Laufende Termine

Video des Monats

1. – 31. May 2022
Einzelausstellung, HMKV, Dortmund

In the series HMKV Video of the Month, HMKV presents in monthly rotation current video works by international artists – selected by Inke Arns“

„TOP25“, 2018, video, 5:44 min

TOP25 is a series of short 3D animation sequences featuring the 25 most used passwords in the world. Standard, easy-to-guess passwords like ‘123456’ or ‘admin’—frequently the default preset passwords for routers and other devices in the past—still pose a significant security threat to computer systems in general. This collection of well-known passwords is presented in a style of 3D animation often used for YouTube intros. It is very common practice among YouTubers to use short and very to-the-point 3D animations of their logo and name to introduce their channels, and a whole scene of young YouTubers exchange and share the 3D source files (Blender 3D) online to help new channel producers generate their own intros. Though the animations are remixed and altered, the general aesthetics follow a very clear visual concept. All sequences in this video are original designs and arrangements by different creators; the text has been altered to match the top 25 passwords.

 

Art Me!

21. April – 30. July 2022
Gruppenausstellung, Galerie Charlot, Paris

At the heart of the Art Me! exhibition is the desire to reconsider what unites artists to their artworks, which they inhabit, populate with characters, or open to the public. The idea, therefore, as Allan Kaprow suggested in the Sixties, is that nothing must separate art from life, as attested by his Essays on the Blurring of Art and Life (1993). Nowadays, there are still artists performing happenings whether privately, in the public space, or on the Internet, benefiting from the magic and efficiency of contemporary technologies in order to embody their creations. We must recognise that there are many techniques that encourage artists to rethink the nature of their relationship to the beings that literally ‘populate’ their works, for example: scanning, modelling, or motion capture, and also artificial intelligence. The 3D models thus represented are in the exact measure of real people. It could be a matter of detail, one might think, but in fact this distinction is likely to reinforce the empathy of the audience inevitably recognising itself in a gesture or a posture that is strangely familiar. But revolutions, in art, are also the consequences of the democratisations of the artistic practices due to the emergence of innovations: going from the Kodak film to the Apple iPhone, not to mention the platforms of sharing, precisely where artistic practices mix with those of hobbyists without knowing who influences who! Indeed, how many artists collect their image files by tracking them through their index names in the realm of emojis to create collages that continue well beyond the frames? Finally, there are the artworks of which we are the heroes: the creations that we experience, through manipulation or virtually. By interacting, we magnify technical objects; in immersion, without any body, we become the essential component of the artwork that we complete, in the case that we are not already the artwork itself. Like the artists creating happenings and more widely performers who, in action, not only make an act of creation, but also are the creation itself. This brings us back to the French translation of Allan Kaprow’s book that is even more precise: L’art et la vie confondus. – Dominique Moulon 2022

With: Aram Bartholl – Chun Hua Catherine Dong – Misha Margolis – Matt Pike – Sabrina Ratté – Marie Serruya – Pierrick Sorin – Jeanne Susplugas – Penelope Umbrico – Eric Vernhes – Du Zhenjun

Curation : Dominique Moulon / V.Hasson-Benillouche

Call Me

9. April – 10. June 2022
Gruppenausstellung, galeriepcp, Paris

In 1979 D. Scott Rogo and Raymond Bayless published their book Phone Calls From the Dead. It brought together reports of paranormal experiences describing phone calls from recently deceased people. The authors connected these narratives to electromagnetic effects and electronic voice phenomenon. These experiences highlight how the phone has become a metaphor for our desire for meaning and communication. The word telephone itself plays on this concept. It comes from the Greek far or distant (τῆλε, tēle), and voice (φωνή, phōnē).

Telephones today are not just audio devices that transform sound into electronic signals. Phones are surfaces onto which we project emotional desire. They are contemporary fetish objects, surveillance devices and encyclopaedias. They isolate and connect. The artworks in this exhibition question this relationship between us and the ‘thing’ in its dumb and symbolic reality.

Curated by Francesca Gavin

with:
Anthony D Green, Aram Bartholl, Britta Thie, Cecilie Norgaard, Christian Ingemann, Cory Arcangel, Damien Roach, Jermaine Francis, Juliette Blightman, Stephen Dunne

House of Mirrors: Artificial Intelligence as Phantasm

9. April – 31. July 2022
Gruppenausstellung, HMKV, Dortmund

The exhibition House of Mirrors: Artificial Intelligence as Phantasm will address AI-related issues like hidden human labor, algorithmic bias/discrimination, the problem of categorization and classification, and our imaginations and phantasms about AI, and it will also ask the question about whether (and how) it is possible to regain agency in this context. More than 20 artworks by international artists will be presented in an exhibition which will be subdivided into seven thematic chapters and whose scenography will be reminiscent of a giant house of mirrors. In May 2022, a 200-page bi-lingual catalogue will be published (German/English) as printed matter and as a free online PDF.

Participating artists:
Aram Bartholl, Pierre Cassou-Noguès, Stéphane Degoutin, Sean Dockray, Jake Elwes, Anna Engelhardt, Nicolas Gourault, Adam Harvey, Libby Heaney, Lauren Huret, Zheng Mahler, Lauren Lee McCarthy, Simone C Niquille, Elisa Giardina Papa, Julien Prévieux, Anna Ridler, RYBN, Sebastian Schmieg, Gwenola Wagon, Conrad Weise, Mushon Zer-Aviv

Curatored by:
Inke Arns, Francis Hunger, Marie Lechner

Bilder

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

DFG-Schwerpunktprogramms „Das digitale Bild“

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

Metapolitisches Hüpfen

10. June 2022
Performance, Grosse Bergstrasse / Goetheplatz, Hamburg

Symposium und antifaschistische Hüpfburg
Große Bergstraße/ Goetheplatz, Hamburg
13:00-19:00 Uhr

Mohamed Amjahid (Vortrag & Diskussion)
Wie aus der Parallelgesellschaft herausspringen?
Über homogen weisse Räume in der Stadt

Aram Bartholl (Performance & Gespräch)
Greetings from Hamburg!
Wie umgehen mit geschichtsrevisionistischer Architektur?

Eduard Freudmann (Vortrag)
Kontextualisierung, Umgestaltung, Weggestaltung
Künstlerische und aktivistische Auseinandersetzungen mit geschichtspolitischen Manifestationen im öffentlichen Raum

Cornelia Siebeck (Thesen & gemeinsames Nachdenken)
Was wir „vergessen“ haben, oder:
Für eine Erinnerungsarbeit ohne Selbstvergewisserung

Nora Sternfeld (Vortrag)
Errungene Erinnerungen
Kontaktzonen umkämpfter und geteilter Geschichte

Gegenwärtig sind wir mit einer rechten Metapolitik konfrontiert, die mit kulturellen Setzungen versucht zivilgesellschaftliche Überzeugungen und kulturelle Diskurse jenseits von Parlamenten nach eigenen Vorstellungen zu verändern. Während das Konzept der Metapolitik eigentlich für den Aufbau einer demokratischen Zivilgesellschaft gedacht war, zielt die Neue Rechte darauf ab, gesellschaftliche Komplexität auf essentialistische Vorstellungen von Kultur, Nation und Volk zu reduzieren. Mit Rekonstruktionen historischer Architektur, ideologischer Inanspruchnahme von Orten, aber auch Angriffen auf Parlamente versucht sie abgeschlossene Identitäten zu konstruieren. Im Ringen um die kulturelle Hegemonie entwendet die Neue Rechte auch den Künsten ihre Strategien, mit denen zuvor noch für eine offene und vielfältige Gesellschaft eingetreten wurde. Sie richtet die performativen Methoden nun gegen die vielfältige Kultur selbst. Dafür dreht sie das kritische Potential der Künste in eine affirmative Symbolhaftigkeit um und verwendet das progressive Moment der Künste für ihre regressiven Ideen.

Obwohl die permanente Gefahr besteht, die entwickelten künstlerischen Praxen in den Händen von Personen mit autoritären und völkischen Vorstellungen wiederzufinden, besteht nach wie vor die Notwendigkeit mit Kunst Ideen davon zu entwickeln, wie wir als Gesellschaft gerne zusammenleben wollen. Metapolitisches Hüpfen bietet den Anlass, rechte Metapolitik zu diskutieren und schafft zugleich den Raum, um Gegenstrategien zu entwickeln. Um die Frage nach dem Umgang mit symbolischen Räumen so zuzuspitzen, dass sie sichtbar und diskutierbar wird, wird das Hambacher Schloss als Symbol für Demokratie aber auch nationalistische Vereinnahmung in eine antifaschistische Hüpfburg transformiert. Die Architektur wird zur Infrastruktur für ein eintägiges Symposium im öffentlichen Raum, das Widersprüchlichkeit zulässt und auf dem nicht nur theoretisch, sondern auch praktisch und performativ Strategien gegen rechte Metapolitik entwickelt, erprobt und debattiert werden.

Mit: Mohamed Amjahid, Aram Bartholl, Eduard Freudmann, Cornelia Siebeck und Nora Sternfeld
Konzeption: Frieder Bohaumilitzky
Grafikdesign Flyer & Plakat: Torben Körschkes

www.metapolitisches-huepfen.de

Vergangene Termine

Domestic Drama

14. December 2021 – 20. February 2022
Gruppenausstellung, Halle Für Kunst, Graz

„Alle Gegenstände, die uns umgeben, haben eine eigene Seele, haben menschliche Qualitäten, weil sie nur in einer menschlichen Welt existieren. Es gibt eigentlich keine Gegenstände, die der Mensch wahrnimmt. Es gibt keine rohen, unmenschlichen Objekte. In dem Moment, in dem Möbel, Häuser, Brot, Autos, Fahrräder oder andere Produkte in unserem Leben auftauchen, sind sie mit uns verbunden, sie sind menschlich.“Ernest Dichter, The Strategy of Desire, Martino Publishing, Mansfield, 2012. S. 93.

Domestic Drama möchte durch den bewusst ​„theatralen Auftritt“ der künstlerischen Arbeiten und die gattungsüberschreitende Art der Inszenierung des Wohnraums eine körperliche Teilhabe beim Publikum herausfordern. Im weiteren Schritt erkennt die Ausstellung Emotionalität als einen wichtigen Faktor für unser Handeln an, das längst nicht mehr autonom von uns selbst sondern auch durch die uns umgebenden Objekte und Prozesse gesteuert wird. Die poetische aber dennoch subversiv-kritische Narration, die in Domestic Drama gesponnen wird, versucht so die Vielschichtigkeit der Fragen, Probleme und Mechanismen, die in unserem Alltag im ​„Zuhause” auftauchen, ins Zentrum der Aufmerksamkeit zu rücken.

Curated by Cathrin Mayer

With:
Larry Achiampong, Ayo Akingbade, Aram Bartholl, Camille Blatrix, Oscar Enberg, Vera Frenkel, Nigel Gavus & İlkin Beste Çırak, Antony Gormley, Mona Hatoum, Kaarel Kurismaa, Nicola L., Bertrand Lavier, Olu Ogunnaike, Laura Põld, Bruno Zhu

Bilder

Decision Making – L’instant décisif

9. December 2021 – 13. March 2022
Gruppenausstellung, Canadien Cultural Centre, Paris

Decisions are the result of complex cognitive processes. Considering them collectively when they involve our shared futures makes them harder to make. But, more and more often, we include machines into such processes through algorithms qualified as decisional. Of course, it raises questions that artists know how to put into perspective. Because of the age that we are currently living in, a brief instant regarding the whole history of our planet, is decisive considering the choices available to us for a responsible development of Artificial Intelligence. Therefore, it is now that human rights are at stake, for instance, about what will emerge from the use of our personal data. The consideration of artworks coming from decisive processes connecting humans to machines could only spring us into an immediate future that still belongs to us.

Curated by Dominique Moulon & Alain Thibault

Bilder

Stampede

26. November 2021 – 9. January 2022
Gruppenausstellung, Horse & Pony, Berlin

Stampede, Eight Years at Horse & Pony

Opening 26 November, 14-21h
On view 27 November – 9 January, Saturdays & Sundays, 12-18h and by appointment
U-Bhf Leinestrasse / S- & U-Bhf Hermannstrasse
Altenbrakerstrasse 18, 12053 Berlin

Including work from Shahin Afrassiabi, Matt Ager, Josefin Arnell, Diana Artus, Khaled Barakeh, Aram Bartholl, Julie Beugin, David Blandy, Elijah Burgher, Julia Colavita, Beth Collar, Zuzanna Czebatul, Christa Joo Hyun D’Angelo, Caroline David, Lucinda Dayhew, Herbert de Colle, Cheryl Donegan, Claude Eigan, Paul Ferens, Kasia Fudakowski, Dakota Gearhart, GeoVanna Gonzales, Monika Grabuschnigg, Seamus Heidenreich, Nate Heiges, Kathi Hofer, Nick Jeffrey, Jake Kent, kg, Julian-Jakob Kneer, Nuri Koerfer, leckhaus, Carol Anne McChrystal, Ryan McNamara, Liz McTernan, Zoë Claire MIller, Adrien Missika, Robert Muntean, Nightmare City, Yotaro Niwa, Florian Oellers, Omsk Social Club, Anne-Sofie Overgaard, Silas Parry, Tamen Perez, Angelo Plessas, Tobias Preisig, Hannes Ribarits, Tina Ribarits, Liz Rosenfeld, Lorenzo Sandoval, Fette Sans, Isa Schmidlehner, Maximilian Schmoetzer, Jonas Schoeneberg, Sarah Schoenfeld, Pacifico Silano, Louise Sparre, Jennifer Sullivan, Valinia Svoronou, Anna Szaflarski, Johanna Tiedtke, Viktor Timofeev, Titre Provisoire (Marcel Dickhage & Cathleen Schuster), Marie von Heyl, Derick Decario Ladale Whitson, Helga Wretman, Thomas Yeomans, Lauryn Youden, & Anna Zett.

Museum of Cryptography

10. November 2021 – 6. February 2022
Gruppenausstellung, Museum of Cryptography, Moscow

2021 году в Москве откроется первый в России Музей криптографии.

Широкой аудитории будет представлено прошлое, настоящее и будущее криптографии, математики и смежных дисциплин. Музей криптографии станет новой точкой притяжения на карте города — местом, где доступно и просто говорят о развитии современных технологий.

Здание, в котором будет расположен Музей криптографии, впервые откроет свои двери для широкой публики. В советские годы это была знаменитая «шарашка» в Марфино, где ученые разрабатывали аппаратуру для шифрования телефонной связи.

Важной частью музея станут мультимедийные экспонаты, инфографика и интерактивные островки формата look&feel, а также редкие экземпляры научных трудов.

Внимание! Молодежная команда Музея криптографии сформирована. Подробности

Blog Archiv für Schlagwort: hurtmeplenty

Hurt me plenty review – Motherboard

November 21, 2014

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Review of Hurt me plenty on Motherboard Vice http://motherboard.vice.com/read/hurt-me-plenty
by Doug Berend
thx!!

Computer art of today

September 25, 2014

‚Hurt me plenty‘ opening speech by Olia Lialina

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Opening speech by Olia Lialin on Sept 12th 2014, DAM gallery Berlin.
Aram Bartholl – Hurt me plenty (pictures )
13th September – 1st November 2014
DAM Gallery, Berlin
 
Good evening,
I’m happy to have a chance to talk at the opening of Aram Bartholl’s, “Hurt me plenty” exhibition. Please allow me to start by mentioning another artist, Herbert Franke. His work was exhibited at the DAM Gallery many times I believe. Some year ago I invited him as a computer art pioneer to tell young designers about the origins of Algorithmic Art and Generative Graphics.
It was a very inspiring and energetic talk. One of the most thought provoking parts though was Franke explaining that there were times such as in the late 50’s/early 60’s when you had to fight for the idea that you can make Art with computers. Computer Artists were outcasts of the Fine Art scene. They couldn’t claim to be called Artists. It was just not accepted, because computers are algorithmic and Art is spiritual. Art was not allowed to come from computers or algorithms. These times are long gone. Digital computers became medium, then meta-medium, and turned in to new media. There is hardly any art today made without computers in Fine Arts and in Contemporary Art. Moreover, there is a whole universe of Media Arts with at least a 30 years old tradition of creating art with digital technology as being medium specific, not just by producing the work with some application, but with being critical or at least attentive to the software itself.
Today we find ourselves surrounded by post-digital and post-internet art, whereas renouncing of digital technology is so important and paying attention to the computer is supposed to be of ‚yesterday‘. In post-digital art, hybrid forms are preferred and ambiguous, veiled messages are sent around. Like, common, digital is everywhere. Don’t even mention it. Be an Artist. Don’t be Computer Artist. Full circle.
In particular, this state of the arts makes me think about the possible revival of Computer Art as a notion and term that nowadays could belong to artists who make an effort to show the computer itself. It is neither algorithmic, nor nostalgic. Not 8 bit.
Art of direct messages and gestures. Clear and totally explicit.
Here are 10.000 passwords from Yahoo messenger. Find yours.
This is the graphic card. A computer inside your computer. It is expensive and powerful.
This is your phone. You have no idea when it is off or on. Come to a workshop and make a copper bag to put it inside and find out for sure.
This is the Hard Disk Crusher. This is your hard disk.
Computer art of today is hardware art. Art of hard messages. It hurts.
These brutally scratched hard disk plates are there. They refer to a significant case that happened a year ago when the Guardian received an order to destroy the computer where Snowden’s files were stored. In the mass media we saw explicit pictures of damaged computer parts and images of journalists executing drives and chips. It hurts to see it, hurts to listen to the Guardian’s Editor in Chief, who says, “Its harder to smash up a computer than you think”. Yeah, it’s even harder to accept it as a reality, journalists drilling though hard drives.
They were forced to do so. It was an act of intimidation. But, I think soon we’ll do it voluntarily and on a regular basis. There is less and less certainty of what you are doing with your computer on the level of software. There is hardly a proper way to save, and almost no way to delete by giving commands to the software. When you really would want to delete information, you’ll have to put your hard drive into the hole of this machine.
You are probably familiar with classic images of the first ever computer called ENIAC from 1945. It’s a computer the size of this space, and it is operated by many people who rewire or rebuild it for every new tasks. ENIAC was operated on the level of hardware, because there was no software. These images are from the remote past, but maybe, they are also of the nearest future.
Software is developed in a way that makes us helpless and desperate and there are less and less commands available. I don’t have an ‚undo‘ available on my phone any more. So if something crucial, if I really need to ‚undo‘, the only way is to throw my phone into this hole. I’m exaggerating. Whats this phone after all? This dumb terminal through which I connect to the Cloud? But the Cloud is in the same routine.
Earlier this year at the Transmediale Festival, Sebastian Schmieg and Johannes Osterhoff showed their project “10 kilograms from the Google factory”. It’s a box of shredded hard disks from the Google Data Center in Belgium with hundreds of useless, formless objects looking like fragments of a meteorite. It’s of no importance for Science, but could be well suited for the gift shop of a science museum. Artists were actually selling them as a souvenir – 85 Euros per piece. Buy part of the Cloud, say hello to your files.
But there is also good news. There is a computer artist who brings a hard disk ‚crasher‘ in to the gallery. It looks small here. It is three times smaller than the graphic card on the wall. These cards will not fit inside there. The ‚crasher‘ looks rather harmless here. Looks like there maybe alternatives. There is a future for software. That there is a chance for software transparency, a chance to delete by giving a command to the computers not the computer terminators. You should see clearly to think about it.
Dimensions and scale matter.
Last semester we had the honor of hosting Aram at the Merz Akademie. He made a project with my students titled, “For your eyes only”. It was about wearable smart objects: smart watches, smart glasses. These are technologies that promise to be very helpful and almost invisible. Week after week this group was doing the opposite, working on projects and objects that would bring awareness about the presence of the devices. Works that would made them visible and that would make us notice them. Two students decided to build a big model of Google Glass. Like really big. Three to two meters or something like this. Yeah, surprise, of course, invite the author of the monumental ‚Marker‘ and ‚Dust‘ to teach, and wonder that his students will search for some vivid element of the digital realm to erect a statue of in public space. I know that Aram was not really comfortable with this and tried to guide students into more subtle solutions, but they were steadfast in their decision. And in the end of the semester, they carried in a huge clumsy model of this trendy high-tech accessory. I don’t know what grade they got, but it still stays there, an unusable and sad object like Google Glass itself. But now you can clearly see it.
The thing is, we are not blind, but invisible computing made us longsighted, we don’t see what is right in front of our eyes because we are not supposed to see it. Computer Art can help. It has an optic.
Enjoy magnification, zoom in, clear images and binary statements.
Olia Lialina 2014
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Olia Lialina
Net Artist, one of the net.art pioneers.
Co-founder of Geocities Research Institute
New Media Professor at Merz Akademie, Stuttgart

Hurt me plenty – Pictures & Press

September 22, 2014

hurt me plenty - by vinciane verguethen -1022
hurt me plenty - by vinciane verguethen -1032
hurt me plenty - by vinciane verguethen -0996
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All pictures: https://www.flickr.com/photos/bartholl/sets/72157647904042972/
Hurt me plenty
Exhibition: 13th September – 1st November 2014
DAM Gallery, Berlin
7:30: Introduction by Olia Lialina, Professorin New Media at the Merz Akademie Stuttgart.
In his solo show Aram Bartholl exhibits a new series of works inspired by the questions and developments engaging humankind’s ‘entry’ into the digital realm and the role of the first person as ‘shooter’. Bartholl deconstructs stereotypes about pixel imaging with unique large-scale works that are subtly combined with a series of pieces about issues of privacy, surveillance and net neutrality. With this exhibition, Bartholl proposes a new discourse that challenges the current debates about surveillance versus the seemingly antiquated ideas and images of ‘cyberspace’.

Press:

Individual Invitations

September 9, 2014

Sieh dir diesen Beitrag auf Instagram an

individual invitations!

Ein Beitrag geteilt von Ar@m B@rtholl (@arambartholl) am

Hurt me plenty

Preview: September 12, 2014, 19 – 21 Uhr
September 13 –  November 1st, 2014
DAM Gallery
 
 

Hurt me plenty

August 22, 2014

choose-skill-level-hurt-me-plenty-1000
I’m pleased to announce my upcoming solo show at DAM gallery. New works!! CU there!!

Aram Bartholl – Hurt me plenty

Exhibition: 13th September – 1st November 2014
DAM Gallery, Berlin
Preview: 12th September 2014, 7 – 9 PM
7:30: Introduction by Olia Lialina, Professorin New Media at the Merz Akademie Stuttgart.
In his solo show Aram Bartholl exhibits a new series of works inspired by the questions and developments engaging humankind’s ‘entry’ into the digital realm and the role of the first person as ‘shooter’. Bartholl deconstructs stereotypes about pixel imaging with unique large-scale works that are subtly combined with a series of pieces about issues of privacy, surveillance and net neutrality. With this exhibition, Bartholl proposes a new discourse that challenges the current debates about surveillance versus the seemingly antiquated ideas and images of ‘cyberspace’.
Performance during the Preview:
BYOD – Bring Your Own Drive, and crush it.
Disused hard drives of PCs, laptops and servers imply a high security risk. DATALOVE prevents that discarded hard drives with sensible data fall into wrong hands. During the Preview of the exhibition the visitors are invited to bring their old data storage media and get them destroyed with a hardware crusher as part of Bartholl´s performance DATALOVE.
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Aram Bartholl – Hurt me plenty

Ausstellung: 13. September – 1. November 2014
DAM Gallery, Berlin
Preview: 12. September 2014, 19 – 21 Uhr
19:30: Einführung von Olia Lialina, Professorin New Media an der Merz Akademie Stuttgart.
In der Einzelausstellung zeigt Aram Bartholl eine Reihe neuer Arbeiten inspiriert von den Fragen rund um die Entstehung von First Person Skootern und dem ‘Eintritt’ des Menschen in das Digitale. Bartholl dekonstruiert mit großformatigen Arbeiten Pixelstereotypen und kombiniert diese auf subtile Weise mit den aktuell dringenden Themenkomplex rund um Privatsphäre, Überwachung und Neutralität im Netz. Die scheinbar antiquierten Ideen und Bilder von ‘Cyberspace’ versus der aktuellen Überwachungsdebatte werden in einer Ära der digitalen Omnipräsenz neu zur Diskussion gestellt.
Performance zur Eröffnung der Ausstellung:
BYOD – Bring Your Own Drive, and crush it.
Ausgediente Festplatten von PCs, Laptops und Servern bergen ein hohes Sicherheitsrisiko. DATALOVE verhindert, dass ausrangierte Festplatten-Laufwerke mit sensiblen Daten in falsche Hände geraten. Zur Ausstellungseröffnung sind die Besucher herzlich eingeladen im Rahmen von Bartholls Arbeit DATALOVE ihre alten Datenträger mitzubringen und vor Ort mit einem Hardware-Crusher zu zerstören.