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 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
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 include Joseph Beuys, Nam June Paik, Douglas Davis, Van Gogh TV, Cory
Arcangel, Aram Bartholl, Miranda July, Amalia Ulman and Olia Lialina.
Curator: Tilman Baumgärtel, Hochschule Mainz
Die kleine Intervention: Weniger Spektakel, mehr Wirkung?
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.
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.
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
Peter Szendy, Emmanuel Alloa and Marta Ponsa
Exhibition organised by the Jeu de Paume
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.
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.
Die Partizipative Installation Point Of View von Aram Bartholl lädt die Besucher ein in den riesige Handyskulpturen Selfies zu machen.
Bei der interaktiven Installation LIMINAL von Louis-Philippe Rondeau kannst Du ein Zeitporträt von Dir erstellen.
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
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.
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
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.
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?
“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.
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.
Nam June Paik
Émilie Brout & Maxime Marion
Dries de Poorter
Jeroen Van Loon
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
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.
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.
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 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.
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
17. – 18. August 2019
Group Show, Arnsberg
Inauguration of the permanent public sculpture “Map” at Brückenplatz Arnsberg.
FACE THE FACE
A Speed Show on the Post-Digital Self
curated by Anika Meier & Aram Bartholl
Internet Cafe – Midnightshop, Schönhauser Allee 188, Ecke Torstr., 10119 Berlin
Lisette Appeldorn, Jeremy Bailey, Nadja Buttendorf, Petra Cortright, Constant Dullaart, Tom Galle, Lauren Huret, Johanna Jaskowska, Andy Kassier, Hanneke Klaver, Lynn Hershman Leeson, Echo Can Luo, Ines Marzat, Jillian Mayer, Andy Picci, Selam X
On the occasion of the Bauhaus anniversary, the Werkleitz Festival 2019 will take place from May 25th to June 9th in Dessau-Roßlau. In the title model stands as a model for a future to be created and ruin as a testimony of a mostly idealized past. The aim of the festival is to locate the Bauhaus in a broader historical context. Thirteen artists are invited to this project, who dedicate themselves in Dessau from the current perspective to the poles of power model and ruin.
The exhibition snap+share gives visitors a new way to visualize — and experience — how photographs have become so ubiquitous in our daily lives. Whether through early examples of 1960s and ’70s mail art, physical piles of pictures uploaded to the Internet over a 24-hour period, or a working refrigerator that allows participatory meme-making, visitors can trace the evolution of sharing photographs.
Spanning the history of mail art to social networks, the show presents a variety of artists working in various media, from framed paper-based art to immersive installations. Some of these artists include On Kawara, Ray Johnson, Moyra Davey, Erik Kessels, Corinne Vionnet, and David Horvitz. Exploring how networks are created through the act of sending images out into the world, this exhibition reveals just how those networks have changed in the age of the Internet.
curated by Clement Cheroux
with: Thomas Bachler, Ray Johnson, Aram Bartholl, On Kawara, Joseph Beuys, Erik Kessels , Moyra Davey, William Larson, Jan Dibbets, Eva and Franco Mattes, Walker Evans, Peter Miller, Jeff Guess, Ken Ohara, Lynn Hershman Leeson, Stephen Shore, Kate Hollenbach, Endre Tót, David Horvitz, Corinne Vionnet
For his upcoming solo show True Depth at SMAC Aram Bartholl creates a new set of works discussing the changing circumstances of personal space in today’s screen based, app connected world. While the smartphone introduced new ways of very intimate communication, Internet advertising companies monetize in large scale on these interactions. Traveling alone in public space became the perfect situation for personal interaction on small screens. “Don’t sit next to me on the bus. I am watching gay porn.” (quote Twitter). While out with friends the restaurant bathroom turns into a place to check the phone instead of actually going there to relieve one self. Post social spaces.
The title True Depth refers to the latest iPhone camera 3D scanning technology to improve face recognition. Invisible infrared patterns questions the personal space between eyes and screen. “Where are you?”
Security Personal Information Protection High Strength Spring Anchor Collapsible
Opening Reception, Saturday 8th December 2018, 6 -10 pm
with: Aram Bartholl, Carsten Becker, Sean Julien Biermann, Lutz Braun, Ulrike Buck, Nadja Buttendorf, James Ensor, Julian Fickler, Sebastian Hammwöhner, Thomas Grötz, Rebecca Guez, Maika Hassan-Beik, Sören Hiob, Dominic Kennedy, Oskar Korsár, Kalin Lindena, René Luckhardt, Zoe Claire Miller, Patrick Fabian Panetta, Markus Proschek, Maximilian Rödel, Norbert Schwontkowski, Paul Sochacki, Jörg Söchting, Felix Stumpf, Agnieszka Szostek, Lisa Tiemann, Anke Völk, Gabriel Vormstein, Reinhard Wetjen, Michaela Zimmer
Erster Hinterhof rechts
Gallery.Delivery is an art exhibition and a performance that can be ordered online. It will be delivered in an all-white food bag by a bike messenger and will be temporarily installed in the orderer’s apartment.
Gallery.Delivery applies the concept of instant delivery logistics to the exhibition space and the format of the group show. However, unlike normal delivery services, the deliverer does not stop at the doorstep and instead enters the private home. There, the process of setting up the exhibition becomes visible as a performative aspect of the show.
Your favourite artists, delivered: Banz & Bowinkel, Aram Bartholl, Nadja Buttendorf, Bastiaan de Nennie, Andy Kassier, Olia Lialina, Silvio Lorusso, Jonas Lund, Shawn Maximo, !Mediengruppe Bitnik & Low Jack, Milena Milosavljevic and Peggy Pehl
Idea and concept by Sebastian Schmieg
Presented by Roehrs & Boetsch | Berlin, September 22-30 2018
A building-sized projection of an odd, nocturnal creature appears in the heart of the city. An old TV screen plays among stacks of food cans on the shelf of a supermarket. Flashing images and techno music occupy a car repair shop.
Die Informale: Videoramas is an evolving 8-week program of video interventions in various public and hidden locations throughout Buenos Aires accompanied by screenings, talks, music and culinary events. Featuring pieces by artists from Berlin, Hamburg and Buenos Aires, Die Informale celebrates the “quality of the informal”: the free spaces and unexpected pockets of possibility within the urban landscape which serve as fertile ground and inspiration for artists of all kinds.
The project seeks to acknowledge the liberty and raw energy emerging from those unsung heroes as the soul of cities, nurturing creativity and public discourse amongst residents and visitors alike.
Die Informale is a dialogue between the German and Argentinian cities of Berlin, Hamburg and Buenos Aires, their urban contexts, and above all their artists and dwellers.
A/A | Nevin Aladag | BALTIC RAW ORG | Aram Bartholl | Julian Charrière | Die Tödliche Doris | Uros Djurovic | Pauline Doutreluingne | Brad Downey | Peter Edinger | Kasia Fudakowski | Björn Gogalla | Vincent Grunwald | Perla Herro | Anne Duk Hee Jordan | Guido Ignatti | Christian Jankowski | Armin Keplinger | Felix Kiessling | Fabian Knecht | Luciana Lamothe | Jeewi Lee | Mischa Leinkauf | Carolina Magnin | Pablo Mazzolo | Kevin McElvaney | Björn Melhus | Carsten “Erobique” Meyer | Nicolas Monti | Konrad Mühe | Julian Rosefeldt | Corinna Schnitt | Sarah Schönfeld | Paul Speckmann | Nasan Tur | Wermke/Leinkauf | Ole Wulfers | Augusto Zaquetti
Tagung vom 7.-9.6.2018
Institut für Kunst & Kunsttheorie I Universität zu Köln
Jedes Foto, jeder Gedanke, jedes Gespräch ist heute informiert durch das Internet. Es ist allgegenwärtiger Teil unserer Realität geworden; es hat sich transformiert in Erwartungen über ständige Erreichbarkeit, macht sich bemerkbar beim Scannen von Momenten auf ihre Social-Media-Tauglichkeit, im täglichen Posten, Scrollen, Streamen, Liken, Sharen, Tweeten. Komplexe Prozesse fortschreitender Digitalisierung artikulieren sich in weltweit vernetzten Communities, in hyperkulturellen und global zirkulierenden Bildwelten, lernenden Algorithmen, Whistleblowing, Hacktivism, Softwarearchitekturen, Crowdsourcing, Digital Commons, u. a. m. – die Künstlerin Sophia Al Maria bringt es, für uns titelgebend, auf den Punkt: Because Internet.
Ein gemachter Mensch – Künstlerische Fragen an Identitäten
Ein gemachter Mensch – Künstlerische Fragen an Identitäten
26. Mai bis 16. September 2018
With: Selma Alaçam, Aram Bartholl, Martin Brand, James Bridle, Harun Farocki, Sandra Filic, Iwajla Klinke, Alicja Kwade, Sali Muller, Timea Anita Oravecz, Daniela Risch, Nasan Tur, Anna Witt, Veronika Witte, Naneci Yurdagül
Wer bin ich eigentlich? Und warum bin ich so, wie ich bin? Im 21. Jahrhundert scheint die Antwort auf diese Frage zunehmend komplex geworden zu sein. Herkömmliche Identitäten lösen sich auf oder werden neu interpretiert, zugleich gibt es gänzlich neue Möglichkeiten der Herausbildung von Identitäten. Dabei stellt sich die Frage, wie weit die menschliche Identität ›gemacht‹, also durch eigene Entscheidungen und Handlungen bestimmt wird, und wie sehr Aspekte eine Rolle spielen, auf die man als Einzelner keinen Einfluss hat. Die internationale Gruppenausstellung im Kallmann-Museum geht diesen Fragen aus künstlerischer Perspektive nach.
Unterschiedlichste Aspekte spielen bei der Bestimmung der eigenen Identität eine Rolle. Beginnend bei der Feststellung, überhaupt ein Mensch zu sein, der sich seiner selbst gewahr wird, über die Nationalität, den eigenen Körper, über Riten und Traditionen bis hin zur Sprache oder der gewöhnlichen alltäglichen Umgebung. Dabei hat man zahllose Möglichkeiten, Zugehörigkeiten festzulegen oder auch nur vorübergehend eine andere Identität anzunehmen, etwa im Spiel. Gleichzeitig werden einem fortlaufend Merkmale zugeschrieben, die Identität ausdrücken sollen und mit denen man sich auseinandersetzen muss. Identität ist demnach das Ergebnis eines fortlaufenden Prozesses zwischen Selbst- und Fremdbestimmung und immer veränderlich. Dieser Prozess kann nie in seiner Gesamtheit abgebildet werden. Einige zentrale Aspekte aber werden in Ismaning künstlerisch betrachtet und auf ihre identitätsstiftende Bedeutung hin befragt.
Through re-visiting, at its onset, the history of cryptography and its epistemological ties to art, language and the law, this session will bring together recent artistic practices that playfully explore the role of encryption and data accumulation within our present time.
This session borrows its title from Gilles Deleuze’s proposition, “let us at least say that there is counter-information”. When exploring the quiddity of the creative act and its relationship to communication, Deleuze brings into conversation the mechanisms of counter-information and their shared affinity with the work of art as an act of resistance. Moving from Xerxes’ early steganographic manoeuvre of secretly hiding a message of war between the wax and the wooden frame of a ‘blank’ wax tablet, to the Abbasid invention of frequency analysis and their renaming of cryptology to ‘the science of blinding’, and arriving to the interstate discrete machines of WWII that were developed concurrently to the conception of the Universal Turing Machine, cryptography has widely emerged in recent years as a panacea of our time.
On one side, end-to-end encrypted systems are being collectively developed as an act of resistance against surveillance. On another, with the rise of crypto-currencies, cryptography is being presented as a generative regulatory force that promises to re-order the economy through computational modes of valuation, freedom and control. These modes simulate familiar economies of extraction and accumulation, albeit, in the name of the new, the cryptic and the extimate. What does this crypto-frenzy hide and reveal about our present techno-politics when cryptography has stretched beyond the realm of secrecy to an explicit claim for economic power? How have been artists participating in and responding to these acts of disclosure, concealment and resistance?
While Facebook apologizes to the world from high up on its mountain of data, 1.4 billion user passwords party naked on the Internet. Research has shown that the ’123456′ is used for 17% of all passwords. There is so much free WiFi in the air to catch you, it is almost impossible to get online. But there is coffee, so you stay for the deep pocket packet inspection of your traffic.
Is this you in the video? Don’t click the link I sent you!
Like the pigeons’ best friend, CCTV cams squat in every high corner of the city protecting us from the future. Will they fall off or be released from their stoical non-presence? A total of 750 info screens have been removed from the still closed / never opened BER airport in Berlin because the technology is outdated. The screens had been running for six years straight without anybody ever having looked at them.
Yes, I saw this already.
Please place all your bags on the left tray. Mirrored self-checkout in an uberficial life without cueing is on autoplay. 24 likes. Thank you for being our customer today.
Die TransformationCurators, Juliane Schickedanz und Anna Jehle, werden die einzelnen Sessions betreuen und begleiten. Alle sind eingeladen teilzunehmen und sich aktiv an der gemeinschaftlichen High-Tech Self-Care zu beteiligen. Total Relaxation for the mind, body and soul!
There are several high-tech self care sessions, run and developed by artists. The TransformationCurators will guide you through the different sessions. Come to our massage party and practice some community high-tech self-care. Total Relaxation for the mind, body and phone! Gäste: Anja Kaiser, Aram Bartholl, Anna Jehle, Juliane Schickedanz, Frauke Zabel, The happiest couple on earth (Nina Buttendorf & Felix Deufel)
Shoot Not Shoot
2. March 2018
Group Show, LIKELIKE gallery, Pitsburgh, Pennsylvania, USA
Works by: Gold Extra, Cassie McQuater & Jono Mi Lo, Aram Bartholl, Strangethink, Akira Thompson, Samurai Punk, Superhot Team
‘Your parcel has been delivered (to your neighbour)’ is a performance and ongoing installation that involves rental bikes being retrieved from public space and placed in the private gallery space. Rental bikes in public usually fall over at some point, or get kicked over by pranksters. Nobody cares. All rental bikes collected are laid out—their quasi-natural status—on the floor of the gallery. A PTZ (pan tilt and zoom) CCTV dome camera, typical for surveillance in public, auto-tracks and records the process. Visitors are invited to become a temporary owner of one of the bikes by renting it.
In recent years, Internet startup market logic has reached far beyond classic online markets. More and more ‘IRL’ economies are being affected by the ‘disruptive’ force of the new business model from California. With the efficiency of networked software, low-wage outsourced labor, and data delivering customers the only goal is growth. The startup doesn’t need to be profitable. In fact, one of the golden rules is not to make a profit, not to pay tax, and to be much cheaper and smarter than everyone else until competitors go bankrupt.
In the beginning, this ‘game’ was played solely within data-based information business. Google and Facebook led the way and showed us how to make money from user data while giving away products for free. Today, we are witness to slow changes in the cityscape. Streets have been crowded with delivery vans for years. Delivery businesses boomed in the wake of ever-increasing online shopping. Order anything! They’ll deliver it to your neighbour immediately. Instant rental cars, gamified Pokemon crowds, and bicycle food delivery armies followed. Very recently, Berlin’s public space has become crowded with at least 20 different brands of rental bikes. New startups, local and international. All of them have the same old idea: “Rent a bicycle where ever you are!” All of them burn a lot of VC (venture capital) money and bikes increase to possibly become the monopoly in this field.
Public space is increasingly inhabited by advertising and corporate models. The colorful bikes scattered all over the city are a very visible sign of the uberfication of private life and commercialization of public space.
with: Aram Bartholl, David Bowen, Tega Brain, Nicky Case, Gottfried Haider, Claudia Hart, Catarina Lee, Jan Robert Leegte, Sara Ludy, Martin O’Leary, Eva Papamargariti, Katie Rose Pipkin, David Reuter, Helmut Smits, Clarissa Tossin, Mark Tribe
with: Nora Al-Badri & Jan Nikolai Nelles (DE), Brook Andrew (AUS), Aram Bartholl (DE/NL), Neil Jupurrurla Cook (AUS), Michael Erglis (AUS), Jenny Fraser (AU), Barbara Herold & Florian Huth (DE), Lily Hibberd (AUS), Agnes Jänsch (DE), Gretta Louw (DE/AUS), Owen Mundy (US), Katrin Petroschkat (DE), Plan B (DE/UK), Anahita Razmi (DE), Curtis Taylor (AUS), Addie Wagenknecht (AT/US), Nine Yamamoto (DE) und aus dem Warnayaka Art Centre (AUS)
What is personal data in an age where data is everything but personal? The Glass Room is an interactive exhibition on data and privacy that provides different ways of understanding how technologies and data are changing our lives.
The Glass Room began in 2016 at the Haus der Kulteren der Welt in Berlin as part of their Nervous Systems exhibition, examining the relationship between human and machine. There, Tactical Tech set up The White Room, a space designed to look like a tech store, but really containing art objects that provoke visitors to think about their relationship with technology. After the success of this exhibition, we partnered with Mozilla to create The Glass Room New York later in 2016, as a stand-alone, pop-up exhibition in SoHo, with additional art objects and a full programme of events. Its impact – from media coverage to attendance to engagement – far exceeded all expectations. The following year, in 2017, again in partnership with Mozilla, we brought The Glass Room to London, drawing nearly 20,000 visitors over three weeks.
What’s the difference between a collapse, a downfall, and a downright apocalypse? How will it all end, and why do we love to wonder? Ice or fire, zombies or bombs? Out with a bang or a whimper? And can we do anything to stop the decline? Supported by the Science Foundation Ireland (SFI) Discover Programme, the NTR Foundation and the Health Research Board (HRB).
Curated by Fernando Schrupp
Artists: Aram Bartholl, E‰milie Brout & Maxime Marion, Ursula Damm, Eteam, Nathaniel Faulkner, Esther Hunziker, Eduardo Kac, Marc Lee, Claudia Mate, Jennifer & Kevin McCoy, Robert Myers, Andrew Nunes, Nicholas O’brien, Alexander Reben, Daniel Temkin, Ubermorgen and Michel Winterberg
with: &æ ACAD&C Adam Kraft Adrian Gutzelnig Ally Bisshop Alvaro Urbano Analisa Teachworth Andreas Greiner Anne Duk Hee Jordan Aram Bartholl Artúr van Balen Asako Iwama Aykan Safoğlu Care Less Claire Tolan Clara Jo CuratorLab Dan Stockholm Diana Sprenger Display Distribute Dominik Mohs Ece Pazarbaşi Elaine W. Ho Elisa Storelli Elise Eeraerts Eric Ellingsen Erik Sturm Euan Williams Fabian Knecht Felix Kiessling Fernanda Trevellin Friedrich Herz Gabrielle Mainguy Grażyna Roguski Günther Vogt Hans-Henning Korb Henning Aßmann Henok Getachew Ivana Franke Jacob Kirkegaard Jan Fiege Jan St. Werner Jeewi Lee Jeremias Holliger Joanna Warsza Jonas Wendelin Jorge Miñano Joris Camelin Julian Breuer Julian Charrière Julius Holtz Julius von Bismarck Jumana Ridha Kat Válastur Kirstin Burckhardt Klara Hobza Klasse Dynamische Akustik und Interaktive Medien Leon Eixenberger Lou Jaworski Lucas Buschfeld Lutz Henke Macarena Ruiz-Tagle Malte Bartsch Markus Hoffmann Matthias Sohr Merlin Carter Mihret Kebede Miroslav Großer Nana-Francisa Schottländer Natasha Mendonca Nico Arauner Nico Dockx Nina Schuiki Norgard Kröger Olafur Eliasson Paula Mierzowsky Quynh Vantu Rafael Ibarra Raul Walch Raul Walch Rike Horb Rike Scheffler Robel Temesgen Robert Lippok Rodrigo Maltez Novaes Rossella Biscotti SHIMURAbros Sarah Doerfel Sarah Rechberger Sophia Pompéry Stephan Klee The Kitchen at Studio Olafur Eliasson ThinkingHand Tiago Romagnani Silveria Timea Anita Ovarecz Tomás Espinosa Tue Greenfort Veronica Spierenburg Vinzenz Reinecke Vlado Velkov Xero Yuichiro Tamura Yves Mettler
curated by Jamie Allen and Moritz Greiner-Petter with: Aram Bartholl, Ishac Bertran, Constant Dullaart, Bernhard Garnicnig, Geraldine Juarez, Jan Robert Leegte, Rosa Menkman, Peter Moosgaard, Ciara Phillips, Pussykrew, Sebastian Schmieg, Phillip Stearns and win93
site specific installation · aluminium, acrylic glass, thermoelectric generator, electronics, LEDs, tea candles, steel chain
An otherwise closed pedestrian tunnel leading to Münster Palace is open to the public during Skulptur Projekte. Five candle-powered LED chandeliers light up the dark concrete tunnel. Each chandelier consists of ten LED tea-candle reading lamps mounted on an aluminum ring. With the help of the thermoelectric effect, the heat of the candles is converted directly into 3V electricity to power the LED lamps. The bright and cold LED light contrasts with the warm flicker of classic candlelight. Twice a day (every five hours), a guard replaces the melted candles. 3V is one of three works which were commissioned and produced by Skulptur Projekte Münster. Each of these different site-specific works incorporates thermoelectric technology.
site specific installation · campfire, wood, steel, thermoelectric generator, cables, electronics
Skulptur Projekte visitors are invited to charge their phones over a campfire at the Pumpenhaus Münster. In the tradition of stick bread making (Germany) and cooking sausages over the flames, custom-made charger sticks produce 5V electricity
with the help of the thermoelectric effect of the heat of the fire—enough to charge the average smartphone. As long as the thermo generator attached to the end of the stick is exposed to the flames, it generates power. Phones can be plugged into the sticks via a multi-plug charging cable. Visitors gather around the warmth of the fire, charge their phones, and have a chat. 5V is one of three works which were commissioned and produced by Skulptur Projekte Münster.
site specific installation · router, camping stove, thermoelectric generator, cable, electronics, software, database
A standard home router hangs parasitically right next to commercial mobile phone antennas on the Münster TV tower. Vistors are invited to connect to this router with their phones. The router serves no Internet connectinon but offers a large database of PDF tutorials on ‘How to live an offline life’. A thermo generator sitting on a small camping stove nearby provides 12-volt electricity to power the router, which is connected via a 70-meter long orange cable. While Deutsche Telekom maintains one of its three large data centers right next to the TV tower, the site-specific installation 12V is totally independent of power lines or Internet connection. Users can download and also upload files. Connections cannot be traced or monitored by third parties on the Internet. The tower, a retro-looking building for long-range TV broadcasts before the Internet, becomes a historic sculpture in itself.
curated by Philippe Riss, produced by Fabulous Pictures
with: Aram Bartholl, Vincent Broquaire, Claude Closky, Frederik De Wilde, LabNT2, Lawrence Lek, Claire Malrieux, Théo Massoulier, Julien Prévieux, Paul Souviron, Théo Triantaffyllidis
with: özlem Altin, ART N MORE, Max Baitinger, Aram Bartholl, Johannes Bendzulla, Johanna Benz, Michael Beutler, Peggy Buth, Nadja Buttendorf, Kerstin Cmelka, Christine Gensheimer, Anna Haifisch, Francis Hunger, Franziska Jyrch, Steven Emmanuel, Seiichi Furuya, Jay Gard, Heike GeiÃŸler, Kalinka Gieseler, Simone Gilges, Anna Gille, Sebastian Gögel, Mathias Hamann, Paule Hammer, Matthias Hoch, Timo Hinze, Katrin Hanusch, Nina Hoffmann, Franziska Holstein, Nico Ihlein, Katharina Immekus, Annette Kelm, Stephanie Kiwitt, Jens Klein, Alwin Lay, Kathi Liebert, Markues, Anna McCarthy, Birgit Megerle, Bea Meyer, Thomas Möcker, Bastian Muhr, Olaf Nicolai, Diana Policarpo, Lars Rosenbohm, Arne Schmitt, Carsten Tabel, Hayahisa Tomiyasu, Sabine Reinfeld, Ricarda Roggan, Titus Schade, David Schnell, Andreas Schulze, Katharina Schilling, Luise Schröder, Maria Schuhmacher, Silke Schwarz, Rosalie Schweiker, Maya Schweizer, Su-Ran Sichling, Andrzej Steinbach, Heidi Specker, James Turek, Clemens von Wedemeyer, Jan Wenzel, Arthu
with: Ana Borralho & João Galante, Anastasia Ax, Anthony Hamilton & Alisdair Macindoe (AUS), Aram Bartholl, Cecília Bengolea & Nigga Fox , Crinabel Teatro & Digitópia, Diogo Evangelista, Filipa Francisco & Pedro Tudela, Florentina Holzinger & Claudia Maté, François Chaignaud & Marie-Piere Brébant, Damien Jalet & Gilles Delmas, Héctor Zamora, Ivan Argote, Jan Martens, Jenny Hval, Jérôme Bel , João Maria Gusmão & Pedro Paiva, …. among others
Die Ausstellung in der Burg Galerie im Volkspark zeigt vom 16. März bis 2. April 2017 studentische Arbeiten aus Kunst und Design, die sich auf vielfältige Weise dem Verhältnis von Text und Bild widmen.
Mit Gastbeiträgen von Aram Bartholl, Verena Friedrich, Ulrich Klieber
curated by Edward Shanken & Jessica Hodin
with: Franco and Eva Mattes, Aram Bartholl, Paolo Cirio, Eric Corriel, Hassan Elahi, Rafael Lozano-Hemmer, Jonas Lund, Julian Oliver, Trevor Paglen, Ryder Ripps, Bjorne Schuelke, Michelle Teran,
with: Aram Bartholl, Ronny Szillo, Eric Winkler, Tilman Hornig, Sascha Hundorff, Tony Franz, Hermes Villena, Raik Zimmermann, Alexander Gehrke, Svenja Wichmann, Andreas Ullrich, Alexander Endrullat, Holger Jenss, Elisabeth Rosenthal, Paul Waak, Lucie Freynhagen, Paul Barsch, a.ACHAT in coop Claudia Schoetz & Matthias Droste, Philip Wagenknecht
Kunsthochschule Kassel – The New Media class is proud to present new works at panke.gallery, Berlin. The pieces range from installation, performance, screen-based and interactive works to video and film. ‘Make it fit’ refers to the restrictive cabin baggage rules of budget airlines, including their painfully meticulous control mechanisms. A lifestyle-conscious, hyper-mobile generation rattling trolleys along pavements has become the hallmark of gentrified neighborhoods in travel-hyped European capitals.
Kassel’s New Media students are using the classic travel suitcase as a constraint and metaphorical context for art production to meet the challenge of setting up a group show in Berlin in less than one day. Each work must fit into a suitcase to be transported, and setup time has to be either instant or not more than two hours. Hyper-mobile art also facilitates instant pop-up micro shows and performances in trains, in stations, and in other public spaces.
Curatorial processes often see artists selected on the basis of friendship networks or name dropping rather than actual works. How far can an artwork be ‘bent’ to make it fit an art show? An art market open secret is that paintings and sculpture that are small enough to fit in an ‘Upper Westside’ elevator have a better chance of being sold. Does it fit?
Perhaps you are reading this text on your mobile device?.
Do you have your phone under control or does it have a grip on you in its grip?
The consequences of technological developments on our social lives and relationships is a central theme in the work of Aram Bartholl.
In the current exhibition, Bartholl looks into the digital everyday live. ‘Remind me later’ is a very well known term for us instantly recognisable to us as users. As a form of reflex and self-defence against the constant stream of new automatic updates, we immediately the click tap othe ‘Remind me later’ button has become a habitual immediate reaction.
Digitalisation can undoubtedly connect us, but can also produce alienation. Meet with friends? Spend time outdoors in nature? Remind me later. Often, the mobile phone is more captivating of attention than the person sitting opposite. The limitless possibilities of communication have more to offer than real life? Really?
Aram Bartholl investigates the social side effects of digitalisation, and examines their influence on our analogue lives. In doing so, his work often incorporates outdoor space and blends perceptions of the real and the virtual. His work in Arnsberg continues in this vein, with humour and great sensitivity.
Aram Bartholl was born in Bremen in 1972 and lives in Berlin. He is guest professor at the Kunstakademie in Kassel and at UCLA in Los Angeles.
with: Vito Acconci, Timo Arnall, Mari Bastashevski, Grégoire Chamayou, Emma Charles, Mike Crane, Arthur Eisenson, Harun Far Noo es, !Mediengruppe Bitnik, Henrik Olesen, Matteo Pasquinelli, Julien Prévieux, Jon Rafman, Miljohn Ruperto, RYBN.ORG, Dierk Schmidt, Nishant Shah, Eyal Sivan & Audrey Maurion, Deborah Stratman, Alex Verhaest, Gwenola Wagon & Stéphane Degoutin, Stephen Willats, Mushon Zer-Aviv, and others. And in The White Room: Jacob App mp; Ai Weiwei, Aram Bartholl, Tega Brain & Surya Mattu, James Bridle, Julian Oliver & Danja Vasiliev, Veridiana Zurita, and contributions by Open Data City, Peng! Collective, Privacy International, Share Lab, Malte Spitz, and others. An exhibition by Haus der Kulturen der Welt in collaboration with the Tactical Technology Collective, co-curated by SLe Shadok, Fabrique du Numérique, Anselm Franke
with: American Artist (NY), Andrea McGinty (NY), Aram Bartholl (Berlin), Arent Weevers (Hengelo), Arthur Elsenaar (Amsterdam), Betty Mü (München), Birthe Blauth (München), Ekin Onat (Istanbul), Felix Hörhager (München), Florian Freier (München / Barcelona), Giovanna Olmos (NY), Giulia Bowinkel & Friedemann Banz (Düsseldorf), Gretta Louw (München), Jennifer Mehigan (Clonakilty), Holger Lippmann (Berlin), INT RA (Schweiz), Leonie Link (Offenbach), Lumenman (München), Maja Kalogera (Zagreb), Manuel Rossner (Ittlingen), Martin Reiche (Berlin), Mathis Nitschke (München), Michael Mandiberg (NY), Miltos Manetas (London), Nora Renaud, Natalie Bewernitz / Marek Goldowski (Köln), Niko Abramamidis &NE (München), Ole Fach (Berlin), Pia Myrvold (Paris), Ricardo Morales-Hernandez (Puerto Rico), STATION ROSE (Wien), Stefan Saalfeld (München), Susanne Rottenbacher (Berlin), Tatjana Tanja Vujinovic Kusej (Ljubljana), Theodore Darst (NY), VT Salon (Taiwan), ffmpe (Berlin)
No Weapon Formed Against Me Shall Prosper
Video, Performance, Voice: Manuela Hartel
Live-Electronik, Performance, Sound: Lorenz Schuster, stage
PiXL PLAYROOM by STATION ROSE
Audiovisual live performance: Elisa Rose & Gary Danner
Audiovisual amplitude fluctuations
Electric guitar, effect pedals: Tom Früchtl
Computer, sound, Internet: Beat Brogle
A group show with Aram Bartholl, Max Dovey, Constant Dullaart, Yu Honglei, Austin Lee and Jan Robert Leegte.
Upstream Gallery presents Shifting Optics III, a new edition in a series of signaling group exhibitions where the impact of digital culture on the visual arts is shown. In the first edition (2014), a new generation of artists was introduced. For this generation that grew up with computers, working in a hybrid method between analog and digital comes naturally. In the second edition (2015) recent developments were placed in dialogue with works by pioneers such as Peter Struycken and JODI, who were using computers and the Internet already in their art in the twentieth century. While the interface between art and computers is still relevant today, institutions and a wider audience now also recognize its urgency. With Shifting Optics III, Upstream Gallery continues its research within this rapidly transforming field by bringing together six artists who have embraced a digital working method. From different angles and in a variety of media, they reflect on the impact of computers on our collective consciousness.
Aram Bartholl (DE, 1972) researches the relation between the physical and digital world. A well-known example is his work Map, for which he made a large sculpture of Google’s location-icon on the exact locations that are indicated by Google Maps as city center. For the series Come get some, Bartholl uses a figurative element from early First Person Shooter computer games, in which the player has a personal point of view with at the bottom of the screen an image of a hand holding a gun. The coarse pixels remind us nostalgically of the visuals from nineties’ games. By using a manual silkscreen technique, unevenness arises, highlighting the difference between printed colors and the ones that appear on monitors. In the installation Point of View, Bartholl researches the role of the hand held screen as a view on the world. Thanks to developments such as Google Glass, the domination of these screens in our environment will decrease again in no time.
Max Dovey (UK, 1987) combines performance art and new media to research the impact of software and data on human beings. The work How To Be More Or Less Human is based on image recognition software. This software classifies photos by algorithms. When you enter a selfie via your webcam, the program analyses for example your gender, race and age based on similarities with images from online image databases. In a live performance, Dovey researches how photos of himself can be indexed by software as for example ‘sexy’, ‘pragmatic’ or ‘successful’. Clothing and posture play a major role in this. Because the software is based on commercial stock photography, it reacts on clichés and visual stereotypes. Dovey raises the issue of this disturbing development in a playful manner.
Constant Dullaart (NL, 1979) makes influential work that is deeply connected with the internet. Both online and offline, he reacts critically to the power structures of mega corporations that dramatically influence our worldview through the internet. He examines the boundaries of manipulating Google, Facebook and Instagram and recently started his own tech company Dulltech with Kickstarter. Like a digital archeologist, he also delves into the early days of the internet. The series Jennifer in paradise is based on the photo that was used as demonstration material in the first version of Photoshop. The founder of Photoshop made the picture of his girlfriend on a tropical beach. The intimate image would be adapted and manipulated by thousands of users of the program, before it would disappear in oblivion. Dullaart wants to give this photo, the very first to be manipulated with software that would change visual culture forever, back its iconic status in our collective memory.
Yu Honglei (CN, 1984) belongs to a generation of young Chinese artists who effortlessly combine digital and sculptural techniques. In China, his work is now widely picked up by critics and museums. Yu is fascinated by the way in which the daily life of artists is influencing their work. The digital animation video The farm is based on the eponymous painting by Joan Miró from 1922, on which his house in the Spanish countryside is depicted. In its digital version, Yu zooms in on various details, and so creates a narrative reconstruction of the daily life of the painter. Narrating is Miró’s wife; her story includes anecdotal references to Miró’s connection with avant-garde artists such as Man Ray, Max Ernst and Pablo Picasso. The space that Yu creates, asks for reflection on how Western art history is spreading globally through the internet.
The working method of Austin Lee (US, 1983) is exemplary for the generation of digital natives to which he belongs. The digital reality is completely natural to him, which is reflected in his use of 3D printing techniques, GIFs and his recently published SPHERES publication that merges print with augmented reality in a spectacular way. In his paintings, Lee ingeniously translates pixels to paint. The works start as a sketch on an iPad. Many artists see especially the limitations of drawing software versus a sketchpad, but Lee embraces the typical aesthetic that arises from it. The translation from the screen to the canvas gives the work a less volatile character, but the use of aerosols and fluorescent paint recalls the digital origin. Lee’s distinctive painting style is spontaneous and accurate, with a playful frankness that reminds of the Cobra movement. The boundless energy evokes the best of the New York graffiti culture from the 80s on. But most of all the work is unmistakably contemporary.
Jan Robert Leegte (NL, 1973) is among the first Dutch artists who were involved in the 90s NetArt movement. Since 1997 he creates art in the form of websites, which he connects to art historical movements such as minimalism, land art and conceptualism. Leegte also translates the themes of his work to offline media such as print, sculpture and projections. A recurring theme in his work is the sculptural materiality of interfaces of computer programs. Remember the early graphic design of cursors, selection boxes and menu bars that were to give the user the impression of actually physicaly pressing the buttons with graphic shadows. In 2000, Leegte made the website Scrollbar composition, entirely composed of scroll bars. The appearance of the artwork is dependent on the software that one uses to visit the site. The work In memory of new materials gone originates from this: the scroll bar captured as a physical sculpture that is preserved before software updates definitively put an end to it. With Ornaments Leegte creates a link between computer interfaces and architectural ornament (such as the classical façade of Upstream’s seventeenth-century canal house) as a largely forgotten frivolity.
with: Aram Bartholl, Pablo Cavero, Pierre Clément, Claude Closky, Constant Dullaart, Nicolas Giraud, Laurent Lacotte, Estrid Lutz & Emile Mold, Miltos Manetas, Nicolas Milhé, Martin Monchicourt, Mel O’Callaghan, André Perfetti, Camille Raimbault, Christophe Terlinden, Thierry Verbeke
curated by Pablo Cavero
with: Julieta Aranda, Aram Bartholl, Vincent Broquaire, Grégory Chatonsky, Pierre Clément, Sara Ludy, Angelo Plessas, Paul Souviron, Katie Torn, Clement Valla
curating : Alexis Jakubowicz et Philippe Riss
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
curated by Aram Bartholl
with: Alma Alloro, Anthony Antonellis, LaTurbo Avedon, James Bridle, Constant Dullaart, Claudia Mate, Eva & Franco Mattes aka 0100101110101101.org, Niko Princen, Sebastian Schmieg, UBERMORGEN, Addie Wagenknecht
curated by Aram Bartholl
with: Alma Alloro, Anthony Antonellis, LaTurbo Avedon, James Bridle, Constant Dullaart, Claudia Mate, Eva & Franco Mattes aka 0100101110101101.org, Niko Princen, Sebastian Schmieg, UBERMORGEN, Addie Wagenknecht
‘Point Of View’ questions the current paradigm shift of perspective. What is the role of the hand held screen framing our everyday life? How has gaming shaped the representation of our digital self?
Over the past 100 years the screen has moved constantly closer to our eyes. Most people today spend significantly more time looking at smart-phone screens than at computer screens or TVs (not to mention the cinema screen Games have been an important driving motor for the development of digital culture in the past four decades. The first person view popularized by early computer games like Doom and Duke Nukem has now entered the real world with the growing popularity of head-mounted cameras. GoPro and Google Glass users generate a constant stream of pictures with their hands in view like a digital avatar. A whole range of digital glasses are poised to enter the market. The Oculus Rift promises the classic idea of cyberspace an immersive reality, while people in public extend their body with a selfie stick. Is the view leaving our body now? Will the picture frame finally disappear?
Let’s enjoy the last years of looking at each others screens in public transportation or over the shoulder in Let’s Play gaming videos. The point of view is changing.
Aram Bartholl 2015
Workshop on opening night: Build your own POV head band for your phone!
Offline Art: ‘Your are not checked in’ at ‘Capture All!’
curated by Nicolas et Bertrand Grimault
with: Julian Oliver, RYBN, James Bridle, Aram Bartholl, Julien Prévieux, Minsu Kim, Clémence de la Tour du Pin, Sloan Leblanc, Nicolas Floc’h, Dardex, Turtle 1, Oliver Laric, Jean-Baptiste Bayle, Giorgia Lupi, Genomic Gastronomy
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’.
Introduction by Olia Lialina, Professorin New Media at the Merz Akademie Stuttgart.
with: Marius Babias, Aram Bartholl, Brigitte Franzen, Sabine Himmelsbach, Stefan Kaegi, VasÄ±f Kortun, Philipp Misselwitz, Susa Pop, Hanno Rauterberg, Christian Saehrendt, Tino Sehgal, Philippe Van Cauteren and Beat Wyss among others
with: Aram Bartholl (DE), Patrick Bergeron (CA), Jesper Carlsen (DK), A K Dolven (NO), Mogens Jacobsen (DK), Wayne Siegel (US / DK), Rolf Steensig (DK), Chris Sugrue (US), Jacob Tækker (DK) and Kassandra Wellendorf (DK).
Vincent Broquaire, Jennifer Chan, Petra Cortright, Constant Dullaart, Oliver Laric, Sara Ludy, Raquel Meyers, Evan Roth, Rafaël Rozendaal, Paul Souviron, Addie Wagenknecht, Ai Weiwei
Aram Bartholl prefers to funnel Internet into “real” life. At the museum entrance, he has reproduced the backdrop of first-person shooter game Counterstrike. “A lot of people play this kind of game and know its layout quite well”, said Bartholl. That is why he wanted to bring these spaces into real life – which particularly excited him as an architect. “These buildings only exist on servers and software. I think they should be built.”
The piece “Are you Human” shows a captcha code on large, rusty iron loops on the floor. These are the codes that users must often input on websites to post a comment to an article.
Captcha codes can not be read by machines. By entering the code, users alert the program or the website that they are a human and not a bot that sends spam. “It was important for me to experiment with it on a big scale and give real weight and materiality to an otherwise fleeting Internet signature,” Bartholl said.
Many “officials” from the art scene are still wary of web art. But this seems to be slowly changing. “At first Internet was not so overtly visible in public,” said the exhibition’s curator Olaf Val, from Kassel Art Association. “Now one can see Internet subjects on the news every day. And the consequence is that the artists involved with it are also taken more seriously.” Val said he hopes that in the future, increasing numbers web artists are able to exhibit their work.
The public is certainly interested. Visitors at the Kassel exhibition are not only computer and Internet nerds but hail from all age groups interested in art. Nevertheless, one part of the exhibition leaves some visitors clueless. Bartholl curated a parallel exhibition, in which 14 artists participated. It is a room with 14 routers. Each router shows a piece of Internet artwork (a website, a video, or an animation). But it only works if you have a smartphone, as visitors must log into the router to see the artwork. This is a perfect example of Bartholl’s intent: show how digital and real world converge. But it is also a reminder that not everyone is so well-connected to the digital world. Visitors without a tablet or a smartphone only see small, black squares on a wall.
Bartholl’s works are closely in tune with the times. He must constantly create something new, because Internet and the way people interact with it changes so quickly. The artist has even chased after a Google-camera car while waving. As a result he makes a few cameo appearances on Google Streetview, while the houses behind him are pixelated.
Edward Snowden and the NSA affair have also inspired Bartholl. He has printed an encrypted key in big letters on a canvas. To the left is a portrait of US president, Barack Obama, wearing Google glasses. Only one word protrudes from the speech bubble: “PRISM.”
The participating designers are: Aram Bartholl, Anthony Burrill, Juul Hondius, Noortje van Eekelen, Paula Scher, Akatre, Martijn Engelbregt, NL Architects, Pinar & Viola, Niels Schrader, Antoine Peters, Dawn, Maurer United, Honey & Bunny, Atelier Ted Noten, Harmen Liemburg, MVRDV, AKV|St.Joost, Pictoplasma and Herman van Bostelen.
with: Aram Bartholl, Julius von Bismarck & Julian Charriere, Heike Bollig, Andreas Greiner & Fabian Knecht, Katrin Herzner, Gordon Matta-Clark, Adrien Missika, Piero Manzoni, Ivan Moudov, Philippe Parreno, Hans Schabus, Roman Signer, Timm Ulrichs, Ella Ziegler
Aram Bartholl’s work creates an interplay between internet, culture and reality. The versatile communication channels are taken for granted these days, but how do they influence us? According to the paradigm change of media research Bartholl not just asks what man is doing with the media, but what media does with man. The tension between public and private, online and offline, technology infatuation and everyday life creates the core of his producing.
For the show Retweet if you want more followers at xpo gallery, Paris exhibition Aram Bartholl created a series of new works questioning the Internet immanent ubiquitous scream for attention. The constant stream of codes, signs and change force the user to filter, decode and recalibrate every day. Screen scape of high speed time lines, hidden code, endless video or 3D space invade our minds for ever while large parts are blocked. The impossible to remember what link was hot last week is ignored by the calm, hypnotic glow of the screen which makes us smile. Retweet this now!
Curated by Eva & Franco Mattes aka 0100101110101101.org
Annabelle Arlie, Brian Khek, Andreas Banderas, Martin Kohout, Aram Bartholl, Bryan Krueger, Body by Body, Lindsay Lawson, Chris Coy, Jaakko Pallasvuo, Christofer Degrér, Jon Rafman, Nick DeMarco, Sean Raspet, Constant Dullaart, Rafael Rozendaal, Andreas Ervik, Borna Sammak, Matt Goerzen, Oliver Sutherland, Aaron Graham, Daniel Temkin, Toby Huddlestone, Brad Troemel, Parker Ito, Artie Vierkant, Justin Kemp, Andrew Norman Wilson
A truly modern Google portrait of Kate Middleton and an art work visible only on visitors’ Smartphone screens.
Entire Great Britain got worked up when the first official portrait of Kate Middleton was presented in the National Portrait Gallery in London at the beginning of the year. Critics described the oil painting by the Glasgow artist Paul Emsley as “ghostly” and an “aesthetic disaster”. Fans of this much-loved prince’s consort are disappointed by the aesthetic effect of the portrait. But it is not just the artistic quality of the painting that seems antiquated in view of our contemporary media society.
With his “Google Portrait” (2013), Aram Bartholl, a German artist who likes to cross borders between the virtual and the real world, has now come up with a form of portrait more in keeping with our times to meet the aristocracy’s desire for perpetuation. His drawing leads to a Google search for Kate Middleton. When scanned into a Smartphone, the QR code the artist has drawn on paper in charcoal takes one to the appropriate Google link. Try it out!
The fact that an aesthetic piece of information does not always necessarily coincide with the surface of an art work is also shown by the second work of Aram Bartholl that DAM GALLERY is presenting this weekend at the new art fair Art13 in London, along with software works by Casey Reas (US) and 3-D animations by Eelco Brand (NL).
The three WiFi routers of the art work “Offline Monochrome” (triptych, 2013) send signals offline using their own network to mobile end devices such as Smartphones, tablets or laptops. After visitors have connected with the respective network of a router, their browsers display a monochrome colour. Here, art departs the exhibition space for the private screens of the visitors.
The DAM GALLERY stand also features a screen hanging on it with the software “Signal to Noise” (2012) by the US artist Casey Reas. The images generated live in the exhibition space using a software program are based on a ‘collage machine’ that uses television signals as raw material. In much the same way as a collage in the early 20th century was put together from media of the time, “Signal to Noise” refracts and distorts the television signals and transforms them into newly formatted data structures.
Finally, there are two 3-D animations by the Dutch artist Eelco Brand to be seen, in which the artist does an ironic take on the desire of artists to imitate and create, turning a realistically animated natural scene into a surreal kind of movement in short film clips. Nature escapes human control and strikes back in the image.
More information on Art13 London: http://artfairslondon.com
OFFLINE ART: new2
22. February – 23. March 2013
Solo Show, xpo gallery, Paris
participating artists :
Cory Arcangel, Kim Asendorf, Claude Closky, Constant Dullaart, Dragan Espenschied, Faith Holland, JODI, Olia Lialina, Jonas Lund, Evan Roth, Phil Thompson, Emilie Gervais & Sarah Weis
curated by Aram Bartholl
new2 is the first show realized in the OFFLINE ART exhibition format. Web-based art works will be disconnected from the Internet but accessible via a wireless network. A high-profile selection of twelve artists from various ‘Internet generations’ – all of whom work digitally and online – will present both old and recent works. OFFLINE ART: new2 is a group show about files, versions and copies that question the idea of endless ‘novelty’ in an era of daily remixing on the Internet. A digital file can be copied endlessly, without any loss of quality, thus enabling a web culture of nonstop creating, sharing and remixing files, which has influenced an entire generation of artists.
Over the last two decades, Internet artists have been constantly and prolifically creating web-based works. Files are often collected online, reused, recycled and remixed in varied ways. A former version of the file is called ‘new.gif’ and it becomes outdated five minutes later, with the arrival of ’new2.gif’. Computers and the Internet don’t require a final version. “I still need to make some changes…”
What is the current state of net art and what happens when works are taken offline? What is the correct format for a work of art that is to be shown in a gallery if it had only existed previously on the web? What is the relationship between Internet art and the ever-growing number of mobile devices? OFFLINE ART: new2 reflects recent discussions among artists and curators about whether or not pieces should be available offline and how this should occur. All pieces in this show are browser-based and at the same time only locally accessible. In the end, each artist decides how and which version will also be available on the Internet.
The OFFLINE ART exhibition format:
Browser-based digital art works are broadcast locally from wifi routers which are not connected to the Internet. Each art work is assigned a single wifi router which is accessible through any device, like smart-phones, tablets or laptops. To access the different art works, the visitor has to connect to each network individually. The name of the network reflects the name of the artist. No matter what URL is opened, only the specific artwork appears in the browser. A small web server holding the art piece is installed on a USB flash drive which is connected to the router. Like frames holding the art, the routers are hung in the exhibition space which is otherwise empty. The art i tself becomes visible only on the visitor’s private screen.The pieces are locally widely accessible but disconnected from the Internet
with: Adrian Sauer, Andreas Schmidt, Aram Bartholl, Claudia Sola, Constant Dullaart, Corinne Vionnet, David Crawford, Doug Rickard, Ewoudt Boonstra, Frank Schallmaier, Gilbert Hage, Hans Aarsman, Hermann Zschiegner, James Howard, Jenny Odell, Jens Sundheim, John Haddock, Jon Rafman, Josh Poehlein, Kurt Caviezel, Laia Abril, Laurence Aëgerter, Leo Gabin, Marco Bohr, Martin Crawl, Micheal O’Connell a.k.a Mocksim, Mishka Henner, Monica Haller, Nancy Beans, Pavel M. Smejkal, Penelope Umbrico, Roc Herms, Roy Arden, Shion Sono, Thomas Mailaender, Tony Churnside & The Get Out Clause, Viktoria Binschtok, Willem Popelier
curated by: Aaron Moulton
with: Steve McQueen, Ignacio Uriarte, Adam Bateman, Beehive Design Collective, Andy Graydon, Janos Fodor, Jakup Ferri, REP Group, Rainer Ganahl, Aram Barhtoll, Pablo Helguera, Lucia Nimcova, Ignasi Aballi, Lisa Oppenheim, Bob Moss, and more
9. May 2012
Talk, Next Berlin, Conference for digital industries, Berlin, Germany
curated by Violeta Horcasitas
with Aram Barhtoll, Eduardo Basualdo, Peter Coffin, Daniel Everett, Marcius Galan, Veronique Jourmard, Miltos Manetas, Moris, Michael Rael, Jon Rafman, David Shrigley and Mungo Thomson
Seven on Seven
13. – 14. April 2012
Talk, Rhizome, New York, USA
with: Aram Bartholl, Xavier Cha, LaToya Ruby Frazier, Naeem Mohaimen, Jon Rafman, Taryn Simon, Stephanie Syjuco, Jeremy Ashkenas, Blaine Cook, Michael Herf, Marissa Mayer, Aaron Swartz, Khoi Vinh, Anthony Volodkin
Playtime – Videogame mythologies
10. March – 9. December 2012
Group Show, Maison d'Ailleurs, Yverdon-les-Bains, Switzerland
DAM GALLERY shows the first solo exhibition of Berlin based artist Aram Bartholl (*1972, Bremen), whose works are engaged in a tension-filled dialogue between virtual and real life. In 2011 Bartholl participated in exhibitions at MoMA, New York, at the Pace Gallery, New York and at DAM GALLERY, Cologne.
His works reflect the pulse of the time, they are not based on simple observation of an artistic object, but are characterized by thought-provoking impulses stimulated by Aram and by the subsequent independent existence that his projects develop through the participation of the audience. His interventions in public space, his installations and sculptures in the tradition of ready mades are based on a DIY-culture – not in the sense of dilettantism but of individual creation and individual responsibility – as well as on the popular emblems of the internet, that Bartholl surprisingly confronts us with in reality.
Opening + Book Release: 27 Januar, 7 – 9 pm, Aram Bartholl – The Speed Book, Gestalten-Verlag, 2012
7.30 pm: Performance How to Vacuum Form by Aram Bartholl, + Book Presentation by Domenico Quaranta (author and curator)
Artist: Jeremy Bailey, Pippin Barr, Aram Bartholl, Troels Hugo Cederholm/DADIU, Will Crowther & Don Woods, Die Gute Fabrik, Mark Essen, Harun Farocki, Cao Fei, Søren Thilo Funder, Riley Harmon, Timothy Hutchings, Michael Johansson, David Kraftsow, Walter Langelaar, Ludic Society, Media Molecule, Nauhgty Dog, Julian Oliver, Guillaume Reymond, Rockstar Games, Taito, Jacob Tækker, Valve Software, Marieke Verbiesen, Bill Viola og USC Game Innovation Lab.
with: Bart Vandeput / Bartaku, Ingo Günther, Grégory Lasserre un Anaïs met den Ancxt / Scenocosme, Lynn Pook, Julien Clauss, Mathieu Lehanneur / Le Laboratoire, Gilberto Esparza, Ricardo O’Nascimento, Javier Busturia, Jingni Wang / Popkalab, Thomas Thwaites, Ulrich Vogl, Raul Nieves, Gerard Rubio, Jordi Bari / BlablabLAB, Julian Oliver, Aram Bartholl, Danja Vasiliev, Ben Dromey, Rasa Šmite, Raitis Šmits, Jānis Garančs, Mārtiņš Ratniks un RIXC.
curated by Aaron Moulton,
Artists: William Anastasi, Aram Bartholl, Adam Bateman, Mike Bouchet, Roisin Byrne, John Divola, Constant Dullaart, Urs Fischer, Venessa Gromek, Daniel Kingery, John Kleckner, Stefan Lesueur, David Levine, Jan Mancuska, Jason Metcalf, Lucia Nimcova, Jorge Peris, Benja Sachau, Fred Sandback, Robert Smithson, Nedko Solakov, Kasper Sonne, Jared Steffensen, Michael Stevensen, Piotr Uklanski, Ignacio Uriarte, Lawrence Wiener
curated by Clement Cheroux, Joan Fontcuberta, Erik Kessels, Martin Parr & Joachim Schmid
with: adrian sauer, andreas schmidt, aram Bartholl, claudia sola, constant dullaart, corinne Vionnet, cum*, david crawford, doug Rickard, ewoudt Boonstra, Frank schallmaier, gilbert hage, hans aarsman, hermann Zschiegner, James howard, Jenny odell, Jens sundheim, John haddock, Jon Rafman, Josh Poehlein, kurt caviezel, Laurence aëgerter, marco Bohr, martin crawl, mocksim, mishka henner, monica haller, nancy Bean, Pavel maria smejkal, Penelope Umbrico, Roy arden, shion sono, tony churnside et les get out clause, thomas mailaender, Viktoria Binschtok, Willem Popelier.
curated by: Amir Fattal and Lutz Henke
with: Felix Amerbacher, Nadim Assad, Maxime Ballesteros, Aram Bartholl, Fabian Bechtle, Ina Viola Blasius, Maik Bluhm, Thibault Bourgoing, Thomas Bratzke, Gabriel Braun, Jessica Buhlmann, Markus Butkereit, Maria Margarethe Drexel, DTagno, Uros Djurovic, Frank Eickhoff, Amir Fattal, Pius Fox, Stella Geppert, GRUPPO TÖKMAG, Vincent Grunwald, Spiros Hadjidjanos, Tina Isabella Hild, Dirk Holzberg, Brad Hwang, Sean Johnson, Thari Jungen, Kathrin Köster, Felix Kiessling, Tina Linster, Martin Meyenburg, Regine Mueller-Waldeck, Astrid Nippoldt, Nik Nowak, Yoann Pistermann, Plastique Fantastique, Judy Ross, Christine Schulz, Emmy Skensved & Greg Blunt, Polina Soloveichik, Tim Stapel, Anton Stenbock, Despina Stokou, Yukihiro Taguchi, TRYONE, Eveline van de Griend, Eric Winkler
curated by Sabine Himmelsbach
with: Aram Bartholl, Clara Boj & Diego Diaz, Boredom Research, Petko Dourmana, Escoitar, Mindaugas Gapsevicius, Kirsten Geisler, Ingo Günther, Hanna Haaslathi, Katarzyna Krakowiak, Christina Kubisch, Andrea Kuluncic, Marc Lee, Les Lien Invisibles, Tapio Mäkelä, Jenny Marketou, Eva & Franco Mattes, Tanja Ostojic, Julius Popp, RIXC, Saso Sedlacek, Zoltan Szegedy-Maszak / Marton Fernezelyi, Thomson & Craighead, Timo Toots, Anna Trapenciere, You Must Relax
curated by: Raffael Doerig
with: !Mediengruppe Bitnik, Aram Bartholl, René Bauermeister, Christian Croft & Andrew Schneider, Joseph Delappe, F.A.T. Lab, Shiho Fukuhara & Georg Tremmel, Andy Guhl & Norbert Moeslang, Florian Kaufmann & Michael Egger, Leopold Kessler, Christin Lahr, Eva & Franco Mattes, Manu Luksch, Nikolas Neecke, Ubermorgen, Julius von Bismarck
with: Data Mining – Google – Rafe Kaplan, Political Party – Pirate Party – Amelia Andersdotter, Crisis Mapping – Crisis Mappers – Patrick Meier, Generative Art – V2 – Joost Rekveld, Digital Rights – Electronic Frontiers Foundation – Katitza Rodriguez, Mapping – Ushahidi – Jaroslav Valuch, Mobile Activisam – Mobileactive.org – KatrinVerclas, Blogging Disidents – Global Voices – Sami Ben Gharbia, Dead Drops – Aram Bartholl, Copyright – Electronic Frontiers Foundation – Kurt Opsahl, Civic media – MIT Media Lab – Chris Csikszentmihályi, Art and Data – MakroLab – Marko Peljhan, Flash Mobs – Improv Everywhere – Brian Fountain and Robyn Sklarenm, Future / SF / DIY – Wired Blog – Bruce Sterling, Flattr – Peter Sunde, Community – 4Chan Moot, Blogging – Yahoo News – Andrew Golis, Polical Tribes – Sam Graham-Felsen, Community – Couchsurfing, Mobile Community – FourSquare, Crowdfunding – Kickstarter, DIY Books Digitising – Marin Seric
curated by Cristophe Bruno
with: Les Liens Invisibles, Eva and Franco Mattes aka 0100101110101101.org, the Yes Men, Heath Bunting, Cornelia Sollfrank, LAN, Michael Mandiberg, Fanette Muxart et Clode Coulpier, Julien Levesque, Mouchette, Luther Blisset, among others
curated by Stephanie C. Holt
with: Do Ho Suh, Martin Schoeller, R. Luke Dubois, Daniel Rozin, Jun-Jun Sta. Ana, Laylah Ali, Aram Bartholl, Noah Kalina, Michael Ferris Jr., WK Interact, and Evan Roth … among others
curated by Aram Bartholl, Anne Roquigny & Marie Lechner
with: Anonymous, Jean-Baptiste Bayle, Christophe Bruno & Samuel Troncon, Claude Closky, Marika Dermineur, Caroline Delieutraz, Constant Dullaart, JODI, Jérome Joy, Tobias Leingruber, Aymeric Mansoux & Dave Griffiths & Marloes de Valk, Albertine Meunier, Geraldine Juarez feat. M.I.A., Evan Roth, Systaime, VideOdrome mailing list, La Quadrature du Net (Jérémie Zimmermann)
lost & found
28. – 31. October 2010
Group Show, Shift Festival 2010, Basel, Switzerland
participating artists: Aram Bartholl (Random Screen), Julius von Bismarck, Critical Art Ensemble , Paul B. Davis, Aleksandra Domanovic; , Gijs Gieskes, Iocose, Olia Lialina & Dragan Espenschied, Armin Linke, Monochrom, Deimantas Narkevicius, Catalina Ossa / Enrique Rivero, Niklas Roy, Harold Schellinx, Manuel Schmalstieg, Helene Sommer, Suzanne Treister, Alexander Tuchacek, Sarah Vanagt, Marie Velardi, Liu Wei
curated by Judith van Meeuwen
with: Vito Acconci (US), Charles Atlas (US), Dirck van Baburen (NL), Aram Bartholl (DE) (0,16), Christian Boltanski (FR), Jim Campbell (US), David Claerbout (BE) , Haim Elmoznino (IL), Ellis Gallagher (US), Hanna von Goeler DE), Samuel van Hoogstraten (NL), Mella Jaarsma (NL), William Kentridge (ZA), Ralph Kistler (DE), Germaine Kruip (NL), Couzijn van Leeuwen (NL), Gabriel Lester (NL), Zilla Leutenegger (CH), Mark Lewis (UK), Rafael Lozano-Hemmer (MX), Munch & Furukawa (DE & JP) , Serge Onnen (FR), Lotte Reiniger (DE), Viviane Sassen (NL), Tomas Schats (NL), Hyo-Jung Seo (KR), Teresa Serrano (MX), Conrad Shawcross (UK), Sam Taylor-Wood (UK), The One Minutes (NL), Dimitri Vangrunderbeek (BE), Kara Walker (US), Andy Warhol (US), Diet Wiegman (NL)
curated by Inga Steimane
with:Thomas Behling, Claudia Christoffel, Anja Fußbach, Herwig Gillerke, Claus Haensel, Marikke Heinz-Hoek, Erika Plamann, Ina Raschke, Barbara Rosengarth, Tilman Rothermel, Nico Timm, Mia Unverzagt und Wolfgang Zach, Aram Bartholl, Achim Bertenburg, Achim Bitter, Susanne Bollenhagen, Stefan Demming, Harald Falkenhagen, Sebastian Gräfe, Christian Haake, Christian Helwing, Claudia Kapp, Horst Müller, Heiner Preißing, Jürgen Schmiedekampf
curated by Aram Bartholl
with: Artzilla, CCC, CBA Radio, Constant Dullaart, F.A.T. lab, JODI, Olia Lialina & Dragan Espenschied, Metalab, monochrom, Moddr, Johannes P Osterhoff, Bre Pettis, Pirate-bus, Tim Pritlove, Niklas Roy, Telecomix, Uni Brennt, Olaf Val and many more
curated by Petra Heck (Nimk) and Heather Corcoran (FACT)
with: Jeremy Bailey, Aram Bartholl, Mark Essen, Cao Fei, Anita Fontaine & Mike Pelletier, Riley Harmon, JODI, Michael Johansson, Ben Jones, Yuichiro Katsumoto, Walter Langelaar, Ludic Society, Julian Oliver, Ubermorgen.com
curated by Aram Bartholl
with: Margarete Jahrmann & Renate Christian, JODI, Greg Leuch, JK Keller, Michael Marcovici, Will Moffat & Peter Burns, monochrom, Evan Roth, Sakrowski, Gordan Savicic, Michael Schieben, Georg Schütz, Chris Sugrue, Philipp Teister & Kim Asendorf, UBERMORGEN.COM, Jamie Wilkinson.
One night group show of pop.net.art
curated by Aram Bartholl
with: Jon Cates (US), Constant Dullaart (NL), Dragan Espenschied (DE), JODI (NL/BE), Geraldine Juarez (MX), Tobias Leingruber (DE), Olia Lialina (RU), Moddr (NL/AT/RU), Johannes P Osterhoff (DE), Evan Roth (US), Ralph Schulz (DE), Paul Slocom (US)
curated by Florina Limberg & Daniela Walz
with: Aram Bartholl (Silver Cell, Map), Gaspar Battha, Tjorg Douglas Beer, Julius von Bismarck, Yasmine Chatila, Andreas Nicolas Fischer, Robert Heel, Dirk Holzberg, Annja Krautgasser, Lea Asja Pagenkemper, Desiree Palmen, Pony Pedro (Mark Thomann, Sebastian Wagner, Franziska Werner), Willi Sengewald/TheGreenEyl, Eva Alexandra Stueben, tat ort (berlinger & Fiel), The Product (Patrick Kochlick & Dennis Paul), Alexa Wright/Alf Linney, Jens Wunderling
Eine performative Intervention im öffentlichem Raum mit dem Künstler Aram Bartholl, organisiert von Jonas Hansen und Lasse Scherffig. Die Ergebnisse des Workshops werden auf der Ausstellung zur Computerspiel-Konferenz “Next Level” vom 20. bis 21. April 2010 in Köln gezeigt.
with: Aram Bartholl (4A), Simon Biggs, Benjamin Dembrowski, Michael Demers, Olle Essvik, Claire Evans, Martin Kohout, Margot Krasojevic, The Ludic Society, Kelly Mark, Eva and Franco Mattes, Aaron Oldenburg, Marisa Olson, Katie Paterson, Antoine Schmitt, Nathan Shafer, Jason Sloan, Simon Yuill, Gregoire Zabe
with: Crew: W (double u), Phil Worthington: Shadow Monsters, Gordan Savicic: Insert Coin & Chakramat, Lammer & Savicic: Biopong, Gottfried Haider: Hidden in plain sight, Joan Leandre: In the name of kernel, JODI : Compositeclub2.0++, Aram Bartholl: First Person Shooter, Aram Bartholl: de_dust, Philip Lammer: Armagetron
Jean Luc und die Singularität vorm falschen Fenster
collaborative performance thinktank at HAU2 with: Nilz Bokelberg, Jean-Pol Martin, Markus Albers, Christian Heller, Stefanie Wenner, Jan-Michael Kühn, Gesine Danckwart, Jörg Sundermeier, Stephen Kovats, Ela Kagel, Susanne Gerber, Aram Bartholl, Matthias Spielkamp, Manuel Bonik, Martin Fröhlich, The rotTT
Artist curators: Alessia Armeni, Emanuela Barbi, Damiano Colacito, Gianmarco Montesano, Franco Passalacqua. Artists: Nicola Di Caprio, Roberto Piloni, Alessandro Roma, Sergio Camplone, Enzo De Leonibus, Roland Herzog, Jukuki, Brian Smith, Aram Bartholl (First Person Shooter), Paolo Bertocchi, Marco Di Giocanni, Massimo Pianese, M. Lucrezia Schiavarelli, Diego Zuelli, Carlo Dell Amico
Exploring the increasingly blurred boundaries between video-game space and real space.
with: Jeremy Bailey, Aram Bartholl (First Person Shooter), Blast Theory, Mark Essen, Cao Fei, Anita Fontaine & Mike Pelletier, Riley Harmon, Timothy Hutchins, Michael Johansson, Ben Jones, Yuichiro Katsumoto, Ludic Society, Julian Oliver, thatgamecompany, Ubermorgen.com and Bill Viola & the USC Game Lab
6. December 2009
Group Show, Studio BKVB (aka Büro Friedrich), Berlin, Germany
with: Zoran Terzic, Aram Bartholl (0,16), Charlotte Bonjour, Serge Onnen, David Polzin, Catarina Simoes, Ariel Schlesinger
Zukunftgespräche: Zweinull fürs Web: Mythos, Mode oder Medienhype?
with: Kjellgren Alkire, Valerie Atkisson, Aram Bartholl (1H, First Person Shooter), Dawoud Bey, Rebecca Campbell, Ben Coonley, Doug DuBois, Hasan Elahi, Endocrom, Feng Mengbo, Harrell Fletcher, Douglas Gordon, Mary Henderson, Oliver Herring, Amy Jorgensen, Mark Khaisman, Jeff Larsen, Nikki S. Lee, Michael McGlothlen, Mike McGlothlen, Julie Moos, Takashi Murakami, Julian Opie, Lydia Panas, Rachel Papo, Przemyslaw Pokrycki, Nate Ronniger, Lincoln Schatz, Michael Scoggins, Andrew Sexton, Amy Sillman, Beat Streuli
Curated by Conor McGarrigle & John Buckley
with: Aram Bartholl (Map), Blackletter, Ralph Borland, John Buckley, Martin John Callanan, Joseph Delappe, Benjamin Gaulon, Institute for Applied Autonomy, I Left This Here For You To Read, Thorsten Knaub, Laboratorio de Situaciones, Glenn Loughran, Conor McGarrigle, Eve Mosher, Christian Nold, PARKing, Katie Paterson, Quadrafónica Urbana, Gordan Savicic, Mark Shepard, Surveillance Camera Players, Transborder Immigrant Tool, Trespass, Jeremy Wood, You Are Not Here
F.A.T. lab presentation: Aram Bartholl and Tobias Leingruber at Pecha Kucha Berlin with: Volker Bombien, Armin Linke, Nils Claussen, Marcello Dato, Michael Liebe und Thorsten S. Wiedemann, Miodrag Kuc, Marc Brinkmeier, Konrad Kuechenmeister oder Benjamin Weiss, Jörg Gastmann
Are You Human?
27. – 28. July 2009
Workshop, First International Conference on Facets of Virtual Environments (FaVE) 2009, Berlin, Germany
Keynote: Aram Bartholl – Are You Human?, General Conference Chair: Richard A. Bartle, ICST Institute for Computer Sciences, Social-Informatics and Telecommunications Engineering
WoW workshop and performance on 11th of July and lecture on 12th of July at Laguna Art Museum. The exhibition was curated by Grace Kook-Anderson with assistance from Eddo Stern.
with: Aram Bartholl (WoW) (Berlin); Jorg Dubin (Laguna Beach); Alexander Galloway (New York); Jacqueline Goss (New York); Auriea Harvey and Michaël Samyn, Tale of Tales (Ghent, Belgium); John Klima (Lisbon, Portugal); Cyril Kuhn (Los Angeles); Antoinette LaFarge (Irvine); Mashallah Design and Linda Kostowski (Berlin); Robert Nideffer and Alex Szeto (Irvine); Airyka Rockefeller (San Francisco); Eddo Stern (Los Angeles); The Third Faction (Azeroth); and Zeng Han (Guangzhou)
TeilnehmerInnen mit einer Förderfläche an contemporary art ruhr 09: arunakaij, Aram Bartholl, Mirja Busch, Flirp, Anna Gierster, Akiro Hellgardt, Jürgen Hille, Ahn Hyun-Ju, Charlotte Jaus, Johannes Jensen, Martin Hesselmeier & Andreas Muxel, Nils Kemmerling, Tilman Küntzel, Sinisa Lordan, Anna Samoylovich, Adriane Wachholz
This exhibition has been initiated and organised by MA Gallery Studies & Critical Curating students from the Department of Art History and Theory at the University of Essex. with: Aram Bartholl [Are you social?, First Person Shooter, DIY], Cao Fei [RMB City], Rafael Lozano-Hemmer [Microphone], Paul Notzold [Txtual Healing], Thomson and Craighead [Flat Earth]
Group Show, Filmwinter Destival, Stuttgart, Germany
with: jimpunk, abe linkoln & mrtamale; Ubermorgen.com; Erika Lincoln; Aram Barthol, Evan Roth, Tobias Leingruber; Helene Dams; Dennis Knopf; Michael Russ; Kevin Bewersdorf; Paul Slocum; John Michael Boling; Olia Lialina, Dragan Espenschied; among others
with: Aram Bartholl: First Person Shooter, Julian Oliver: Trapped Rocket II, Ludic Society: New Bachelor Machines, Paul B. Davis: Five In One, Joan Leandre: *In the Name of Kernel!…*, Gottfried Haider: Hidden in Plain Sight, JODI:Composite Club 2.0++, Marc van Elburg: pongmachine, Gordan Savicic: Insert Coin / Chakramat, Walter Langelaar: nOtbOt, Friedrich Kirschner: Machinima Filmfest
Am Tag der Projektbörse der Experimentdays06 in Berlin zeige ich im Rahmen des Infostandes Interactionfield.de von Mirjam Struppek Dokumentationen meiner Arbeiten im Kontext von Projekten zu Nachhaltigkeit und öffentlichem Raum.
In dem Computerspiel „Need for Speed Underground” steuert der Spieler seinen Wagen mit großer Geschwindigkeit durch eine Stadtsimulation. Ziel des Spieles ist es, sich in der Stadt einen möglichst guten Ruf zu verschaffen und diesen mit Tunen des eigenen Autos zu unterstreichen.
Die Installation „Speed“ überträgt die überdimensionalen Pfeile aus dem Computerspiel in die Realität. Die fünf Meter hohen, rot blinkenden Lichtobjekte aus dem Spiel werden 1 zu 1 nachgebaut und im öffentlichen Raum aufgestellt.
Die Projekte “Random Screen”, “Papierpixel” und “Silver Cell” werden in der Electrolobby im Brucknerhaus auf der Ars Electronica Linz ausgestellt. Während der ganzen Zeit des Festivals biete ich einen Worshop an bei dem Besucher selber einen Pixel von “Random Screen” bauen können.
Die Projekte “Random Screen”, “Papierpixel” und “Silver Cell” werden in der Electrolobby im Brucknerhaus auf der Ars Electronica Linz ausgestellt. Während der ganzen Zeit des Festivals biete ich einen Worshop an bei dem Besucher selber einen Pixel von “Random Screen” bauen können.
5. June 2006
Workshop, Project space ‚Ceci n‘est pas un restaurant’, Berlin, Germany
5. June 2006
Group Show, Project space ‚Ceci n‘est pas un restaurant’, Berlin, Germany
29. – 30. March 2006
Group Show, Locative Media Workshop ‘The mobile experience’, Munich, Germany
Auf dem Locative Media Workshop ‘The mobile experience’ organisiert von Xinober im Deutschen Luft und Raumfahrt Zentrum München werde ich meine Arbeiten Daten am Ort, Silver Cell und berlin west/berlin east vorstellen