The twelfth edition in 2023-2024 revolves around AI and technology. What is the impact on the human condition? The different perspectives will be highlighted with the theme ‘LOADING… Revealing Art, AI and Tech’.

ARAM BARTHOLL, ARNAUD LAFFOND, ATELIER HAUTE CUISINE, ENESS, FLORIAN & MICHAEL QUISTREBERT, FRANK FOOLE, GALI MAY LUCAS, GÁSPÁR BATTHA MET ANDRÁS NAGY, HERMAN KUIJER, JACQUELINE HEN, JOAN GINER, JON VOSS, JORIS STRIJBOS, LIAM CAMPBELL, MACULAR: DAAN JOHAN & JORIS STRIJBOS, MARLEEN SLEEUWITS, MISCHA KUBALL, PETER VINK, STUDIO MAST, UNIVERSAL EVERYTHING, VOUW, VENDEL & DE WOLF, VIBHOR SOGANI, YASSER BALLEMANS

The term “cringe” has resurfaced on the internet in recent years. According to Google Trends statistics, there has been a significant increase in searches for this term, which has been steadily rising since 2016. “Cringe” refers to a reaction of embarrassment or social awkwardness. This feeling arises when we become aware of our own uncomfortable actions or when we empathize, or even mock, someone else’s behavior that causes us secondhand embarrassment.

The term “cringe” encompasses a wide range of emotions, making it a versatile word to describe various incidents. However, its usage and application have been shaped by internet communities. Not only is it widely known and used, but it has also managed to bridge divergent identities.

People of different ages, races, genders, political affiliations, and other backgrounds find a common language of communication through “cringe” online. Similar to the existence of metaphorical languages for artistic subjects, “cringe” has spawned a metaphorical language for artistic expression. This is evident in many contemporary works, both digital and non-digital, and has given rise to new artistic media such as memes. “Cringe” has become an overarching concept that encompasses a broader range of social embarrassments.

The universality of identifying with “cringe” when faced with discomfort or socially awkward situations could position it as a contemporary Sublime. Historically, the Sublime has been associated with aesthetic theories heavily influenced by the social dynamics of the time. However, does “cringe” represent a modern form of the Sublime? Has it emerged in response to a shift away from a prescribed aesthetic? We currently exist in a time where collective digital languages are being created to understand a wider range of identities and where a diversity of aesthetic influences is prevalent.

Considering that aesthetics today are multifaceted due to the World Wide Web and the widespread dissemination of information, this exhibition aims to explore these ideas. Through artworks that construct an intimate fusion of references to our digital identity, it presents a familiar chaos that challenges viewers to organize it, while deeply engaging with their present human identity.

curated by Dimi Kalabo, Socrates N. Stamatatos

with:
Aram Bartholl, Aphrodite HGW, Kristen Leo, Marsunev, Bill Posters & Daniel Howe, Noura Tafeche

With: Martin Assig, Aram Bartholl, Hannah Hallermann, Verena Issel, Anne Mundo, Nik Nowak, Raul Walch / Curated by: Anne Mundo & Dirk Teschner

Foto: Marcus Schneider, Courtesy SEXAUER Gallery

The fire emoji is one of the most commonly used pictograms worldwide in social media and electronic communication. Berlin-based artist Aram Bartholl (born 1972) brings this universally familiar symbol from the digital world into physical space with a massively enlarged yellow-red flame, thereby stripping the symbol of the logic it naturally carries in network communication.

The title references a well-known cartoon meme in which a dog convinces itself that everything is fine despite being surrounded by blazing flames. The installation, erected as part of the urban cultural festival “Mauerblümchen” on Klarissenplatz in front of the Neues Museum, not only serves as a glowing photo backdrop but also alludes to the various crisis themes we currently face: The world is on fire.

A collaboration between the Neues Museum and the project office in the cultural department of the city of Nuremberg as part of the “Mauerblümchen” cultural festival from September 8 to 17, 2023. The festival is supported by financial resources from the Bavarian urban development program and the Special Fund: Revitalize Inner Cities.

On the occasion of its 30th anniversary, the Kunsthalle Osnabrück is showing Aram Bartholl’s most comprehensive solo exhibition to date. Aram Bartholl is one of the pioneers in Germany who deals with socially relevant conflicts of digitality and automation through art. Originally coming from the field of architecture, he uses his performative interventions, sculptures and workshops to question our current media behaviour as well as the public economies that are linked to social networks, online platforms or digital distribution strategies. He puts socially relevant topics such as surveillance, data security or dependency on technology up for discussion by transferring the gaps, contradictions or absurdities of our digital everyday life into spatial settings.

For the Kunsthalle Osnabrück, Aram Bartholl transformed the Kunsthalle´s church space into a walk-in recycling yard for electronic waste. The scenery is illuminated by three sculptures hanging from the ceiling, reminiscent of chandeliers that are made from recycled televisions. The result is a sensual as well as functional installation of complementary exhibition parts that invite us to reflect on the cycles, consequences and future perspectives of our daily consumption of media and goods. The walk-through parcours made of piled up electronic waste makes the amount of recycled material of our belongings visible and creates a unique environment for a diverse art mediation programme  including workshops, plena by local climate activists, repair cafés, excursions, lectures and film screenings. Oversized QR codes on the church walls frame the setting and raise critical questions about our handling of energy resources, raw materials and labour rights in the digital society. Opposing the electronic waste, the exhibition contains a 30-metre-long DHL Packstation, which is put into operation during the exhibition period. Osnabrück citizens and visitors are able to pick up their parcels at the Kunsthalle Osnabrück and drop them off in the respective lockers.

Curators: Anna Jehle and Juliane Schickedanz
Curators public programme: Louisa Behr, Joscha Heinrichs, Anna Holms and Christel Schulte.

Funded by the Stiftung Niedersachsen (Foundation of Lower Saxony) and the Niedersächsische Ministerium für Wissenschaft und Kultur (Lower Saxony Ministry of Science and Culture). The VGH Stiftung (VGH Foundation) is funding the accompanying exhibition’s art mediation programme. With the kind support of Deutsche Post AG, Lerec Elektrorecycling GmbH and Osnabrücker ServiceBetrieb.

Credits:

Curated by: Anna Jehle, Juliane Schickedanz (duo team, directors of Kunsthalle)
Curatorial assistance: Anna Holms
Public Programming: Aram Bartholl, Louisa Behr, Joscha Heinrichs, Anna Holms, Christel Schulte
Installation team: Norbert Hillebrand, Timo Katz, Andreas Zelle
Exhibition office: Natali Märtin
Visitor service: Frank Berger, Ulla Brinkmann, Harcharan Gill, Sina Lichtenberg, Kaan Ege Önal, Josef Wegmann
Finances: Viktoria Puskar
Janitor: Wilfried Wienstroer
Janitorial assistance: Frank Berger
PR: Kristina Helena Pavićević
Art mediation and education: Christel Schulte

Tilt/Shift – Experiment as Normality
Even in our society’s fields of activity we previously believed to be safe, the contemporary crises prevalent worldwide are revealing to us a long-inconceivable collapse. Although no claim can be laid on a normal state of the world, the feeling of security is dwindling for an ever-growing number of people: habitual viewpoints are breaking away, certainties are shifting. The promise that all will remain well, or that things will be all right again, is currently unravelling and is almost impossible to carry into tomorrow from today. Even people who, thus far, imagined themselves to be safe in their habitat are noticing that their everyday life is under ever-more frequent threat. Thought patterns are being queried and discussed – constructively by groups and individuals, but also in a polarising way by fact-twisters. Old discourses on euro-centrically and post-colonially influenced views of the world – in macro and in micro – are being sustained and propagated. Times of crisis not only signify uncertainty, but are also able – despite it all – to highlight opportunities. Partly out of necessity, potentials are examined at all levels for open spaces, new phenomena and further developments. Will the experiment of constantly having to refocus become the normal state now? How can photography capture the enormous changes? What images allow us to better understand an uncertain, diverse world subject to turbulent and complex transformation – and to keep an eye on the experiment’s open outcome?

with:
Andrea Abbatangelo, Axel Beyer, Aram Bartholl, Carsten Costard, Sharbendu De, Mia Dudek, Jonas Fischer, Johanna-Maria Fritz, Taissa Fromme / Celia Zehetgruber, Julia Gaes, Philip Gaißer, Maximilian Glas, Tanya Habjouqa, Juliane Herrmann, Jan Hoeft, Norbert Holick, Jan Hottmann, Bob Jones, Priya Kambli, Sandra Kantanen, Eeva Karhu, Martin Kollar, Jan Kricke, Ove Kvavik, Alwin Lay, Sara-Lena Maierhofer, Werner Mansholt, Luise Marchand, Ille Oelhaf, Patrick Pollmeier, Casper Sänger, Hanna Sass, Martina Sauter, Aleksandra Sawa, Ramona Schacht, Sari Schildt, Max Schwarzmann, Lucia Sotnikova / David Mackaay, Mika Sperling, Anna Stüdeli, Elena Subach, Leonard Suryajaya, Mouneb Taim, Jesus Tório, Christoph Westermeier, Cemre Yesil