchem zum Teil allzu vertrauten Material. Der einst gefĂŒrchtete Bandsalat, das Rattern des Filmprojektors, die Mixkassette fĂŒr die Liebste oder das Bild von Regalen voller Videokassetten gehören im tĂ€glichen Leben zwar meist der Vergangenheit an, doch die damit verbundenen GefĂŒhle zwischen Nostalgie und Zukunftseuphorie kommen umso stĂ€rker zum Tragen und werden von den KĂŒnstlern ganz gezielt eingesetzt. Der Aspekt des verborgenen Gehalts, den die gespeicherten, aber dennoch unsichtbaren Daten den Werken hinzufĂŒgen, spielt hierbei fĂŒr viele eine weitere große Rolle.
Zum anderen entstehen mit Elementen des ganz zeitgenössischen Umgangs mit Dateien und Speicherstrukturen auch neue Ă€sthetische Prototypen: so beispielsweise das Fenster im Internetbrowser oder das Raster des Bildbearbeitungsprogramms. Auch diese haben seit einiger Zeit in der kĂŒnstlerischen Produktion ihren festen Platz. Vergangenheit und Zukunft werden auf diese Weise in der Schau „Save the Data!“ dicht verwoben – spannend, sinnlich wie intellektuell ansprechend und nicht zuletzt durchaus humorvoll.
with: Timo Arnall (GB), Aram Bartholl (DE), Viktoria Binschtok (RU), Gregor Hildebrandt (DE), Ronnie Yarisal und Katja Kublitz (CH und DK), Via Lewandowsky (DE), Joep van Liefland (NL), Florian Meisenberg (DE), Yuri Pattison (IE), Gebhard SengmĂŒller (AT)

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Dead Drops at Palais de Tokyo

Juni 30, 2015

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Dead Drops

at Palais de Tokyo, Paris
24/06/2015 – 13/09/2015
Intervention on the building.
Four Dead Drops are installed in different places of the museum. Visitors are invited to bring a laptop to connect to them.
“From the very beginning, I always encouraged people to leave their art on there. Especially for the MoMA dead drops, I made this blog post like, ‘If you want to be able to claim you had art in the MoMA, you can just go now and put something on there‘.” Aram Bartholl
Dead Drops is a participative project started in 2010 by German multi-media artist Aram Bartholl. A dead drop or dead letter box is a term from the field of espionage and designates a method used to transmit information or items at a secret location. This anonymous peer to peer file-sharing network is based on USB keys cemented into a wall or other support in public space. The GPS coordinates of the site are then posted on the Dead Drops website. Each dead drop is installed empty except for a simple text file explaining the project. Users are invited to share documents, pics, digital works, films or whatever suits their fancy. A  computer with a USB port is the only thing needed to connect to the not interconnected network. After having installed and referenced the first five dead drops in New York and on the web, Bartholl’s project unexpectedly took off, spreading internationally. As of May 2015, over 1520 Dead Drops had been submitted to deaddrops.com. Aside from its crazy concept, the project tries to rematerialise the dematerialised world of computers. Following the revelations by Edward Snowden, at a time when clouds and the debate on internet censorship and privacy have become hot topics, this project is now more then ever front and center on the political stage.

Born in Germany in 1972, Bartholl focuses on interrelations between the digital world and our physical surroundings. He obtained his degree in architecture from the University of arts in Berlin, where he lives and works. His artistic work has been shown in numerous festivals and exhibitions in museums and galleries. In 2011, five Dead Drops were part of the “Talk to me” exhibition at the MoMA in New York and a new facet of the project saw the day in 2013 with the installation of a DVD Dead Drop at Museum of the Moving Image in New York as well. Palais de Tokyo is the first French institution to welcome Dead Drops.
Cited from “Somewhere between Cyber and Real: An interview with Aram Bartholl”, by Jillian Steinhauer, 2012, http://hyperallergic.com

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more pictures on flickr
Links for all four Dead Drops:

https://deaddrops.com/db/?page=view&id=1759
https://deaddrops.com/db/?page=view&id=1760
https://deaddrops.com/db/?page=view&id=1768
https://deaddrops.com/db/?page=view&id=1758

 

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Comment exposer au Palais de Tokyo ?

Juni 18, 2015

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Dead Drops au Palais de Tokyo, Ă  Paris

Vernissage public le lundi 22 juin Ă  21h

Comment exposer au Palais de Tokyo ?

  1. Apporter vos oeuvres sur votre ordinateur portable lors du vernissage
  2. TĂ©lĂ©chargez-les sur l’une des 5 dead drops placĂ©es au Palais de Tokyo
  3. Dites Ă  tout le monde que vous exposez au Palais de Tokyo

 
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HOW TO GET YOUR ART IN THE PALAIS DE TOKYO

Juni 18, 2015

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DEAD DROPS at Palais de Tokyo, Paris

Public OPENING, Monday  9:00pm 2015 June 22nd

How to get your art in the Palais de Tokyo

  1. BRING YOUR ART ON A LAPTOP TO THE GRAND OPENING.
  2. UPLOAD IT TO ONE OF THE 5 DEAD DROPS IN PALAIS DE TOKYO.
  3. TELL EVERYONE YOU HAVE ART IN THE PALAIS DE TOKYO.

 
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Dead Drops on Heute news

Juni 3, 2015

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Dead Drops revistited!

MĂ€rz 19, 2015

In the past two months there has been again a lot of international press about DeadDrops. The DeadDrops project is running since November 2010, for four and a half years now. After the initial press buzz in 2010/11 the project kept spreading online with occasional press like after the Snowden releases etc. But just since the beginning of 2015 there was a lot of press all over again. It is really hard to tell how such a press wave is starting on a project which is already running for such a while but I assume after almost 5 years there is a new generation of Internet users and press people who haven’t heard about DeadDrops yet. Through some big blogs in the US it reached the south american news, spreaded there and also made it back to Europe.  I ve listed a selection of press links at the end of this post. Please also see the nice DeadDrops youtube playlist somebody made.
In Germany the recent reports about DeadDrops had a special twist. End of February the yellow press style news paper Kölner Express had a piece about a bomb making plan PDF which was supposedly found on a DeadDrop in Cologne. The local and national press picked up quickly the story and my phone kept ringing for two weeks. It is astonishing how in 2015 you still have to explain to people that it is of course not a problem to find such a PDF with illegal tutorials on the Internet. Or yes! there could be a virus on the USB drive, like there could be a virus in this blog post. But in an era of constant fear about terror the suspicious USB drive in wall was a perfect story for them. I was only waiting for the ISIS connection. But again this was a good opportunity to explain that there is no use in censoring or prohibiting encryption or anonymous communication technologies because there is illegal activities. Like back in the days the ruling class tried to banish the brand new dangerous technology ‚book printing‘ which radicalized all the young people. Especially journalists should be aware how important independent, encrypted, private communication is. In fact DeadDrops is not a very efficient communication technology but a good symbol on independent, open digital communication. So while the NSA has trojans installed on all our hard drives or access to millions of sim card keys we worry about a 20 year old anarchist cook book PDF on a flash drive in a wall in cologne.  What a crazy world! :))
The actual great story about the Cologne DeadDrop is that this specific DeadDrop, which I made myself as part of a duo show with JODI at DAM Cologne in 2011, was still existing and working in 2015!! Until the police ripped it out and broke it to then hand it in at the at the LKA cyber security department to get it fixed. Of course the highlight is how the two police men are kneeling in front of the yellow banana (the gallery „certificate“) trying to understand what’s going on. In fact later the Kriminalpolizei called DAM gallery to have them explain what exactly this USB stick is about and what the DeadDrops project is etc. On the same day I made this popular tweet about the whole story.
Of course I am very happy about all the attention for DeadDrops. It is very interesting to witness how the perspective on such a project has changed over the past five years, especially since 2013. I am glad to see how this project is still going on and how it has inspired so many people over the years. Thanks to all the deaddroppers out there!! You are awesome!!
Aram Bartholl, March 2015
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LINKS:

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Full Interview at Sueddeutsche.de:

 
DD-presse-guardian
Guardian:

 

More press links:

German:

 
POPULAR TWEET


https://twitter.com/arambartholl/status/570195342253277185

 

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Dead Drops YouTube playlist

MĂ€rz 13, 2015


The Youtube user #USBdeaddrop made an effort to collect all videos dealing with DeadDrops in one or the other way. The result is this beautiful playlist of news reports, tutorials, documentations and more. There are whole lot of clips I haven t even seen before. So cool!! Thx!!

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Archive