Alle Termine

Erneuerbare Medien

28. August – 8. November 2020
Gruppenausstellung, Kunstverein Wolfsburg, Wolfsburg

Erneuerbare Energiequellen und Nachhaltigkeit sind Themen von hoher gesellschaftlicher Brisanz. Auch die Kunstwelt macht sich immer mehr Gedanken dazu. Das geht so weit, dass die Frage aufkommt, inwieweit man sich in der Kunstproduktion und Ausstellungspraxis ebenfalls um das Energiesparen und die Erneuerbarkeit der Energie kümmern muss. Wie weit kann sich der Kunstbetrieb gegen den drohenden Klimawandel engagieren? Wie kann sich dieses Engagement konkret in den Medien der Kunst niederschlagen? Die Ausstellung „Erneuerbare Medien“ ist der Versuch, Technologie, Ökologie und künstlerische Praxis zusammen zu denken. Sie versammelt eine Reihe künstlerische Arbeiten, welche auf regenerativen Energien beruhen oder sie thematisieren.

Aram Bartholl, Joseph Beuys, Joaquin Fargas, Christina Hemauer & Roman Keller, Martin Kaltwasser, Emanuel Mooner und Ingo Schulz Pop Up Shop mit Produkten von Little Sun (gegründet von Olafur Eliasson)

Kuratiert von Dr. Justin Hoffmann

Kuratiert von Dr. Justin Hoffmann

Parallel zeigt der Kunstverein Wolfsburg vom 28.08-20.09.2020 im Raum für Freunde die Ausstellung „NRG!“ anlässlich des arteen 2020, dem Wolfsburger Kunstpreis für Kinder und Jugendliche. Es werden alle diesjährigen Einreichungen zum Thema „NRG!“ gezeigt, kuratiert von Markus Georg, Lokale Liaison.

Die Ausstellung ist ein Projekt der phaenomenale und wird gefördert vom Niedersächsischen Ministerium für Wissenschaft und Kultur, der Stiftung Niedersachsen, Neuland und der Stadt Wolfsburg

The Sea Is Glowing

20. August – 30. October 2020
Gruppenausstellung, Exportdrvo, Rijeka

An international group exhibition which deals with the invisible economics linked to the sea. With their works, world-respected artists deal with unusual and radical phenomena, from strange online shops to the empires of amateur pornography and other golden coasts.

In the geographical sense, Europe is a maritime continent: considering the ratio of the length of the coast to the total land surface, Europe has more contact with the sea than any other continent. For Rijeka, the port, as well as the sea, is not only a place of loading and unloading or the arrivals and departures of boats. The port is the heart of the city and symbolically important for the identity of the city. This is why the sea, i.e. new forms of work and economy which are connected to the sea, is extremely important for both Rijeka and Europe.

The Sea is Glowing exhibition focuses primarily on new invisible economies that are inextricably linked to the sea, such as the exploration of oil and ores in the depths of the sea, the establishment of offshore tax havens on the coasts and the launch of libertarian start-ups in self-sufficient colonies which float in international waters. All of the mentioned activities are part of the new economies which include new forms of work (such as care and welfare) or new forms of capital circulation (such as free ports). Considering the (occasional) specificity of their tax models, port cities such as Rijeka are very important for such types of economies. The exhibition brings together the works of artists who investigate unusual Amazon shops, the increasingly present outsourcing of healthcare, “the black chimneys” and deep-sea mining, the hidden offshore havens, the dark empires of amateur pornography and other golden coasts.

The exhibition presents the works of 15 European and global artists and groups: Aram Bartholl (DE), Ursula Biemann (CH), DISNOVATION.ORG (FR/PL), Jacob Hurwitz-Goodman / Daniel Keller (US), Steffen Köhn (DE), Lawrence Lek (GB), Rebecca Moss (GB), Jenny Odell (US), Elisa Giardina Papa (IT), Lisa Rave (DE), Marie Reinert (FR), Tabita Rezaire (GF), RYBN (FR), Sebastian Schmieg (DE), and Hito Steyerl (DE).

The curator of the exhibition is Inke Arns (DE), famous for her work in media art. She is the artistic director of the Dortmund Hartware MedienKunstVerein (HMKV) organisation and the curator of numerous international exhibitions that have been shown around Europe and the world – from Berlin, Glasgow and Warsaw, from Ljubljana and Nova Sad, all the way to Moscow, Tel Aviv and Hong Kong.

On entering a living being. From Social Sculpture to Platform Capitalism

18. May – 16. August 2020
Gruppenausstellung, Kunstraum Kreuzberg, Berlin

Eintritt in ein Lebewesen. Von der Sozialen Skulptur zum Plattformkapitalismus
On entering a living being. From Social Sculpture to Platform Capitalism

When Joseph Beuys coined the phrase of the “social sculpture” in the 1970s, he was not aware of the development of the internet at the same time. However, in interviews and lectures he frequently hints at the possibility of a new kind of medium, that would allow the audience to participate and that could serve as a plattform for political debate and action.

With the international proliferation of the internet and the possibility of communication and cooperation that it has delivered, it is timely to compare its promise with the utopian ideas of Joseph Beuys. Has the net enabled new forms of collective creativity? Or does it serve as a means to turn this
“general intellect” (K. Marx) into raw material that companies like Google, Facebook, Twitter et al use to make a profit?

The exhibition with works by approximately 38 artists reflects the methods by which companies such as YouTube, Google, Fiverr or Amazon Mechanical Turk have made the exploitation of the creativity of their users into a business model. About half of the works were created in response to the current
„platform capitalism“. A selection of older works traces the idea of „collective creativity“ back to original emancipatory ideas from the early days of the Internet such as „crowd sourcing“ and finally to Joseph Beuys‘ „social sculpture“.

Over the last decade, a number of companies have made a business model out of offering plattforms for the sale of creative work on the web as online services or „microjobs“. Through providers such as Amazon Mechanical Turk or Fiverr, creative services such as texts, designs, videos or apps can be commissioned for prices that are often far below the fee that a professional designer would charge. In many ways, the artistic works that were once thought of as „crowd sourcing art“ – a genre that has its own Wikipedia entry by now – today seem like naive anticipations of these exploitative practices,
which in turn have also been reflected by artists in recent years.

The exhibition brings together works that comment on and criticize the „gig economy“ that has emerged, and by juxtaposing them with works from the nineties and noughties, places them in a historical context that ultimately dates back to Joseph Beuys‘ „social sculpture“ – some of the artists involved even explicitly referenced Beuys and his slogan: „Everyone is an artist.” The exhibition will be accompanied by events that address the model of „platform capitalism“ in the cultural sphere in discussions, video presentations and lectures.

Participating artists:
Cory Arcangel, Joseph Beuys, Aram Bartholl, Natalie Bookchin, Irene Chabr, James Coupe, Andy Deck, Constant Dullaart, Mark Flood, John D. Freyer, Aaron Koblin & Daniel Massey, Steffen Köhn, JODI, Miranda July & Harrell Fletcher, Olia Lialina, Jonas Lund, Judy Malloy, Michael Mandiberg, Neozoon, OMSK Social Club, Nam June Paik, Mark Salvatus, Sebastian Schmieg & Silvio Lorusso, Ralph Schulz, Guido Segni, Johannes StÜttgen, Alex Tew, Amalia Ulman, Van Gogh TV

Curated by Tilman Baumgärtel, Hochschule Mainz

Die kleine Intervention: Weniger Spektakel, mehr Wirkung?

13. February 2020
Performance, Brecht-Haus, Berlin

Die kleine Intervention: Weniger Spektakel, mehr Wirkung?
Mit Aram Bartholl und Helgard Haug (Rimini Protokoll)
Moderation Cornelius Puschke

Veranstaltungsort: Literaturforum im Brecht-Haus
Einlass: ab 18:30 Uhr

Anhand von Aram Bartholls »Dead Drops« (mit Live-Installation!) und Projekten von Rimini Protokoll geht es um die Frage, ob kleine, unauffälligere Aktionsformen letztlich wirksamer sind als skandalöse Groß-Interventionen.

The Supermarket Of Images

11. February – 7. June 2020
Gruppenausstellung, Jeu de Paume, Paris

We live in a world that is increasingly saturated with images. Their number is growing so exponentially – each day more than three billion images are shared on social networks – that the space of visibility seems to be literally inundated. As if it can no longer contain the images that constitute it. As if there were no more room, no more interstices between the images. This brings us closer to the point that Walter Benjamin imagined, almost a hundred years ago now, as “the one hundred percent image space”. Faced with such an overproduction of images, questions need to be asked, more than ever before, about their storage, management, transportation (even if it is electronic) and the paths they follow, their weight, the fluidity or viscosity of their exchanges, their fluctuating values – in short, questions about their economy.

In the book from which this exhibition is derived1, the economic aspect of the life of images is called iconomy. The works and artists chosen for the exhibition cast a keen and watchful eye over these issues. On the one hand, they reflect the upheavals that currently affect the economy in general, whether in terms of unprecedentedly large storage spaces, the scarcity of raw materials, labour and its mutations into intangible forms, or in terms of value and its new manifestations, such as cryptocurrencies. On the other hand, however, these works also question what happens to visibility in the age of globalized iconomies: caught up in an incessant circulation, the image – any image – appears increasingly like a freeze frame (arrêt sur image), that is as a temporary crystallization, as the provisionally stabilized balance of the speeds that constitute it.

In the supermarket on display here, images of the economy always involve the economy of the image. And vice versa, as if they were the recto and verso of the same page.

Particiapting artists:
Kevin Abosch, Aram Bartholl, Taysir Batniji, Samuel Bianchini, Robert Bresson, Sophie Calle, Maurizio Cattelan, Emma Charles, Chia Chuyia, Minerva Cuevas, DISNOVATION.ORG, Antje Ehmann, Sergueï Eisenstein, Max de Esteban, Harun Farocki, Sylvie Fleury, Beatrice Gibson, Máximo González, Jeff Guess, Andreas Gursky, Li Hao, Femke Herregraven, Lauren Huret, Geraldine Juárez, William Kentridge, Yves Klein, Martin Le Chevallier, Zoe Leonard, Auguste et Louis, Lumière, Kazimir Malévitch, Elena Modorati, László Moholy-Nagy, Andreï Molodkin, Ana Vitória Mussi, Trevor Paglen, Julien Prévieux, Wilfredo Prieto, Rosângela Rennó, Hans Richter, Martha Rosler, Evan Roth, Thomas Ruff, RYBN.ORG, Richard Serra, Hito Steyerl, Hiroshi Sugimoto, Ben Thorp Brown, Victor Vasarely, Pierre Weiss

Curated by
Peter Szendy, Emmanuel Alloa and Marta Ponsa
Exhibition organised by the Jeu de Paume

Co Talk

11. February 2020
Talk, Co Gallery, Paris

Artist talk at Co Gallery, Paris.

8 pm, Feb 11th 2020

co.galerie
8 rue de Douai
Pigalle
75009 Paris

Museumsnacht Basel

17. – 18. January 2020
Gruppenausstellung, HeK - Haus der elektronischen Künste, Basel

Museumsnacht „Fashion & Selfie“
Veranstaltung/Führung, Installation, Workshop

17.01.2020, 18:00-02:00

Am HeK erwartet das Museumsnacht-Publikum eine zukunftsweisende Ausstellung zu Mode und Technologie mit dem Titel „Making FASHION Sense“, eine riesige Selfie-Installation, eine verführerische interaktive Porträtmaschine und ein Workshop für modische Accessoires.

18.00-02.00

Die Ausstellung Making FASHION Sense widmet sich dem Thema Mode und Technologie und zeigt intelligente Kleidung, die auf die Umwelt reagiert, und aktuelle ökologische Trends im Bereich der Modeindustrie.

18.00-02.00

Die Partizipative Installation Point Of View von Aram Bartholl lädt die Besucher ein in den riesige Handyskulpturen Selfies zu machen.

18.00-02.00

Bei der interaktiven Installation LIMINAL von Louis-Philippe Rondeau kannst Du ein Zeitporträt von Dir erstellen.

18.00-01.00 (DE/FR/EN)

Walk-in Workshop Smarte Fingerhandschuhe

Im Workshop kannst Du deine Handschuhe mit leitfähigem Garn besticken, damit Du auch im Winter mit wollig warmen Händen „swipen“ kannst.

18.30, 20.30 und 22.30 (DE/FR)

Kurzführungen durch die Ausstellung

Führungen in Deutsch und Französisch / Visites guidées en allemand et en français

19.00 und 21.00 (DE/EN)

Kuratorenführungen mit Sabine Himmelsbach und Katharina Sand

Link in bio

17. December 2019 – 14. March 2020
Gruppenausstellung, MdbK, Leipzig

Opening 16.12. 6pm

The use of social media has become part of everyday life, established and young artists cannot and no longer want to do without it. They work with it. They are where their audience is. Once they were websites, now they’re social media, especially Instagram when it comes to visual arts.

After the protagonists of Net Art, the technology utopians of the early 1990s, soon realized that the Net would not undermine classical art institutions as exhibition venues, the next generation of artists who responded to the Internet took over. The buzzword Post-Internet Art quickly spread. The term was coined by the artist and theorist Marisa Olson: „I’m going to toggle back and forth between video and internet because some of the internet art that I make is on the internet, and some is after the internet.“ What sounds like an attitude to life became a collective term for artists who, instead of making art in the browser, again made art for the exhibition space.

Social Media Art, on the other hand, takes up Net Art’s utopia of being able to democratize the art world. The audience can be reached directly via Instagram, Facebook, YouTube, Tumblr and Twitter. Young artists react to social media and their content, to new features and technologies.

The show „Link in Bio. Kunst nach den sozialen Medien“ at the Museum der bildenden Künste Leipzig curated by Anika Meier presents over 50 works on how the production and reception of art change in the age of social media. The exhibition shows installations, photographs, sculptures, videos and paintings. The show is a follow-up to „Virtual Normality. Net Artists 2.0“ (2018).

Participating artists: Thomas Albdorf, Jeremy Bailey, Viktoria Binschtok, Aram Bartholl, Arvida Byström, Nadja Buttendorf, Petra Cortright, Filip Custic, Constant Dullaart, Hannah Sophie Dunkelberg, Anna Ehrenstein, Oli Epp, Tom Galle, Adam Harvey, Lauren Huret, Andy Kassier, Lynn Hershman Leeson, Olia Lialina, Brandon Lipchik, Jonas Lund, Jillian Mayer, Florian Meisenberg, Marisa Olson, Andy Picci, Sebastian Schmieg, Leah Schrager, Kristina Schuldt, Thomas Webb, Steffen Zillig and many others.

Opening 16.12.2019, 18 o’clock

The exhibition is sponsored by the Kulturstiftung des Bundes.

Kill your phone

14. – 15. December 2019
Workshop, Centre culturel suisse. Paris, Paris

Samedi 14 décembre : atelier Kill your phone / Lawrence Lek
13h-16h30 – Atelier : Kill your phone – Comment s’éclipser du réseau
sans réservation – en continu

Nos téléphones mobiles nous sont certes très utiles, mais ce sont aussi des espions. Dans cet atelier, vous pourrez coudre une pochette pour téléphone qui le protège de tous signaux et connexions. Un petit « gilet de sauvetage » pour toutes celles et tous ceux qui ne veulent pas être constamment localisés et considèrent la surveillance permanente d’un œil critique. Cet atelier intitulé « Kill you phone » a été développé par l’artiste Aram Bartholl, il est organisé par Patricia Huijnen, médiatrice à la HeK.
Télécharger le kit de création de la pochette “Kill your phone”

16h30 – Projection : Lawrence Lek AIDOL 爱道 (2019), 85 min. Courtesy the artist and Sadie Coles HQ, London

ASAP – transferring the immediacy of the digital to culture

8. November 2019
Talk, James-Simon-Galerie, Berlin

In our Q IMMERSION re:publica will host a keynote talk on how active community participation is an essential part of curating this unique event. We further show examples of crossdiciplinary digital projects – focussing on political art and net activism in line with next year’s conference motto “ASAP – As Soon As Possible”. Besides that, artists Nadja Buttendorf, Aram Bartholl and Sebastian Schmieg share how digitalisation has influenced their work across interdisciplinary borders, for example by using Open Source and Open Access strategies as key values.

The Glass Room

16. October – 13. November 2019
Gruppenausstellung, Tacitical Tec, San Francisco

To passers-by, The Glass Room looks like another slick, clean-lined store offering the latest shiny consumer products. Step inside, and you’ll discover something more unusual but nothing for sale. 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?

Asuntos De Nuestro Espacio

10. October – 11. November 2019
Gruppenausstellung, Centro Cultural Ricardo Rojas, Buenos Aires

Asuntos De Nuestro Espacio (Matters of our space)

„Matters of our space“ is an exhibition of art that is built around social dynamics, ways of living and technologies that are used and built collectively today.

Seduced by clicks, forms and applications, we update our data without being aware of it. Day by day we carry out actions that are integrated into a set – no longer local but global – of information. Our daily experiences are transformed into links in a process that happens on a global scale and of which we do not know its logic and functioning.

Curated by Cristian Reynaga (Argentina), Asuntos de nuestro espacio presents the works of Aram Bartholl (Germany), Varvara Guljajeva (Estonia) and Mar Canet (Spain), Rafael Lozano-Hemmer (Mexico), Martín Nadal (Spain), Nayantara Ranganathan (India) and Manuel Beltrán (Spain), that by means of techniques, devices and strategies that they themselves construct, make visible protocols and technologies that form part of our contexts both in the digital and physical environment, involving a critical perspective on these same media.

Along with a program of talks, with the participation of Margarita Martínez, Valentín Muro, Victoria Papagni and Manuel Beltrán among others, workshops and interventions in public space, this exhibition proposes the city as an environment for discussion on the place we give to technologies in our intimate space and in our public, physical and digital space.

Artists: Aram Bartholl (Germany) – Varvara Guljajeva (Estonia) and Mar Canet (Spain) – Rafael Lozano-Hemmer (Mexico) – Martín Nadal (Spain) -Nayantara Ranganathan (India) and Manuel Beltrán (Spain). Curated by Cristian Reynaga. Production and coordination of workshops: Candela del Valle. Curatorial assistance: Carolina Aliotta. Audiovisual production: María Laura Morán.

Translated with www.DeepL.com/Translator

Stadstriennale: Screen It

5. October 2019 – 5. January 2020
Gruppenausstellung, Stadstriennale Hasselt Genk, Hasselt, Genk

The main exhibition SCREEN IT takes place on the Corda Campus, currently one of the fast growing tech incubators in Europe. But also the former basecamp of Philips where technologic innovations as audio and videocassettes or Laservision were invented that help spreading the western visual culture over the world. The dominance of this culture, linked to the omnipresence of screens is the starting point of the exhibition. Artist as Nam June Paik or Wolf Vostell already tackled the possibilities of screens in art and culture in the ’60. Paik’s famous quote “Television tortured the intellectuals for a long time… it is about time that the intellectuals torture television” clearly presents this generation ambiguous positions towards screens. This approach can easily be transferred towards our current society filled with buzz words as big data, social media, VR or augmented reality. The exhibition thus will tackle the current status of the arts towards the cultural impact of the screen fueled culture we live in.

Sometimes as a source of inspiration, as a canvas or as starting point for debate, the current and future generation of artists is touching the limits of technology or the impact on contemporary art esthetics, news gathering, politics, social commitment and more. The generation of digital natives, born with their fingers clued on a screen, is investigating a world with or without screens, questioning virtual worlds and augmented realities in an intriguing way.
Artists (22)
Nam June Paik
Hito Steyerl
Rodney Graham
Mounir Fatmi
Wolf Vostell
Bill Viola
Cory Arcangel
Aram Bartholl
Constant Dullaart
Jonas Lund
Tabor Robak
Tabita Rezaire
Rafaël Rozendaal
Carla Gannis
Émilie Brout & Maxime Marion
Karl Philips
Dries de Poorter
Arvida Byström
Molly Soda
Jeroen Van Loon
Olga Fedorova
Tom Galle

Coventry Biennial of Contemporary Art

4. October – 24. November 2019
Gruppenausstellung, Coventry, Coventry

The highly anticipated second Coventry Biennial will unfold across the city from the 4th October to the 24th November 2019 and we invite people to learn, look, make, talk, think and walk with us.

The biennial’s title this year is The Twin and it comprises a series of exhibitions, events and activities about relationships.

We are an international city; Coventry and Volgograd, Russia, were the first modern twin cities in the world and this year marks the 75th anniversary of that historic bond of friendship.

The core programme of The Twin will unfold across the city in medieval and modernist buildings as well as in artist studios, galleries and museums. We will be exhibiting new and existing artworks by individual artists, duos and groups from Coventry, across the UK and from many of our international twin cities as well as other international locations. We are delighted to be exhibiting the artists listed below and will be announcing a small number of additional practitioners over the coming weeks and months:

Isobel Adderley & Jazz Moreton, Tully Arnot, Art & Language, Jonny Bark, Aram Bartholl, Jordan Baseman, James Birkin, Simon & Tom Bloor, James Bridle, Lorsen Camps, Paul Chan & Badlands Unlimited, David Cheeseman, James Clarkson, Anna Columbine, Maud Cotter, Paul Crook, Matthew Darbyshire, Joseph DeLappe, Lisa Denyer, Jacqueline Donachie, Caitriona Dunnett, EVOL, Anne Forgan, Dylan Fox, Darryl Georgiou & Rebekah Tolley, Zuza Golinska, Noémie Goudal, Lawrence Abu Hamdan, Mona Hatoum, Corey Hayman, Nicky Hirst, Clare Holdstock, Fred Hubble, Andrew Jackson, Juneau Projects, Navi Kaur, Smirna Kulenović, Liz Lake, Ollie Ma, Ioana Marinescu, Tony McClure, Lorna Mills, Anna Molska, MTAA, Alexandra Muller, Edie Jo Murray, Uriel Orlow, OUTLINE & Smirna Kulenović, Paper Rad, Bharti Parmar, Parmar & Piper, Partisan Social Club, Mathew Parkin, Matthew Picton, Duncan Poulton, Adele Mary Reed, Lis Rhodes, Rafaël Rozendaal, Ana Rutter, Richard Scott, Shirana Shahbazi, Larissa Shaw, Thomson & Craighead, Leonid Toprover, Chidera Ugada, Mhairi Vari, Nilupa Yasmin

Open

26. September – 8. November 2019
Einzelausstellung, Roehrs & Boetsch, Zurich

For his first solo exhibition in Switzerland, Aram Bartholl delves in to origins, effects and legacies of our daily usage of social media through portable devices. Built on the ashes of a scaled, thin-paper model of the Facebook HQ front sign in Menlo Park, California, which burned down in a fire before the opening, the exhibition brings together in a cohesive installation a new set of printed, sculptural and video works.

A recent study reported on the New York Times by writer and journalist Benedict Carey, found that phone users switched screen activities every 20 seconds on average, and rarely spent more than 20 minutes uninterrupted doing any one of them. With the daily screen time of an adult being 8 to 10 hours today, scientists have started to look into our habits and screen-shifting patterns. Adapting the concept of genome, the genetic code that determines the characteristics of a living beings, experts feel now able to identify a “screenome”, as each individual screen-time experience appears to be sequential, disjointed and unique.

A series of floating open hands, the images of which are photos from an online stock agency, gesture towards one another in a semi-open position, as a sign of collaboration and participation as well as leading back to the way we hold our smartphones. The withstanding frame of the burned-up work remains on its ashes at the center of the room, while a video of the fire – apolitical act of protest against what is today the largest sharing platform, is playing on a screen. A number of disused phones lies on the ground on a pile of fire-retardant debris, some of which have come to cover copies of a free local newspaper on a nearby table. Inside, an article denounces swimmers’ difficulties in separating from their smartphone while in the waters of the river Aare, Switzerland.

The personal computer, the internet and, most recently, the smartphone represents a paradigm shift in the way we communicate today. The promise of openness and equality of the World Wide Web has now been superseded by gigantic sharing platforms such as Facebook which, together with our devices, collect and contain the most intimate track record of our emotional and personal history. Shading light on a society of which interactions are shaped and controlled by machines we cannot fully understand neither control, making us in fact controlled by them, Bartholl addresses electronic waste as a moment of emotional detachment from our past experiences though equally liberating from the slavery of control to which we are involuntarily subjected.

Immortality – The Ural Bienniale

12. September – 1. December 2019
Gruppenausstellung, uralbiennale.ru, Ekaterinburg

The Ural Industrial Biennial is the largest regional art project with international participation among those existing on the territory of the Russian Federation. The Biennial takes place at former industrial and non-exhibition spaces in Ekaterinburg and other cities of the Ural region.

In its 5th edition, the Ural Biennial explores concepts behind the Immortality, both secular and sacred; it is seen as a powerful utopist idea, as technocratic obscurity, as a symbolic tool and as a condition which might cause evident ethical schisms.

CURATOR:
Xiaoyu Weng

ARTISTS:
Zarouhie Abdalian & Joseph Rosenzweig | Agency of Singular Investigations (Stanislav Shuripa, Anna Titova) | Carlos Amorales | Petr Antonov | Evgeny Antufiev & Lyubov Nalogina | Elena Artemenko | Aram Bartholl | Yin‑Ju Chen | Anya Cherepanova & Vitalik Cherepanov | Ali Cherri | Bruce Conner | Danilo Correale | Vladislav Efimov | Ilya Fedotov-Fedorov | Cyprien Gaillard | Claudia Martínez Garay | Felix Gonzalez-Torres | Gorod Ustinov | Ivan Gorshkov | Ilya Grishaev | He Xiangyu | Francisco Camacho Herrera | James T. Hong | Chia-Wei Hsu | Geumhyung Jeong | Tarik Kiswanson | Egor Kraft | Gabriel Lester | Liu Chuang | Liu Qingyuan | Qinmin Liu, Pan Lu & Bo Wang | Cristina Lucas | Tala Madani | Jill Magid | Ksenia Markelova | Chris Marker & Alain Resnais | Sara Modiano | Yuko Mohri | Christian Nyampeta | Adrian Piper | Pavel Pepperstein | Ivan Petrokovich | Gala Porras-Kim | Charlotte Posenenske | Diana Fonseca Quiñones | Araya Rasdjarmrearnsook | The Recycle Group | Ana Roldán | Roee Rosen | Maria Safronova | Aki Sasamoto | Kirill Savchenkov | Masha Sedyaeva | Lieko Shiga | Shimabuku | Alexander Shishkin-Hokusai | Timur Si-Qin | Nikolay Smirnov | Maria Taniguchi | Diana Thater | Anastasiya Tsayder | Franco Vaccari | Stan VanDerBeek | Anton Vidokle | Peter Watkins | Wong Ping | Ustina Yakovleva | Yan Xing | Arseny Zhilyaev

Strike Now!!

11. – 15. September 2019
Einzelausstellung, panke.gallery, Berlin

Strike Now is a platform for discussion and exhibition about today’s working conditions in the so called ‚gig economy‘. The rise of service oriented Internet companies like Uber, Amazon and Deliveroo etc created massive amounts app based self employment under often harsh conditions. Is this the new slavery of the post digital Internet commercial revolution? In which ways can workers counteract the algorithmic chains of start-up venture capital? With  lectures, a panel and an exhibition Strike Now at panke.gallery will examine these and further questions. A project by Aram Bartholl, funded by Stiftung Kunstfonds.

Playmode

10. September 2019 – 28. February 2020
Gruppenausstellung, Maat, Museum of Art, Architecture and Technology, Lisbon

The exhibition Playmode offers a reflection on these aspects and on the era of gamification that contemporary societies are now experiencing, bringing together pieces by several artists, such as Brad Downey, Gabriel Orozco and Ana Vieira, who incorporate the theme while exploring new ways of seeing, participating and transforming the world, using gaming in a critical light. Picture: House of Cards #3. Brad Downey, 2007. Photo: Brad Downey

Kunstsommer Arnsberg

17. – 18. August 2019
Gruppenausstellung, Arnsberg

Inauguration of the permanent public sculpture „Map“ at Brückenplatz Arnsberg.