Photo Museum Winterthur
Exhibiton Booklet, color, 84 pages, 18 x 27 cm
2024
English, German
Edited and Published by Fotomuseum Winterthur
Fotomuseum Winterthur, PDF Booklet: EN, DE
Fotomuseum Winterthur is taking the opportunity presented by the institution’s thirtieth anniversary to examine its own collection, with a selection of artworks providing an insight into the museum’s collecting activities. On display are works by a total of 19 different photographers and artists, a mix of well-known names and new discoveries.
The exhibition homes in on the collection’s idiosyncrasies, distinctive qualities and thematic focuses, while also scrutinising museum collecting practices per se. This probing of the collection also looks at gaps and lacunae that are made apparent by the museum’s critical self-assessment and at works that are institutionally challenging.
The non-linear way in which the exhibition is presented highlights the fact that the (progressive) development of a collection is influenced by a variety of different factors. These include the exhibition programme, thematic focuses, curatorial interests, social issues and photography’s own process of evolution as a medium and body of practices.
Both in the exhibition space and through a varied programme of events, the museum provides insights into, among other things, its own origins and the way it cares for its collection. A Show of Affection offers an alternative to the classical collection exhibition and is, not least, an expression of an institutional approach: Fotomuseum Winterthur is eminently (self-)critical – and yet still has a sense of affection for its own collection.
Curator: Fotomuseum Winterthur
Artists: Vito Acconci, Stefan Burger, Forensic Architecture, Lee Friedlander, Matthias Gabi, Nan Goldin, Roc Herms, Jacob Holdt, Margret Hoppe, Graciela Iturbide, Zoe Leonard, Marc Lee, Sherrie Levine, Clunie Reid, Anika Schwarzlose, Shirana Shahbazi, Cindy Sherman, Lorna Simpson and Garry Winogrand.
28th International Symposium on Electronic Art
Symposium catalog, color, 120 pages, 16 x 24 cm
2023
English, Français
Edited and Published by ISEA
http://isea2023.isea-international.org, Cataloge (PDF)
ISEA, a major event on the global electronic art scene, aims to strengthen the dialogue between artists, researchers, engineers, designers and entrepreneurs from the cultural and creative industries who participate in the advances of research and creation. This multidisciplinary event is open to both specialists and the general public.
The 28th edition of ISEA, co-organized by Le Cube Garges and the School of Decorative Arts, took place in Paris at the Forum des images from May 16 to 21, 2023 as well as through an artistic program spread over fifty partner cultural venues throughout France until September 15, 2023.
Following an international call for entries, more than 1400 applications from 70 countries were examined by an artistic and scientific committee of 200 international experts. The theme of this edition is Symbiosis. In this time of global health, ecological, economic and democratic crisis, symbiosis is a polysemous notion that allows us to explore in a transversal and interdisciplinary way the mutations and transformations underway in the digital age, to question the meaning supposedly given to progress, especially in the current environmental and health context, and to imagine possible and viable futures for our planet and our ecosystems.
ISEA2023 was co-organised by Le Cube Garges, executive producer, École des Arts Décoratifs, academic supervision, and the Forum des images, symposium venue.
International Symposium on Electronic Art (ISEA) juried exhibition
Curator: ISEA Art Jury
Artists: Veronika Akopova (RU/FR), Étienne-Armand Amato & Claire Sistach (FR), Tatsuru Arai (JP/DE), Ugo Arsac (FR), Annie Bascoul (FR), Robin Baumgarten (DE), Golnaz Behrouznia & Dominique Peysson (IR/FR), Samuel Beilby (AU), Véronique Béland (CA/FR), Alison Bennett (AU), Lucien Bitaux (FR), David Bowen (US), María Castellanos & Alberto Valverde García (NO/ES), Kachi Chan (HK/UK), Vivian Charlesworth (US), Budhaditya Chattopadhyay (IN/NL), Evgeniy Chernyshov (UA), Dylan Cote (FR), Jean-Philippe Côté & Victor Drouin-Trempe (CA), Danielle Damico (US), Anne De Giafferri & Christian Delecluse (FR), Louis-Philippe Demers & Bao Songyu (SG/QA), Félicie d’Estienne d’Orves (FR), Sandrine Deumier (FR), Bastien Didier (Mentalista) (FR), DISNOVATION.ORG (FR/PL/CA/DE), Lina Dovydenaite (LT), Julian Dupont (FR/CO), Titia Ex (NL), Mark Farid (UK), Brett Gaylor (CA), Kate Geck (AU), Varvara Guljajeva & Mar Canet (EE/ES), Yoon Chung Han (KR/US), Lucile Olympe Haute (FR), Jean-Claude Heudin (FR), Anouck Hilbey & Mathilde Quint (FR), Maxime Houot (Collectif Coin) (FR), Rong Huang & Aven Le Zhou (HK/CN), Sunjeong Hwang (KR), Dasha Ilina (RU/FR), Eloi Jacquelin & Nelson Chouissa (FR), Vidya-Kelie Juganaikloo (FR/MU), Eduardo Kac (BR/US), Nicolás Kisic Aguirre (PE/US), Hannen E. Wolfe, Şölen Kıratlı, Alex Bundy (TR/US), Tobias Klein, Alvaro Cassinelli & Jane Prophet (DE/HK/UK/US), Nicolas Klimis (Ohme Studio) (BE), Abel, Carlo Korinsky (DE), Sujin Seo (KR) & Orhan Kavrakoglu (TR), Le Clair Obscur (FR), Marie Lelouche (FR), Solimán López (ES/FR), Juliette Lusven (CA/FR), Adrien M & Claire B & Brest Brest Brest (FR/BE), Anne Marie Maes (BE), Yosra Mojtahedi (IR/FR), Annabelle Playe, Hugo Arcier & Marc Siffert (FR), Davide Porta (AT/IT), Iris Qu Xiaoyu, Marc Lee and Shervin Saremi (CN/CH/IR), Antoni Rayzhekov (BG/AT), Gaëtan Robillard (FR), Marion Roche (FR), Rojava Center For Democratic Technologies (SY), Baudouin Saintyves & Severine Atis (FR/US), Satyakumar Kavya & Peregovits Adam (AKA Collective) (IN/CA), ScanLAB Projects (UK), Robertina Šebjanič (SI), Michael Sedbon (FR), Ohme & Frederik Vanhoutte (BE), Sonal Sinor & u2p050 (FR), Klaus Spiess, Ulla Rauter, Emanuel Gollob & Jens Hauser (AT/FR/DK), Noor Stenfert Kroese (NL/AT), Timothy Thomasson & Benjamin Keenan (CA), Vincent Thornhill & Guillemette Legrand (FR/NZ/BE), Gaël Tissot (FR), Traveling Plant Collective (FR/ES/PT/AT/SI), Lukas Truniger (FR/CH), Xenoangel (RS/UK, FR), Alex Verhaest (BE), Chloé Van Oost & Set Chevallier (BE), Bill Vorn (CA), xLab (QA), XP Unit (FR), Didem Yalinay (TR), Yin Yu (CN/US), Weidi Zhang & Rodger (Jieliang) Luo (CN/US)
Transmediale e.V. Berlin
Festival brochure, 35 pages
2023
Deutsch, English
Maeve O’Neill, Pip Hare
2023.transmediale.de
The 36th edition of transmediale takes place at Akademie der Künste, Hanseatenweg, and across the city from 1 to 5 February. a model, a map, a fiction explores how scale reconfigures relations, politics, and affects. Alongside the festival, transmediale presents the free citywide exhibition Out of Scale distributed and embedded within the networks and infrastructures of Berlin
Artistic Interventions
Distributed across the building of Akademie der Künste, nine artistic interventions consider new scalar tactics through practice-based and performative approaches. Focusing on long-term relationships with artists, since 2020 transmediale has built on its established residency programme. In collaboration with a variety of partner institutions – Pro Helvetia, Chile, University of the Arts Berlin, and the Berlin Senate for Culture and Europa – the residency programme of 2022 was centered around the question of how scale impacts the technological conditions we are living in.
transmediale hosted over ten residents throughout 2022. Part of the artistic interventions are projects developed during the residency in Berlin and are presented for the first time at the festival.
Curator: Nora O Murchú
Artists: Antonia Hernández, Neil Beloufa, fantastic little splash, Nicole L’Huillier, Marc Lee, Elisa Balmaceda, Bahar Noorizadeh, Evan Roth, Nina Davies
Seoul Foundation for Arts and Culture (SFAC)
Exhibition brochure, color, 140 pages, 17 x 24 cm
2022
English, Korean
Changki Lee (President)
Exhibition brochure (PDF)
Seoul Arts & Tech Festival Unfold X 2022
Convergence — Synergistic Symbiosis between Art and Technology
For the past 10 years, DA VINCI CREATIVE (2010-2019) has put a focus on expanding the scope of arts by supporting the convergence between art and technology. Seoul Foundation for Arts and Culture (SFAC) reorganizes its business as “Unfold X,” which aims at expanding the innovative convergence art platform through the collaboration between convergence art-specialized organizations and corporations.
This has occurred due to the continuous request of creators and producers in the convergence art scene since 2020 to establish a larger presence abroad and to receive support. “Unfold X,” in line with the Fourth Industrial Revolution, will put its utmost effort to contribute to the change and development of contemporary convergence art , uniting science, technology, and art.
The development of cutting-edge technology, which has evolved at an unfathomable speed, presents a reality that demands choices every moment as a strong proposition that rede ines our perceptions and views. This trend is not limited to our daily changes but is exhibiting its divine power by transforming the entire foundation of art and philosophy, which has been based on the solid time-honored tradition to induce a paradigm shift.
Artistic Director: Seungah Lee
Coordinators: Suehyen Kim, Jooyeong Moon, Jaehyun Shin, Sooeon Jeong
Artists: Taeeun Kim, Honam Kim_Kisoon Eom_Haejin Jung, Jinah Roh, Log, Loopntale, Sanghee, Ubac Studio, WAYY, Jeho Yun, Inkang Lee, Youngjoo Cho, Daito Manabe, David Oreilly, Ryoichi Kurokawa, Iris Qu Xiaoyu_Marc Lee_Shervin Saremi, Moritz Simon Geist, Haram Kwon_Joonhyung Bae_Karam Eum_Seolhee Lee, BioMedia & AATB
Partners:
House of Electronic Arts (HEK, Basel), Center for Art and Media (ZKM, Karlsruhe), Paradise Cultural Foundation, Gwangju Media Art Platform (G.MAP), Universal Robots and Korea Creative Content Agency (KOCCA)
Nampyo HONG
Book, color, 596 pages, 17 x 24 cm
2022
English, Korean
Kwangyong CHO, Taehoon Lee, Hyojin NAM, Eunsoon YOO, Dongyoung KIM, Dasol Lee
ISBN 979-11-980671-0-4
changwonbiennale.or.kr
This year’s Biennale is held under the theme “Channel: Wave-Particle Duality,” which is a modern-day reinterpretation of the Eastern monistic view of life through the lens of quantum physics. It is designed to invite reflection and dialogue around “I, you, we, culture, and life.”
At the same time, the exhibitions are an opportunity for individuals, who are like particles, to feel the state of wave by becoming part of the whole through “engagement,” “exchange,” and “participation.”
Hatje Cantz
Book, color, 160 pages, 17 x 23.5 cm
2022
English, French
Ed. Sabine Himmelsbach, Françoise Poos, text(s) by Nancy Braun, Yulia Fisch, Sabine Himmelsbach, Beat Jans, Boris Magrini, Sam Tanson, Yvonne Volkart, graphic design by Rutger Fuchs
ISBN 978-3-7757-5240-4
hatjecantz.de
Exhibition Brochure DE, EN, FR
Earthbound—In Dialogue with Nature gathers forward-thinking works that propose alternative ways of shaping the complex relationship between human activities and the ecosystem—visionary approaches that emphasize the need for dialogue through new forms of interaction and consciously intervene in the current debate to initiate change. Created in collaboration with HEK, Haus der elektronischen Künste―a young institution from Basel dedicated to digital culture―and curated by HEK director Sabine Himmelsbach and Boris Magrini, this exhibition demonstrates that precisely where other strategies fail, art can open up new perspectives.
The exhibition Earthbound – In Dialogue with Nature presents 19 artworks by internationally renowned artists reflecting on urgent environmental themes, focusing on the complex relationship between humans and their ecosystems. The works on view span from tentative blueprints to alternative models for a more sustainable coexistence with our environment. They also investigate the use of digital tools in the sustainable treatment of natural resources.
EXHIBITION
Möllerei, Esch-Belval
June 4 – August 14, 2022
Curator: Sabine Himmelsbach & Boris Magrini
Artists: Refik Anadol, Donatien Aubert, melanie bonajo, Tega Brain, Persijn Broersen & Margit Lukács, Erik Bünger, María Castellanos & Alberto Valverde, Gil Delindro, Gilberto Esparza, Fragmentin, Alexandra Daisy Ginsberg, Marc Lee, Marcus Maeder, Mary Maggic, Mélodie Mousset, Sabrina Ratté, Scenocosme : Grégory Lasserre & Anaïs met den Ancxt, Rasa Smite & Raitis Smits, Sissel Marie Tonn & Jonathan Reus
Hatje Cantz
Book, color, 176 pages, 17 x 23.5 cm
2022
English, French
Ed. Anett Holzheid, Françoise Poos, text(s) by Anett Holzheid, Georges Mischo, Françoise Poos, Sam Tanson, Peter Weibel, graphic design by Rutger Fuchs
ISBN 978-3-7757-5239-8
hatjecantz.de
Exhibition Brochure DE, EN, FR
Remix Art: How Contemporary Media Art Forges New Narratives
Hacking Identity—Dancing Diversity opens a vivid kaleidoscope of artistic notions of identity that reflect upon the particular and the universal, the aesthetic and the intellectual, the historical and the futuristic, the human and the non-human. Organized in cooperation with the ZKM | Center for Art and Media Karlsruhe, a unique cultural institution in Europe, expanding the original tasks of a museum by combining research, exhibitions and performances, the exhibition is curated by Anett Holzheid, scientific consultant at ZKM, and Peter Weibel, its chairman and director.
Under the heading Hacking Identity – Dancing Diversity, 28 contemporary artworks by internationally acclaimed media artists have been installed throughout the historic industrial building. Video installations, large-scale screen projections, participatory artworks and sculptural objects visualise phenomena related to the dissolution, transformation and duplication of identity. On three floors of the Möllerei, visitors can encounter doppelgängers, avatars, iconic figures from the world of gaming, bizarre sci-fi creatures and surprisingly ambiguous mirror images.
EXHIBITION
Möllerei, Esch-Belval
February 27–May 15, 2022
Curator: Prof. Peter Weibel & Dr. Anett Holzheid
Artists: Kateryna Borovschi (ES), Ludger Brümmer (DE), Saddie Choua (BE), Nadim Choufi (LB), Danica Dakić (DE), Margret Eicher (DE), Thomas Feuerstein (AT), Chiara Fumai (IT), Christoph Girardet (DE) & Matthias Müller (DE), Daniel Heiss (DE), Hanna Haaslahti (FI), Délio Jasse (IT), Marc Lee (CH), Marie-Luce Nadal (FR), onformative (DE), Dennis Oppenheim (US), Wong Ping (HK), Jonathan Rescigno (FR/DE), rosalie (DE), Lázaro Saavedra (CU), Tristan Schulze (DE), Christa Sommerer (AT) & Laurent Mignonneau (AT), Lu Yang (CN), Virgil Widrich (AT)
swissnex.org
Website
2022
English
Meg Shiffler
swissnex.org, PDF
Swissnex in San Francisco is pleased to present Swiss artist Marc Lee’s project Used to Be My Home Too as a key part of a series of programs and events highlighting Ticino, the Italian speaking canton of Switzerland, organized by the Consulate General of Switzerland and in parallel to the Italian Language Week this October in San Francisco.
Lee utilizes Google Earth as a platform to fly viewers globally as citizen scientists to share biodiversity observations through the social network and mobile application iNaturalist. iNaturalist was recently acquired by the California Academy of Sciences in San Francisco and has a growing community of millions of naturalist explorers from around the world. Through this format, the efforts of these naturalists genuinely make a difference in understanding the diversity of life and how to sustain it through the unfolding climate crisis.
Marc Lee explains how Used to Be My Home Too engages visitors in a discussion about “how we humans have become biodiverse agents interacting with the most fundamental processes of our Earth.” He continues, “In this experiment, you fly via Google Earth continuously to the exact locations where animal, fungus and plant observations are being photographed in real time and sent to iNaturalist.org.
In addition, taxonomically similar species that occurred in the same country and are endangered or became extinct within the last 30 years are automatically added from the RedList.org. Established in 1964, the Switzerland based International Union for Conservation of Nature’s Red List of Threatened Species has evolved to become the world’s most comprehensive information source on the global extinction risk status of animal, fungus and plant species.
The Swissnex presentation of Marc Lee’s Used to Be My Home Too will share space with an exhibition of photography by Ticino-based artist Flavia Leuenberger Ceppi produced by the Consulate General of Switzerland in San Francisco. Leuenberger Ceppi’s Swiss Rocks series, which will be displayed on the exterior along Pier 17, shows images of the remote Valle Bavona, which is only accessible in the summer months.
Moghegno – Monterey shows portraits of Californians who originally came from Ticino. First, second, and third generations are depicted in their American homes and places of work, while referencing their Swiss roots. Lee’s Used to Be My Home Too provides a bridge between the two bodies of photographs by furthering Leuenberger Ceppi’’s discussions about human migration and land use by introducing issues related to species extinction, human impact on biodiversity, and what citizens can do to help record a rapidly changing planet.
Curator: Meg Shiffler
Artists: Flavia Leuenberger, Marc Lee
HEK (House of Electronic Arts), Basel, Switzerland
Exhibition brochure, 6 pages
2022
Deutsch, English, Français
Boris Magrini
Exhibition brochure (PDF) EN, DE, FR
The Pax Art Award jury is pleased to award Marc Lee (*1969) with this year’s Pax Art Award for an established voice in the domain of media arts in Switzerland.
With his net-based practice he has been a long-standing and important voice within the media art field in Switzerland and he has created a striking body of work. Marc Lee creates impressive and immersive installations that expand through spaces which simultaneously enchant and overwhelm.
Marc Lee’s current works delve into themes of biology, the human body and its relationship to nature. Interactive and immersive, they offer insight into new technologies, such as AI, which set out to solve ecological problems or to cre-ate fictional profiles on social networks. Interweaving social criticism with po-etry, the artist broadens the scope of reflection regarding our responsibility to-wards the environment. Chloé Delarue shows new works from her ongoing TAFAA (Toward A Fully Automated Appearance) cycle of impressive installa-tions simulating future scenarios between fantasy and dystopia. Inquiry into the idea of a virtual simulacrum, self-expression and the fragmentation of how we perceive reality through digital technologies are themes running through this new series of works. Laurent Güdel is concerned with sound analysis, in particular with the context of presentation and dissemination that sound pro-duction involves. His work ranges from more conceptual works, such as the presentation of an audio file found by chance in a recording device, to audio-visual creations consisting of a sample of sounds recorded over radio waves.
Deutsch:
Marc Lees aktuelle Arbeiten kreisen um die Themen Biologie, menschliche Kör-per und deren Beziehung zur Natur. Seine interaktiven und immersiven Arbei-ten reflektieren neue Technologien wie die der künstlichen Intelligenz, die zur Lösung ökologischer Probleme oder zur Erstellung fiktiver Profile in sozialen Netzwerken eingesetzt werden. Indem er Sozialkritik mit Poesie verbindet, lädt der Künstler zum Nachdenken ein, insbesondere über unsere Verantwortung gegenüber der Umwelt. Chloé Delarue zeigt neue Arbeiten aus ihrem laufen-den TAFAA (Toward A Fully Automated Appearance)-Zyklus, beeindruckende Installationen, die an Zukunftsszenarien zwischen Fantasie und Dystopie erin-nern. Die Frage nach dem virtuellen Scheinbild (Simulakrum), der Selbstdar-stellung und der Fragmentierung unserer Realitätswahrnehmung durch digitale Technologien sind Themen, die diese neue Werkserie prägen. Laurent Güdel beschäftigt sich mit der Klanganalyse und insbesondere mit dem Präsentati-ons- und Verbreitungskontext, der mit jeder Klangproduktion einhergeht. Sein Werk reicht von eher konzeptionellen Arbeiten, wie der Präsentation einer zu-fällig in einem Aufnahmegerät gefundenen Audiodatei, bis hin zu audiovisuel-len Kreationen, die aus einem Sample von über Radiowellen aufgezeichneten Klängen bestehen.
Français:
Les travaux actuels de Marc Lee sont consacrés à la biologie, au corps humain et à sa relation à la nature. Ses œuvres interactives et immersives interrogent les nouvelles technologies comme l’intelligence artificielle utilisées pour ré-soudre les problèmes écologiques ou créer des profils fictifs sur les réseaux sociaux. En associant critique sociale et poésie, l’artiste invite à la réflexion, notamment sur notre responsabilité environnementale. Chloé Delarue dévoile de nouvelles œuvres issues de son cycle TAFAA (Toward A Fully Automated Appearance) et propose des installations suggestives, qui évoquent des scéna-rios futuristes entre imagination et dystopie. L’apparence virtuelle, le simulacre, la représentation de soi et la fragmentation de notre perception de la réalité par les technologies numériques sont les questions centrales de cette série. Laurent Güdel s’intéresse à l’analyse des sons, et plus particulièrement au contexte de présentation et de diffusion inhérent à chaque production sonore. Ses œuvres comprennent aussi bien des travaux conceptuels, comme la pré-sentation d’un fichier audio trouvé par hasard dans un appareil de captation, que des créations audiovisuelles réalisées à partir d’un échantillon de sons is-sus des ondes radio.
Galerie für Gegenwartskunst, E-Werk Freiburg
Exhibition brochure, 35 pages
2022
Deutsch
Heidi Brunnschweiler
Ausstellungsbooklet (PDF)
The Pax Art Award jury is pleased to award Marc Lee (*1969) with this year’s Pax Art Award for an established voice in the domain of media arts in Switzerland.
With his net-based practice he has been a long-standing and important voice within the media art field in Switzerland and he has created a striking body of work. Marc Lee creates impressive and immersive installations that expand through spaces which simultaneously enchant and overwhelm.
In the exhibition Infrastructures with the two solo presentations by Marc Lee (CH) and Cäcilia Brown (AU), infrastructures in the sense of networks and processes that enable and control communication, transport and resource distribution are questioned in terms of their material and structural aspects.
In his network-based works, Marc Lee experiments with digital infrastructures of the present and the future that generate and control our information and data networks. Cäcilia Brown, on the other hand, addresses the left-behind infrastructure of modernity in European cities in her sculptural work. Through dialogue, it becomes clear how infrastructure extends further and further into social and political systems of everyday life.
Deutsch:
In der Ausstellung Infrastrukturen mit den beiden Solopräsentationen von Marc Lee und Cäcilia Brown werden Infrastrukturen im Sinne von Netzwerken und Prozessen, die Kommunikation, Transport und Ressourcenverteilung ermöglichen und steuern, auf ihre materiellen und strukturellen Aspekte befragt.
In seinen netzbasierten Arbeiten experimentiert Marc Lee mit digitalen Infrastrukturen der Gegenwart und der Zukunft, die unsere Informations- und Datennetzwerke hervorbringen und steuern. Cäcilia Brown hingegen thematisiert in ihrem skulpturalen Schaffen die zurückgelassene Infrastruktur der Moderne in den europäischen Städten. Durch den Dialog wird deutlich, wie sich Infrastruktur immer weiter in soziale und politische Systeme des täglichen Lebens ausdehnt.
Art Foundation Pax
Brochure, 2 pages
2021
Deutsch, English
Art Foundation Pax
https://www.artfoundationpax.ch, Brochure (PDF)
The Pax Art Award jury is pleased to award Marc Lee (*1969) with this year’s Pax Art Award for an established voice in the domain of media arts in Switzerland.
With his net-based practice he has been a long-standing and important voice within the media art field in Switzerland and he has created a striking body of work. Marc Lee creates impressive and immersive installations that expand through spaces which simultaneously enchant and overwhelm.
The networked image is central to his work. In his multi-layered configurations of networked communication and information feeds, Marc Lee’s work lets us see the cultural, economic and political aspects of networks. He uses live feeds to trigger impressive interactive installations that invite the user to reflect on their own embeddedness within these information streams.
«Unfiltered», his most recent work, is a site-specific immersive installation centred around the diverse voices of the social media app TikTok. For each exhibition location, new posts, hashtags and user profiles from the local TikTok community are used to generate the input for the room-filling installation. The work reflects on the impact that digital accessibility has on public consciousness, on identity structures and visual aesthetics within a community. With unprecedented and ever increasing access to mobile phones and the internet, have platforms like TikTok become the new town halls? Is «influence» no longer restricted to an urban elite? Can the diverse voices of TikTok shape a truly inclusive, socially conscious future?
Deutsch:
Die Jury des Pax Art Award freut sich, Marc Lee (*1969) mit dem diesjährigen Pax Art Award für eine medienspezifische Praxis von Schweizer Künstler*innen auszuzeichnen.
Mit seinem netzbasierten künstlerischen Schaffen ist er seit vielen Jahren zu einer wichtigen Stimme im Bereich der Medienkunst in der Schweiz geworden und hat ein beeindruckendes Werk geschaffen. Marc Lee erschafft immersive Installationen, die sich durch Räume ausdehnen, die verzaubern und zugleich überwältigen.
Das vernetzte Bild steht im Mittelpunkt seines Werkes. In seinen vielschichtigen Konfigurationen von vernetzter Kommunikation und Informationsfeeds lässt Marc Lee die kulturellen, ökonomischen und politischen Aspekte von Netzwerken sichtbar werden. Er nutzt Live-Feeds als Auslöser für beeindruckende interaktive Installationen, die den Benutzer dazu einladen, über sein eigenes Eingebundensein in diese Informationsströme zu reflektieren.
«Unfiltered», seine jüngste Arbeit, ist eine ortsspezifische immersive Installation, bei der es um die unterschiedlichen Stimmen der Social-Media-App TikTok geht. An jedem einzelnen Ausstellungsort werden neue Posts, Hashtags und Nutzerprofile aus der lokalen TikTok-Community verwendet, um den Input für die raumfüllende Installation zu generieren. Die Arbeit befasst sich reflektierend mit den Auswirkungen, die die digitale Erreichbarkeit auf das öffentliche Bewusstsein, auf Identitätsstrukturen und die visuelle Ästhetik innerhalb einer Gemeinschaft hat. Sind Plattformen wie TikTok durch den beispiellosen und ständig wachsenden Zugang zu Mobiltelefonen und dem Internet zu den neuen Rathäusern geworden? Ist der «Einfluss» nicht mehr auf eine urbane Elite beschränkt? Können die vielfältigen Stimmen von TikTok eine wirklich inklusive, gesellschaftlich bewusste Zukunft gestalten?
Steidl GmbH & Co. OHG (Verlag)
Book, color, 328 pages, 17 x 27 cm
2021
English, German
by Felix Hoffmann und Kathrin Schönegg, CO Berlin Foundation, Berlin, Germany
ISBN 978-3-95829-962-7
https://shop.co-berlin.org/produkt/send-me-an-image/
Photography has always been a social medium shared with others. But why do we communicate with each other using images? And how do the virtual essences that are photographs change our societies? Featuring works by Moyra Davey, Gilbert & George, Theresa Martinat, Thomas Ruff and Clare Strand, among others, Send me an Image. From Postcards to Social Media explores the development of photography from a means of communication in the nineteenth century to its current digital representation online. Its focus lies on the dialogue between traveling images throughout photography’s 150-year history and contemporary artists beginning in the 1970s who work with both traditional and modern photographic techniques, uses and modes of dissemination.
The book considers the deeper social dimensions of image communication, and the transformation of photography from an illustrative medium to one of the most significant forms of dialogue and exchange today. The works in Send me an Image furthermore illuminate phenomena such as censorship, surveillance and algorithmic regulation, which affect many activities in our data-driven era. Images now shared via social media not only spread rapidly but can also take on their own news values and as “pure” messages may even spark protests of all kinds—often beyond the scope of their original uses.
Co-published with C/O Berlin
Deutsch:
Fotografie war immer schon ein soziales Medium, das ge- und verteilt wurde. Aber warum kommunizieren Menschen miteinander über Bilder? Und was macht der Umgang mit den virtuellen Destillaten, die ja auch Fotografien sind, mit einer Gesellschaft? Der Katalog zur Themenausstellung Send me an Image. From Postcards to Social Media zeichnet die Entwicklung von Fotografie als Kommunikationsmittel vom 19. Jahrhundert bis zu ihren heutigen digitalen Repräsentanten im World Wide Web nach. Dabei liegt der Fokus auf einem Dialog von historischen Formen reisender Bilder aus der Fotogeschichte der letzten 150 Jahre mit zeitgenössischen künstlerischen Positionen ab den 1970er-Jahren, die sich mit traditionellen wie modernen Techniken, Nutzungsarten und Kommunikationswegen der Fotografie auseinandersetzen.
In Kooperation mit C/O Berlin
Curators: Felix Hoffmann und Kathrin Schönegg
Artists: Adam Broomberg & Oliver Chanarin mit Der Greif, David Campany & Anastasia Samoylova, Fredi Casco, Moyra Davey, Themistokles von Eckenbrecher, Martin Fengel & Jörg Koopmann, Stuart Franklin, Gilbert & George, Dieter Hacker, Tomas van Houtryve, Philippe Kahn, On Kawara, Erik Kessels, Marc Lee, Lynn Hershman Leeson, Mike Mandel, Theresa Martinat, Eva & Franco Mattes, Jonas Meyer & Christin Müller, Peter Miller, Romain Roucoules, Thomas Ruff, Taryn Simon & Aaron Swartz, Andreas Slominski, Clare Strand, Corinne Vionnet
Galerie Eigenheim in cooperation with mkv
Book, black and white, 70 pages, 21 x 29.7 cm
2021
English, German
by Konstantin Bayer & Bianka Voigt
galerie-eigenheim.de, PDF
The EIGENHEIM EDITION #5 – Digital Art Collection, a project by EIGENHEIM Weimar/Berlin in cooperation with media art association Berlin.
The digital is real. Our everyday lives are significantly shaped by technologies such as the Internet, smartphones and computers. Such technologies are constantly dissolving boundaries between physical and virtual spaces and connecting these spheres together. Art as a mirror of our time uses these media to freshly approach both artistic forms and contemporary discourses. In doing so, the works make us aware of opportunities and challenges, forcing us to examine them on a content-related, formal and technical level.
EIGENHEIM Weimar/Berlin’s fifth edition box is focused on digital art. In cooperation with the medienkunstverein (mkv), their edition shows the artworks of thirty international artists. The constitutive element of the box is the NFC chip technology (Near Field Communication), which serves as a data exchange point for activating the works on the enclosed tablet. Integrated into individual wooden cuboids, the NFC chips contain the activation links for the respective artworks. If the viewer approaches one of the cuboids with the tablet, the artistic position is displayed and can be experienced on screen. The edition box creates a collective presentation of digital art in an intuitive way and uses different media formats such as video, AR, GIFs or 360° applications, enabling different forms of interaction simultaneously.
Through compiling the individual works, a multi-layered picture of digital art in general emerges. Embedded in a cuboid, each position manifests in analog space. The haptic cubes physically represent the immaterial works. Here, the form refers to the pixel — the smallest image point — and visualizes the digital image’s nature. The surface design is based on circuit board structure, which as an essential computer component is also a fundamental element of technologies today and highlights them as such. In their abstracted representation, the cuboids invite endless combinations and evoke a playful, tactile approach to the artworks. This approach at the same time visualizes the idea of the collective and like a puzzle, the individual works come together to form a larger whole.
Digital art is an integral part of contemporary art. The artists of the fifth edition box deal with the conditions and effects of the (post)digital age on our everyday life, our culture and our society. They reflect on these notions to potentially sharpen the understanding of media and to enable digital art to be experienced aesthetically. A multi-faceted, technological as well as social image of our time can then emerge. The Digital Art Collection sees itself as a testimony to the current zeitgeist, documenting and archiving it in its media nature.
Deutsch:
Die digitale Welt ist Realität. Unser Alltag ist maßgeblich von Technologien wie dem Internet, Smartphones oder Computern geprägt. Sie lösen die Grenzen zwischen physischem und virtuellem Raum stetig auf und verbinden die Sphären miteinander. Kunst als Spiegel unserer Zeit nutzt diese Medien und schafft neue Ansätze sowohl künstlerischer Formen als auch gegenwärtiger Diskurse. Dabei führen die Werke uns Potentiale und Herausforderungen vor Augen und fordern eine Auseinandersetzung auf inhaltlicher, formaler und technischer Ebene.
EIGENHEIM Weimar/Berlin legt den Fokus ihrer 5. Editionsbox auf digitale Kunst. In Kooperation mit dem medienkunstverein (mkv) realisieren sie eine Edition, die die Arbeiten 30 internationaler Künstler*innen zeigt. Konstitutives Element der Box ist die NFC-Chip-Technologie (Near Field Communication), die als Datenaustauschpunkt zur Aktivierung der Werke auf dem beiliegenden Tablet dient. Die NFC-Chips sind in einzelne Holzquader integriert und beinhalten die Aktivierungslinks der jeweiligen Arbeiten. Nähert man sich mit dem Tablet einem der Quader, werde die künstlerischen Positionen abgerufen und auf dem Bildschirm erlebbar. Die Edition schafft auf intuitive Weise eine kollektive Präsentation digitaler Kunst und bedient sich unterschiedlicher Medienformate wie Video, AR, GIFs oder 360°-Anwendungen, die zugleich unterschiedliche Interaktionsformen ermöglichen.
In der Zusammenstellung der einzelnen Arbeiten entsteht ein vielschichtiges Gesamtbild digitaler Kunst. Eingebettet in einem Quader erhält jede Position eine Manifestation im analogen Raum. Die haptischen Kuben stellen die physischen Stellvertreter der immateriellen Werke dar. Dabei verweist die Form auf den Pixel — dem kleinsten Bildpunkt — und visualisiert die Beschaffenheit des digitalen Bildes. Die Gestaltung ihrer Oberfläche ist an die Strukturen von Platinen angelehnt, die als essenzieller Baustein des Computers ein wesentliches Element heutiger Technologien darstellt und diese als ein solches herausstellt. In ihrer abstrahierten Darstellung laden die Quader zum endlosen Kombinieren ein und evozieren einen spielerisch taktilen Umgang mit den Werken, die zugleich die Idee des Kollektivs verbildlichen. Wie ein Puzzle fügen sich die einzelnen Arbeiten zu einem großen Ganzen zusammen.
Digitale Kunst ist ein integraler Bestandteil zeitgenössischer Kunst. Die Künstler*innen der 5. Edition befassen sich mit den Bedingungen und Auswirkungen des (post)digitalen Zeitalters auf unseren Alltag, unsere Kultur und unsere Gesellschaft. Sie reflektieren diese und schaffen die Möglichkeit einer Betrachtung, die das Medienverständnis schärft und eine ästhetische Erfahrung digitaler Kunst ermöglicht. Auf diese Weise entsteht ein vielschichtiges, technologisches sowie soziales Abbild unserer Zeit. Die Digital Art Collection versteht sich als Zeugnis des aktuellen Zeitgeistes, die diesen in seiner medialen Beschaffenheit dokumentiert und archiviert.
Curators: Konstantin Bayer & Bianka Voigt in cooperation with media art association Berlin
Artists: LaTurbo Avedon (Metaverse), Ines Alpha (FR), Jeremy Bailey (CAN), Banz & Bowinkel (DE), Jonas Blume (DE), Brickspacer (RUS), Manja Ebert (DE), Laura Fong Prosper (PAN/DE), Mohsen Hazrati (IRN/DE), Faith Holland (US), Kathrin Hunze (DE), Nadine Kolodziey (DE), Marc Lee (CHE) Lauren Lee McCarthy (US), Zach Liebermann (US), Tonio Mundry (DE), Mike Pelletier (CAN/NL), Pitscher (DE), Zeesy Powers (CAN), Leah Schrager (US), Theresa Schubert (DE), Dagmar Schürrer (AUT/DE), Robert Seidel (DE), Paul Sermon (UK), Caspar Stracke (DE), Systaime (FR), Ivonne Thein (DE), Manuel Tozzi (AUT/DE), Tina Wilke (DE), Ziyang Wu (CHN/US)
nytimes.com
Website
2021
English
Alexis Kleinman
nytimes.com, PDF
PAID POST by Dashlane — A Case for Keeping It Randome explores the role of randomness in art, science and cybersecurity.
… Marc Lee, a Swiss artist, also makes art for and with the internet. His project “Airport Lounge” shows social media posts sent from airport lounges laid on top of satellite images of airports. Lee doesn’t choose which posts end up in the piece. “I just take the newest social media posts,” he says. “It’s a strict concept. I always start with the youngest posts in the beginning. You never know who is posting what.” Without this randomness, Lee says, “the piece would not work.”
He isn’t interested only in the unpredictability of the internet and art; he also takes what he calls “random walks.” When he’s in a new city, he chooses a random starting point, turns off his phone and simply walks in a straight line. He follows the streets, but doesn’t use a GPS or map. He has taken these walks for six days in a row.
The goal is “to see things as they are, with no target and no plan,” Lee explains. The unpredictable walks shake him out of his routine and help him relax, he says.
For both Pozanti and Lee, random doesn’t mean aimless. “My randomness is very purposeful,” Pozanti says. “I wanted to keep a human element in the creation process, which is intuition.”
Kunstverein, Friedrichshafen, Germany
Cataloge, color, 90 pages, 21 x 30 cm
2021
English, German
Hannah Eckstein
kunstverein-friedrichshafen.de, PDF (page 38-63)
The catalogue includes a detailed documentation of the exhibition, a foreword by the curator, Hannah Eckstein, and texts by Ulrike Bergermann, John Brennan and Heiderose Langer on the works of the participating artists Ira Konyukhova, Marc Lee and Lena Polizcka.
Utopias as well as dystopias are profoundly human concepts. The first utopia can be traced back to antiquity and Plato’s Politeia, in which the notion of an ideal society was recorded for the first time in human histo-ry. The term ‘utopia’ itself was coined in 1516 by the English statesman and humanist Thomas More in his novel On the Best State of a Republic and the Island of Utopia. The title already suggests that this work shares as its theme an ideal society in an ideal state. Evidently, both Plato’s and More’s works arose from a humanistic way of thinking that believes in a better form of existence for mankind.
The counterpart of utopia, dystopia, arose in the industrial age, when towards the end of the 19th century the long established belief in the in-evitability of progress – especially fuelled by the rapidly developing tech-nical possibilities – was shaken. Scientific and technological achieve-ments made profound changes to people’s everyday existence, altering their perceptions of an ideal life. Previously utopian ideas had sudden-ly become reality, expanding earlier conceptions of what was humanly possible. But fractures emerged in these utopian ideals: Negative vi-sions of the future, of a mechanized society in which humanity, robbed of its freedom and dignity, lived in totalitarian systems dominated by machines, occurred.
Curator: Hannah Eckstein
Artists: Ira Konyukhova, Marc Lee and Lena Polizcka
Deutsch:
Der Katalog umfasst eine detaillierte Dokumentation der Ausstellung, ein Vorwort der Kuratorin, Hannah Eckstein, sowie Texte von Ulrike Bergermann, John Brennan und Heiderose Langer zu den Werken der partizipierenden Künstler*innen Ira Konyukhova, Marc Lee und Lena Polizcka.
Utopien wie auch Dystopien sind zutiefst menschliche Konzepte. Die erste ‚Utopie‘ lässt sich bis in die Antike zurückverfolgen. In Platons „Po-liteia“ wird die Idee einer Idealgesellschaft das erste Mal in der Mensch-heitsgeschichte schriftlich festgehalten. Den Begriff ‚Utopie‘ prägt 1516 der englische Staatsmann und Humanist Thomas Morus in seinem Ro-man Vom besten Zustand des Staates und der Insel Utopia. Der Titel lässt bereits vermuten, dass auch dieses Werk eine ideale Gesellschaft in einem idealen Staat zum Thema hat. Beide Schriften sind folglich aus einem humanistischen Denken entstanden, dass an eine bessere Exis-tenzform der Menschheit glaubt.
Das Gegenstück zur Utopie, die Dystopie, entsteht erst mit dem Zeit-alter der Industrialisierung. Gegen Ende des 19. Jahrhunderts wird der für lange Zeit anhaltende Fortschrittsglaube – insbesondere befeuert durch die sich rasant weiterentwickelnden technischen Möglichkeiten – erschüttert. Die naturwissenschaftlichen und technischen Errungen-schaften bedeuten tiefe Einschnitte in die Realität der Menschen und verändern deren Wahrnehmung gravierend. Utopische Ideen werden plötzlich Realität und die Vorstellung von dem, was menschenmöglich ist zerbricht. Die Menschen werden von ihren eigenen Realitätsentwürfen eingeholt: Negative Zukunftsvisionen einer technisierten Gesellschaft entstehen, in der die Menschheit, ihrer Freiheit und Würde beraubt, von Maschinen beherrscht in totalitären Systemen lebt.
Verlag für moderne Kunst
Book, color, 72 pages, 21 x 15 cm
2020
English, French
by Katharina Brandl, Claire Hoffmann
ISBN 978-3903796157
https://www.vfmk.org/books/stormy-weather, (PDF)
The metaphor and the reality of the ‘cloud’ are omnipresent in our daily lives. It is not only the place where data are stored but also-by cloud computing, cloud gaming, or cloud streaming-the place where the central functions of computational power and auto-learning artificial intelligence have migrated to. The cloud is not a storage folder-it is our super brain. The exhibition project “Stormy Weather” questions the relationship between the human-made clouds of our present to humans, climate and politics.
Curated: Katharina Brandl & Claire Hoffmann
Artists: Fragmentin (Laura Perrenoud, David Colombini und Marc Dubois), Total Refusal (Robin Klengel, Leonhard Müllner and Michael Stumpf), Stefan Karrer, Till Langschied, Yein Lee, Marc Lee, Susanna Flock & Leonhard Müllner, Christiane Peschek, Christoph Wachter & Mathias Jud
post-futuristisch. Kunst in dystopischen Zeiten
Zeitschrift / Serie, 335 pages
2020
Deutsch
Herausgegeben von Ann-Katrin Günzel
https://www.kunstforum.de/band/2020-267-post-futuristisch/, Book P. 140-147 (PDF)
Dass wir uns so unvermittelt und mit einer solch harten Vollbremsung in einer Entschleunigungsphase wiederfinden würden, hätte vor wenigen Wochen noch niemand vermutet: Unsere wachstumsorientierte, schnelllebige Leistungsgesellschaft wird derzeit geradezu dramatisch vom Corona-Virus ausgebremst, das dabei ein atemberaubendes Tempo an den Tag legt und sich wie im Flug über alle Landesgrenzen hinweg verbreitete. Im Gegensatz zum utopischen Fortschrittsdenken der italienischen Futuristen am Anfang des 20. Jahrhunderts befinden wir uns heute in einer Zeit des Post-Futurismus, in der die Auswirkungen der Wachstumsideologie zwar noch andauern, Stimmen des Widerstands aber angesichts einer nicht mehr zu leugnenden Klimakrise immer lauter werden und der Zustand der zunehmenden Erschöpfung alternative soziale, politische und ökonomische Entwürfe erfordert. Das spiegelt sich auch in der Kunst.
Hier kann man seit einigen Jahren das Einsetzen einer kritischen Reflexion unseres der Zerstörung überlassenen Lebensraums beobachten. Künstler beschäftigen sich mit den ökologischen Katastrophen und den Auswirkungen unserer Medientechnologien ebenso wie mit Konflikten und Krisen in den Metropolen und thematisieren die scheinbar nie stillstehende Geschwindigkeit unseres Alltags. In unterschiedlichen Ansätzen durchleuchten die Autor*innen dieses Bandes künstlerische Auseinandersetzungen mit diesen Themen und fächern so ein aktuelles Bild der Kunst im Anthropozän auf.
You press the button, we do the rest
POSTFUTURISTISCHE KÖRPER
von Yvonne Volkart, Seite 140 – 147
MA Curatorial Practice, School of Visual Arts, NY
Catalogue
2020
English
by Xinchen Du
www.macp.sva.edu/a-ripple-in-the-data-flow, Cataloge (PDF)
A Ripple in the {Data} Flow proposes a series of urgent questions too often ignored in this age of global connectivity: What kind of self-awareness can users maintain when they are actively, passively, or indirectly accessing data? If data is structured in a rational way, to what extent are we rational when using data? What are the perils of infatuation with the networked world and the many kinds of information, pleasure, convenience, and fantasy it offers? Curated amid the unprecedented human novel coronavirus (COVID-19) pandemic,
A Ripple in the {Data} Flow becomes an online virtual exhibition at a time when many events and activities are forced to go online. It thus reflects on how our understanding of reality and virtuality is enhanced by this extraordinary situation.
The artists in A Ripple in the Data Flow reflect on the stages of collection, analysis, compilation, and falsification of data, together with its promises of cognitive fast food, emotional indifference, or volitional expansion. Gregory Edwards, in his representational and abstract paintings, captures Internet symbols that recur in daily life. Huang Guaier + Wang Runzhong’s series of photographs dialectically rethink “seeing” in relation to optics and haptics. Xiang Geng (Sean Fox)’s video installation questions how internet subculture makes assumptions about attention span through the case of TikTok.
Consider also how the panic over COVID-19 was amplified many times by social media, creating uncertainty that ignited anxiety and racism in the real world and online. In contrast, Tao Hui’s video addresses the atomization of society and increased solitude compelled by information networks. Marc Lee’s two installation works reflect on the surveillance industry and the narcissism of selfie culture. Molly Soda’s mirror with the message “Is she real?” plays with online users’ obsession with authenticity. Ziyang Wu’s project examines how algorithms personalize online experience through the “filter bubble.” Esther Yijun Xu creates a multilayered world through new media, taking a critical view of social, political, and cultural issues. Finally, Payne Zhu’s automated plugin deals with the problem of bad cookies and Internet censorship.
The videos, photographs, paintings, or installations in A Ripple in the Data Flow question the unprecedented access to human cognition in people’s daily lives. Perhaps the Internet can be compared to black holes in space, surrounded by a flashing vortex of leaked data. Once we have been attracted to its magical aura, it becomes impossible to escape. In revealing neglected network phenomena, A Ripple in the Data Flow engages with the profound influence of the Internet to show the unpredictability of future network development and technological thinking.
MA Curatorial Practice at the School of Visual Arts is pleased to present A Ripple in the Data Flow, curated by Xinchen Du.
Artists: Gregory Edwards, Huang Guaier + Wang Runzhong, Xiang Geng (Sean Fox), Tao Hui, Marc Lee, Molly Soda, Ziyang Wu, Esther Yijun Xu, and Payne Zhu
Image: Collaboration between Xinchen Du, Huang Guaier + Wang Runzhong
Art Center Nabi
Book, color, 200 pages, 15 x 22 cm
2019
English
Edited and Published by Art Center Nabi
ISBN 979-11-87275-05-3
http://isea2019.isea-international.org/, Cataloge (PDF)
The 25th International Symposium on Electronic Art (ISEA), Gwangju, South Korea.
ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media.
International Symposium on Electronic Art (ISEA) juried exhibition
Asia Culture Center (ACC), Gwangju, South Korea
Curator: ISEA Art Jury
Artists: Brueckner Sophia, Deng Honghao & Li Jiabao & Sayegh Allen, Dörfelt Matthias, Flint Jon & Jankauskas Vytautas, Grant Jane & Auborn Jay & Manton Coral, Griem Oliver, Gromova Vladlena & Paramonov Artem, Gumiela Josh & Ryan Dave, Han Yoon Chung, Ip Yuk-Yiu, Jungki Baek and Hyung-Gi Kim, Kang Eunsu & Craig Donald & Poczos Barnabas & Li Chun-Liang & Ge Songwei & Dill Austin, Kim Hyun Ju Ex-Media, Klein Tobias, Knox Elena & Watanabe Katsumi, Kranidiotis Yiannis, Lancel Karen & Maat Hermen, Laurenzo Tomas, Lee Inmi & McDonald Kyle, Lee Marc, Lee Nancy & Bhumber Kiran, Lee Hye Rim, Li Jiabao & Deng Honghao & Michalatos Panagiotis, López Solimán, LOVOT LAB, Lyle Kimberly, Monte Patrick & Questa Brian, Mosher Matthew, Nam Hye Yeon, Nohlab Studio, Oh Jooyoung & Lee Byungjoo, Oury Jeremy & Briot Antoine, Quévillon François, Robles Angel Claudia, Rondeau Louis-Philippe, Schindel Jens & Dufner Timo, Seo Jinsil Hwaryoung & Bruner Michael, Shogaolo Tamara & Ado Ato Pictures Tamara Shogaolo, Toots Timo, Unemi Tatsuo & Bisig Daniel, Wong John, XRT, Yoe Winnie & Gao Chenshan, Zics Brigitta, Darkson Brad, Groom Amala, Zada Raymond, Lauren McCarthy
nabi.or.kr
Website
2019
English, Korean
Edited and Published by Art Center Nabi
www.nabi.or.kr, PDF EN, KR
Exhibition Statement
With the development of social networks in the digital age, the world seems to be constantly connected in a huge network, resembling each other. People living in their contemporaries feel closer to the political, economic, cultural and social issues globally and feel more connected than ever before. Networking activities on the internet work as a communication channel that transcends the physical constraints, reflecting voices of various individuals based on real-time community build-up and the commentary culture, and sharing their daily lives and thoughts every day.
The COMO & HAPPY SCREEN exhibition The Quotidian: Same but Different introduces two artworks by Swiss artist, Marc Lee, who focuses on computer programming-based multimedia installations. 10.000 Moving Cities – Same but Different, Mobile App, which allows you to physically experience a virtual city utilizing multimedia technology, connects cities that are far away from each other mapping people’s thoughts uploaded on their SNS. The virtual urban skyline is reconstructed in real-time by posts on social networks. Location-based Twitter posts allow visitors to empathize in a virtual world where they participate in social movements of our time and continuously experience local, cultural and linguistic similarities and differences.
Pro Helvetia
Website
2019
Chinese, English
Edited and Published by Pro Helvetia – Swiss Cultural Foundation
mp.weixin.qq.com, PDF CN, EN
Swiss artist Marc Lee will present the new work “Non-Places” at the opening exhibition of “The Kind Stranger” at the UNArt Center. Marc Lee himself will also perform at the UNArt Art Center. This new facility is located in the former site of Dongchang Cinema, the first home theater in Pudong New Area, Shanghai.
“Nonplace” explores urbanization and globalization in the digital age.
In these synchronized videos, visitors walk through the visual world composed of information published on social platforms such as Flickr, Freesound, Twitter and Youtube. Viewers participates in the social movements of our time and makes a virtual journey into constantly new image and sound collages in which one experiences local, cultural and linguistic differences and similarities. In virtual space, this information is visualized on cubes that rise at different heights to become a kind of skyline which may exist anywhere in the world.
Universidade do Porto, Praça Gomes Teixeira
Book, color, 382 pages, 21 x 29.7 cm
2019
English
Mario Verdicchio, Miguel Carvalhais, Luísa Ribas, André Rangel
ISBN 978-989-746-220-7
http://2019.xcoax.org, Download (PDF)
7th International Conference on Computation – Communication – Aesthetics and X, Milan, Italy, xCoAx 2019.
KEYNOTES
12 Luciana Parisi
Computational Design, Epistemological Possibilities and Machine Worlds.
14 Domenico Quaranta Contemporary (Media) Art Between Hype Cycles and the Present Shock
Artist Installations
Artists: Andrés Villa Torres, André Rangel & Simon Rangel, Angela Ferraiolo, Carl Rethmann, Chris Williams, Francisca Rocha Gonçalves and Rodrigo Carvalho, Kim Albrecht, Linda Kronman & Andreas Zingerle, Marc Lee, Martin Bricelj Baraga, Martin Rumori, Paul Heinicker & Lukáš Likavčan & Qiao Lin, Philip Galanter, Philippe Kocher & Daniel Bisig, Tim Shaw
SESI-SP cultura
Book, color, 260 pages, 21 x 28 cm
2019
Português, English
Ricardo Barreto and Paula Perissinotto
ISBN 9788589730297
file.org.br/pdf_books/file-sao-paulo-2019, Cataloge (PDF)
The 20th edition of FILE – Electronic Language International Festival in São Paulo takes place from 25 June to 11 August 2017 at the Fiesp Cultural Center.
In 2019, FILE – Electronic Language International Festival – celebrates its 20th anniversary. The festival’s main focus is to show what is innovative in art and technology, and for the last 20 years FILE’s mission has been to offer the Brazilian public the chance to experience the latest and best of electronic art.
Since the 20th century, artists have sought innovative means of expression through research. From the point of view of artistic production, the interdisciplinary relationship between arts and technology has effectively transformed the creative process and the way art is shown – be it in the public’ relationship with the work or in its relationship with the exhibition space.
Electronic art has been continually developing and exercising a fundamental purpose in the contemporary world, as it seeks not only to innovate through technology but, above all, to represent the diversity of new behaviors within society.
As well as looking back with pride at its own story, FILE 2019 has the honor of celebrating important anniversaries of two icons in the history of art -the 500th anniversary of the death of Leonardo da Vinci and 100 years of the Bauhaus. Visitors to FILE 2019 can enjoy a variety of approaches to art and technology through works which make use of electronic language in different ways, from interactive installations and games to animation, GIFs and video art. They are projects which through their innovation and creative potential open up new spaces for living and aesthetic perspectives.
To mark an important moment in this journey, FILE is pleased to offer the public 20 Years of FILE, 20 Years of Art and Technology and invites visitors to immerse themselves in a poetic vision of the new technologies.
Paula Perissinotto & Ricardo Barreto
FILE founders and organizers
Artist Installations
Studio Tony Spark (Netherlands), Kristin McWharter (United States), Pedro Veneroso (Brazil), Witaya Junma (Thailand), Sam Twidale & Marija Avramovic (Serbia & France), Rino Stefano Tagliafierro (Italy), Interactive Media Foundation (Germany), Marc Lee (Switzerland), Nicolás Alcalá (Spain), Robin Baumgarten (Germany), Ricardo Barreto & Raquel Fukuda (Brazil)
Schafhof – European Center for Art Upper Bavaria
Exhibition brochure, 19 pages
2019
Deutsch, English
Eike Berg
Cataloge (PDF)
The exhibition presents three artistic positions that deal in various ways with technology and the theme of urbanization as well as the linking of real and virtual spaces. Clemens Fürtler’s light installations are image machines situated between sculpture, painting, photography and theater. In their installations, Marc Lee and the artist duo Banz & Bowinkel present two different approaches to the use of virtual reality (VR) technology in art.
Introductory remarks by Michael Stoeber
… At the Schafhof, Marc Lee presents 10 000 Moving Cities – Same but Different, a work originally conceived for the National Museum of Modern and Contemporary Art in Seoul in 2013–14 that he has since continued to work on and develop. It is an interactive virtual-reality installation, or VR-installation for short. The visitor selects any location on a world map, be it Kandahar, Afghanistan; Hong Kong, China; or Freiburg, Germany. Immediately images appear, streamed in real-time, that other users have uploaded to social networks. These are projected precisely onto cubes and cubic forms that suggest a city skyline. This is done in such an exacting way it looks as if the images are streaming out of the cubes and cubic forms as screens, which of course is not the case. Among these forms, exhibition visitors direct the images by walking around and moving their heads, while always feeling as if they are part of them.
Visually perceiving the flow of virtual images does not happen frontally like with a cinema screen, but immersively. Identification and empathy, being moved or touched emotionally, if this happens, does not occur via projection, but via the viewers’ active immersion and participation in what they see—like in reality itself. Viewer impressions embody the work’s title concisely and accurately: “same but different.” Viewers embark on a journey where they experience how capitalism and globalization have influenced the look of our cities today, whereas in the past their specific histories and cultures influenced them in different ways. History meets the present.
That homogenization and the number of interchangeable “nonplaces” — to borrow a term from French sociologist Marc Augé — no longer shaped by local identity are increasing in times of global capitalism seems unavoidable. Malls, hotel rooms, airports, highways, suburbs and inner cities look very similar all over the world. Some people like that. They experience hardly any more surprises when traveling, but also no unpleasantries. Andy Warhol loved Coca-Cola because, he boasted, anyone could afford it, from the unemployed to the American president, and because it tastes the same all over the world as it does in New York, where he lived and drank it. …
Deutsch:
Eröffnungsrede von Michael Stoeber
… Im Schafhof zeigt Marc Lee „10 000 Moving Cities – same but different“, ursprünglich 2013/2014 für das National Museum of Modern and Contemporary Art in Seoul konzipiert und danach von ihm weiterentwickelt. Es ist eine interaktive Virtual Reality-Installation, kurz VR-Installation. Der Besucher wählt einen beliebigen Ort auf einer Weltkarte aus, sei es nun das afghanische Kandahar, das chinesische Hongkong oder das deutsche Freiburg. Sofort erscheinen Bilder, in Echtzeit gestreamt, die andere User in die sozialen Netzwerke eingestellt haben. Sie werden präzise auf Kuben und Quader projiziert, welche die Anmutung der Skyline einer Stadt suggerieren. So genau, dass es aussieht, als würden die Kuben und Quader als Screens selbst die Bilder ausstrahlen, was natürlich nicht der Fall ist. Mitten unter ihnen, lenkt der Besucher der Ausstellung die Bilder durch Umherlaufen und Kopfbewegungen, wobei er immer das Gefühl hat, ein Teil von ihnen zu sein.
Die Rezeption des virtuellen Bilderstroms geschieht nicht frontal wie vor der Kinoleinwand, sondern immersiv. Identifikation und Empathie, Betroffen- und Berührt-Sein vollziehen sich, wenn sie denn stattfinden, nicht durch Projektion, sondern durch aktives Eintauchen und Beteiligt-Sein des Betrachters an dem, was er sieht – wie in der Wirklichkeit selbst. Die Eindrücke des Betrachters gibt der Titel des Werks ebenso lakonisch wie präzise wieder: „same but different“. Der Betrachter unternimmt eine Reise, bei der er erfährt, wie Kapitalismus und Globalisierung unsere Städte heute gleich aussehen lassen, während sie in der Vergangenheit durch ihre spezifische Geschichte und Kultur unterschiedlich geprägt wurden. History meets Presence.
Dass im Zeichen eines globalen Kapitalismus die Homogenisierung und mit ihr, um mit den französischen Soziologen Marc Augé zu sprechen, die Zahl der austauschbaren, nicht länger von lokaler Identität geprägten „Nicht-Orte“ wächst, scheint unvermeidbar. Malls, Hotelzimmer, Flughäfen, Autobahnen, Vorstädte und Inner Cities sehen überall auf der Welt sehr ähnlich aus. Manchen gefällt das. Sie erleben dann beim Reisen zwar kaum mehr Überraschungen, aber so eben auch keine unangenehmen. Andy Warhol liebte Coca-Cola, weil sie, wie er rühmte, sie sich jeder leisten könne, vom Arbeitslosen bis zum amerikanischen Präsidenten, und weil sie überall auf der Welt so schmecke wie in New York, wo er lebte und sie konsumierte. …
Artists: Clemens Fürtler (A), Marc Lee (CH), Banz & Bowinkel (DE)
sueddeutsche.de
Website
2019
Deutsch
Alexander Huber
Die neue Ausstellung im Schafhof beschäftigt sich mit dem Verlust urbaner Identitäten, der Globalisierung sowie dem Widerspruch analoger und virtueller Welten.
sueddeutsche.de, PDF
annkakultys.com
Website
2019
English
Annka Kultys
Annka Kultys Gallery is pleased to present Non-Places an augmented reality installation of new bodies of work by the Swiss artist Marc Lee.
annkakultys.com, PDF
Shown here for the first time are four interactive works, each using a mobile app as an interface and projected on to the walls of the gallery.
The artworks explore how globalization creates “places without a local identity” – as described in Marc Augé’s essay Non-Lieux (1992) – and stimulate a reflective attitude based on a novel “immersive confrontation” with the digital society of our time.
On one wall is projected 10.000 Moving Cities – Same but Different, Mobile App (2018). The work employs a mobile app as interface to create a net-based installation. 10.000 Moving Cities – Same but Different, Mobile App deals with urbanisation and globalisation in the digital age. The app’s user navigates through an urban environment of his choice. The landscape is constantly reshaped and redefined by posts on the social networks Freesound, Instagram and Twitter. Here these personal impressions are streamed in real time like windows to our changing world. The viewer participates in the social movements of our time and makes a virtual journey into constantly new image and sound collages in which one experiences local, cultural and linguistic differences and similarities. In virtual space, this information is visualized on cubes that rise at different heights akin to an urban skyline. As such, the work deals with how our cities are continuously changing and how virtual space is increasingly mimics urban space.
On an adjacent wall is presented a moble app game entitled Me, Myself and I (2018). Me, Myself and I questions egocentrism and narcissism as widespread contemporary phenomena as manifest through their most popular, infamous declination: the selfie culture. The digital era emphasises how individuals perceive themselves increasingly at the centre of, rather than merely being part of, society.
In Me, Myself and I the participant floats virtually in a self-absorbed ego-relationship with herself above an urban, futurist cityscape that is continuously regenerated. The user sees herself rapidly projected into the virtual environment countless times, as another way to replicate over and over again her ego. The virtual environment is entirely dominated by her ego as translated by the selfies the tablet takes, that is, by the many images of the user that populate the cityscape. The virtual environment rotates as the user rotates the device with the sky showing as the tablet is moved upwards, for example. By tilting it downwards the ground appears. At the same time, flight direction can be adjusted, as can the flight speed. The sound is responsive and reacts to the movement and flight speed of the user.
In the exhibition, the image is displayed as one reflective projection, offering a kaleidoscopic view of an urbanised cityscape full of egos. This emphasises the impression of a super star but also allows other visitors to participate.
With the augmented reality app 10.000 Moving Cities – Same but Different, AR (2018) one moves between the imaginary buildings using an iPad and participates in the real time digital communication streams and social movements by means of inserted social media posts. Buildings can be destroyed and rebuilt by the users. But beware! Everyone sees what the other is doing from a different perspective. The more buildings disappear, the more creatures appear… 10.000 Moving Cities – Same but Different, AR focuses on how places are constantly changing, language diversifying, plant and animal species are diminishing and buildings, shopping malls and cities are becoming more and more similar. Places are emerging, which could be anywhere in the world, without a real local identity. This process is accelerated by technological progress, faster means of transport and communication, the internet and augmented reality itself.
Finllay, on tablet, Nonplace (2018) points to the loss of identities through technological progress and globalisation and poses the question of what the ever-growing similarity of cities, shopping centres and commodities means.
Nonplace renders visually and conceptually in virtual reality the concept of ‘Non-places’ which Marc Augé describes in his book and essay of the same name. According to Augé: “Super modernity produces non-places, meaning spaces which are not themselves anthropological spaces and which do not integrate to earlier places … A world where people are born in the clinic and die in hospital, where transit points and temporary abodes are proliferating under luxurious or inhuman conditions (hotel chains and squats, holiday clubs and refugee camps, …; where a dense network of means of transport which are also inhabited spaces is developing; where the habitué of communicates wordlessly, through gestures, with an abstract, unmediated commerce (i.e., credit card transactions); a world thus surrounded by solitary individuality.”
Taylor & Francis Group (London, UK)
Book, color, 250 pages, 15 x 30 cm
2019
English
Birgit Eriksson, Carsten Stage, Bjarki Valtysson
ISBN 0367218380, 978-0367218386
Extract: Towards a participatory mode of overlapping realities (PDF)
This book examines cultural participation from three different, but interrelated perspectives: participatory art and aesthetics; participatory digital media, and participatory cultural policies and institutions.
Focusing on how ideals and practices relating to cultural participation express and (re)produce different “cultures of participation”, an interdisciplinary team of authors demonstrate how the areas of arts, digital media, and cultural policy and institutions are shaped by different but interrelated contextual backgrounds. Chapters offer a variety of perspectives and strategies for empirically identifying “cultures of participation” and their current transformations and tensions in various regional and national settings.
Table of Contents
Chapter One: Introduction: Cultures of participation
Birgit Eriksson, Carsten Stage and Bjarki Valtysson
Part I: Participatory art and aesthetics
Chapter Two: Performance, public (re) assembly, and civic re-enactment
Shannon Jackson
Chapter Three: Autonomy and collectivity at the Echigo-Tsumari Art Triennale in Japan
Gunhild Borggreen and Anemone Platz
Chapter Four: Cross-cultural collaboration: Modes of participation for co-creation of the urban public space
Minna Valjakka
Chapter Five: Art and local communities: Inclusion, interests and ownership in participatory art projects with embroiderers and billiard players
Birgit Eriksson
Part II: Digital media and technology
Chapter Six: VR – the culture of (non)participation? Reframing the participative edge of virtual reality
Anna Nacher
Chapter Seven: Photo-sharing as participatory surveillance
Clare Southerton, Maja Sonne Damkjær and Anders Albrechtslund
Chapter Eight: Medialities of participation in sound art
Vadim Keylin
Chapter Nine: The participatory patient: Exploring the platformed multivalence and public value of cancer storytelling on social media
Carsten Stage
Part III: Cultural policy and institutions
Chapter Ten: The “problem” of participation in cultural policy
Leila Jancovich and David Stevenson
Chapter Eleven: Public participation and agency in art museums
Emilie Sitzia
Chapter Twelve: Re-ordering and re-performing: Re-placing cultural participation and re-viewing well-being measures
Susan Oman
Chapter Thirteen: Diving into the archive: Google Cultural Institute & the cultural politics of participation
Bjarki Valtysson
RIXC, LiepU MPLab
Book, color, 480 pages, 24 x 17 cm
2019
English
Rasa Smite and Raitis Smits
ISBN 9934843471, 978-9934843471
rixc.org
Immersive technologies, coupled with superior virtual environments, artificial intelligence algorithms, faster processors, and biometrics, are launching a new era in virtual experiences,entertainment and interactive storytelling. At the same time these technologies have the potential for invasive monitoring and control.
What are the present and future artistic strategies that deal with this? Combined with the acceleration of VR/AR and technologies of immersion, how will societies react?
The first chapter of this book ‘re-approaches immersion’ by looking at artistic practices in VR environments, non-linear storytelling in 360-degree video, and brain sensor interfacesused in films and performances.
The second chapter, on ‘technologies of the ecological’, discusses the role of arts in tackling climate change and creating augmentable experiences by combiningdigital with biological. The third chapter, ‘beyond interactivity’, shapes new theories for post-digital practices, while the fourth chapter addresses new economies of virtual experiences and questions artistic values.
The volume also features a review of the exhibition – Virtualities and Realities (Riga, 2017), presenting cutting edge artworks thatexplore complex relations between the ‘virtual’ and ‘real’ in our post-media society, thereby creating new immersive experiences.
Authors and contributors: Chris Salter, Ellen Pearlman, Monika Fleischmann, Wolfgang Strauss, Miguel Almiron, Guillermo Crosetto, Chris Hales, Luis Bracamontes, Oksana Chepelyk, Ludwig Zeller, Martin Rumori, Karen Lancel, Hermen Maat, Frances Brazier, Carlotta Aoun, Yvonne Volkart, Raphael Kim, Stefan Poslad, Raune Frankjaer, Patricia Flanagan, Karolina Żyniewicz, Anna Nacher, Mitch Goodwin, Vytautas Michelkevičius, Pauline O’Connell, Vincenzo Sansone, Ilva Skulte, Normunds Kozlovs, Varvara Guljajeva, Kathryn Blair, Raivo Kelomees, Sandra Álvaro Sánchez, Owen Kelly, Vanessa Sonia Santos, Mohammad Esmeail Bolouri, Maryam Bolouri, Timothy Smith, Elke Reinhuber, Josef Bares, Rose Marie Barrientos, Janina Hoth, Florian Wiencek, Marinos Koutsomichalis, Adnan Hadzi, Rasa Smite, Raitis Smits and Virtualities and Realities Exhibition artists.
AS17: VIRTUALITIES AND REALITIES
CONTENTS:
Rasa SMITE and Raitis SMITS. Introduction – Virtualities and Realities
Chris SALTER. The Presence Effect: Virtual Reality, Real Virtuality and the Flux of the Self
CHAPTER 1. RE-APPROACHING IMMERSION: ART AND STORYTELLING FOR VR, 360° VIDEO AND BRAIN SENSORS
Ellen PEARLMAN. Approaching Storm: Immersion, Biometrics, AI, Big Data and Surveillance
Monika FLEISCHMANN & Wolfgang STRAUSS. Shades of Virtuality. From Virtual Reality to Mixed Realities – From Being to Becoming
Miguel ALMIRON, Guillermo CROSETTO. Virtual Reality – a Place for Knowledge About Our Being and Empathy?
Chris HALES. Interactive Stories for the Brain: Interaction and Response in Brainwave-Influenced Non-Linear Films
Luis BRACAMONTES. Teleacting the Story: User-Centered Narratives Through Navigaze in 360o Video Oksana CHEPELYK. VR and 360-Degree Video Narratology: Ukrainian Case Study
Ludwig ZELLER and Martin RUMORI. The Institute of Sonic Epistemologies. Life-World Fiction Within Augmented Auditory Space
Karen LANCEL, Hermen MAAT and Frances BRAZIER. Kissing Data: Distributed Haptic Connections through Social Touch
Carlotta AOUN. Digital Mutation, the Web 2.Self and a Hybrid Collective Mesh
CHAPTER 2. TECHNOLOGIES OF THE ECOLOGICAL: AESTHETICS AND POETICS OF AUGMENTABLE EXPERIENCES
Yvonne VOLKART. Does Art Make a Difference? Technologies of the Ecological After the Anthropocene
Raphael KIM and Stefan POSLAD. Augmentable Experiences in Hybrid Biological Digital Games
Raune FRANKJAER and Patricia FLANAGAN. The Technocrafted Posthuman: Introducing Cyborganics
Karolina ŻYNIEWICZ. The Relational Character of Art&Science Practice (Art-Based Research)
Anna NACHER. Techno-Ecological Media Installation Practice as the Strategy of Network
Mitch GOODWIN. The Liquid Electric. Tracing Nature’s Machine Code
Vytautas MICHELKEVIČIUS. Hybrid(…)scapes from Body to Text: Artistic and Curatorial Research Through the Exhibition at the Nida Art Colony Pauline O’CONNELL. The Ecology of Community
CHAPTER 3. BEYOND INTERACTIVITY: TRACKING SPACES OF TRANSFORMATION IN POST-DIGITAL THEORIES AND PRACTICES
Vincenzo SANSONE. The Performing Arts Among Liveness, Divergence and Software Culture
Ilva SKULTE and Normunds KOZLOVS. Hauntological Aspects of Steampunk Philosophy
Varvara GULJAJEVA. Beyond Interactivity. The Unsolved Question of Interactive Art
Kathryn BLAIR. A Research-Creation Practice for Interactive Works
Raivo KELOMEES. From Net Art to Post-Internet Art: The Cyclical Nature of Art Movements
Sandra Álvaro SÁNCHEZ. Artistic Production and Embodied Information. Tracking Spaces of Transformation
Owen KELLY. Who Drives The Car? Vanessa Sonia SANTOS. Investigating Locative Art Through Methodological Bricolage
Mohammad E. BOLOURI and Maryam BOLOURI. The Intelligent Mediation Sphere: A Critical Reflection on Contemporary App Practices
CHAPTER 4. ECONOMIES OF EXPERIENCES: ARTISTIC VALUES, DIGITAL ART ARCHIVES AND CATALOG AESTHETICS
Timothy SMITH. The Emergence of Creativity in Art Foundations Through Expérience
Elke REINHUBER. Face Value – the Artistic Value of Currencies
Josef BARES. Data Portrait Me: The Filter Bubble and Commercial Transactions
Rose Marie BARRIENTOS. The Artist as Economic Agent
Janina HOTH and Florian WIENCEK. Digital Archives as Exhibition Display – from Curatorial Responsibility to Open Communities
Marinos KOUTSOMICHALIS. On Catalogue Æsthetics
Adnan HADZI. After.Video. Displaying Video as Theory and Reference System
CHAPTER 5. VIRTUALITIES AND REALITIES: EXHIBITION REVIEW AND SWAMP RADIO LABORATORY
Jonah BRUCKER-COHEN. Report from the Second Annual Open Fields Conference and Virtualities and Realities, RIXC Art Science Festival Exhibition
VIRTUALITIES AND REALITIES Exhibition Overview (Catalog)
Rasa SMITE and Raitis SMITS. Biotricity – Swamp Radio Laboratory
Wand 5 e.V., Stuttgarter Filmwinter
Film and exhibition brochure, 229 pages
2019
Deutsch, English
Giovanna Thiery, Marcus Kohlbach
filmwinter.de, Cataloge (PDF)
Exhibition Expanded Media – Media in Space & Network Culture Competition Kunstbezirk Stuttgart
Artistic works from the competitions Media in Space and Network Culture are on display, which includes cross-border formats such as performance, installation, Expanded Cinema and Net Art like interactive web or social web projects or interventions at public and virtual spaces.
Curator: Marcus Kohlbach
Jury: Daniel Burkhardt and Marc Lee
Deutsch:
Gezeigt werden künstlerische Werke aus den internationalen Wettbewerben Medien im Raum und Network Culture. Dazu zählen grenzüberschreitende Formate zwischen Performance, Installation, Expanded Cinema und Netzkunst wie zum Beispiel interaktive Web- und Social-Web-Projekte oder Interventionen im öffentlichen und virtuellen Raum.
KAIRUS ART+RESEARCH, Graz, AUSTRIA
PDF Version, 235 pages, colour illustrations
2018
English
Edited by Linda Kronman and Andreas Zingerle
ISBN: 978-3-9504200-1-2
PDF Version
http://ioopt.kairus.org/index.php/book/journey-into-predictability/
Dealing with the pathologies of a digital world
The Internet of Things (IoT), smart city initiatives, and smart home technology are marketed to us as sleek and glamorous 3D renderings promising a convenient and sustainable technology that will save us and our planet from a future of environmental distress. Yet the buzzword bingo of smart city rhetoric, the polished advertisements for networked devices, and the glossy packaging of smart home devices are in stark contrast to the news and research which investigates the vulnerabilities of our connected lives.
The expansion of the IoT and the proliferation of virtually-connected data points are providing ever increasing amounts of information for those keen on use or abuse. The massive implementation of IoT in hyper-connected urban environments, paths the way to technocratic governance and urban development, corporatizing our living spaces into lock-in, hack-able, “pan optic” smart cities. The IoT seems to develop towards an Internet of other people’s things (IoopT), where users do not own their data, agree to Terms of Services that mean their data are then shared by default to third parties, and the risks that citizens rights are managed by technocratic governance or cyber criminals attacking critical infrastructures are always present.
In this cyberwar of ideas, an asymmetric battle for power and influence, systems will have to be more robust and people will have to be more vigilant. Therefore we turned to the community of artists, designers, activists, hackers and researchers with an open call for new critical perspectives on ubiquitous technology and its impact on our lifestyle. We were looking for for projects that abuse to expose; artistic research and tacit knowledge that is produced through cultures of making, hacking, and reverse engineering. Our aim was to collect artworks, projects, essays, and interviews discussing questions such as: What does privacy look like in a smart home of connected objects? How are citizens involved in co-design collaborations with private corporations and the public sector to build better cities? How can we enable a secure and trustworthy Internet communication so that business, personal, and machine-to-machine interactions can be conducted safely and without interferences?
Content:
FOREWORD by Jonathan Woodier
THE INTERNET OF OTHER PEOPLE’S THINGS – INTRODUCTION
by Linda Kronman and Andreas Zingerle
DYSTOPIAN ARTIFICIAL INTELLIGENCE WITHIN
THE INTERNET OF THINGS by Helena Nikonole
FOUND by Carlos Rene Pacheco
ARTISTIC RECONNAISSANCE by KairUs Art+Research
LISTENING STATIONS: A PROMPT TO EXAMINE THE HISTORIES
OF THE INTERNET OF THINGS by Owen Mundy
JOURNEY INTO PREDICTABILITY by Yvonne Volkart
PREFERRED MY OLD SKIN by Tyler Coburn
SENSING THE SMART CITY – In conversation with Tyler Coburn
SMART CITIES AND SMART WASTE – In conversation with Binna Choi
SOUTH KOREAN HOMES, NEIGHBORHOODS AND CITIES –
In conversation with artist duo Nana & Felix
CRITICAL AND PLAYFUL MITIGATION: TACKLING SMART CITY
CONTROVERSIES WITH FICTIONS AND GAMES by Bastien Kerspern
RESISTING THE DEPLOYMENT OF LINKY IN FRANCE by Lily Martinet
FEELING AT HOME: BETWEEN HUMAN AND AI by Lauren McCarthy
MONITOR: CODE, BROWSER, VIEWER by Luke Munn
FEELING AT HOME WITH THE INTERNET OF THINGS by Anuradha Reddy
TOSS (TERMS OF SERVICE STATIC) by Mez Breeze
LEAKED LOCATIONS FROM YOUR NETWORKED PAST by Lasse Scheriffig
THE WORK OF ART IN THE AGE OF ITS
TECHNOLOGICAL DISTRIBUTION by Cesar Escuardo Andaluz
RAZOR WIRE MODEM: AN ARTISTIC INTERVENTION
AT THE SCHENGEN BORDER by Martin Reiche
THE DECAY OF DIGITAL THINGS by Andrew Lovett-Barron
Universität für angewandte Kunst Wien, Edition Angewandte, Gerald Bast
Book, 304 pages, colour illustrations, 24 x 16.8cm
2018
English
Doringer, Bogomir / Felderer, Brigitte
ISBN Print 978-3-11-052771-1, eBook 978-3-11-052770-4
https://www.degruyter.com/view/product/481591
Current positions and approaches in contemporary art and media practice
Artistic strategies in the age of global surveillance
The contributions to this book explore a phenomenon that appears to be a contradiction in itself – we, the users of computers, can be tracked in digital space for all eternity. Although, on the one hand, one wants to be noticed and noticeable, on the other hand one does not necessarily want to be recognized at the first instance, being prey to an unfathomable public, or – even less so – to lose face.
The book documents artistic and other strategies that point out options for appearing in the infinite book of faces whilst nevertheless avoiding being included in any records. The desire not to become a mere object of facial sell-out does not just remain an aesthetic endeavor. The contributions also contain combative and sarcastic statements against a digital dynamic that has already penetrated our everyday lives.
Deutsch:
Aktuelle Positionen und Ansätze der zeitgenössischer Kunst- und Medienpraxis
Künstlerischer Strategien im Zeitalter der globalen Überwachung
Die Beiträge dieses Buchs sind einem Phänomen auf der Spur, das widersprüchlich anmutet: Wir, Computernutzerinnen und User, sind im digitalen Raum in alle Ewigkeit wiederzufinden. Man will einerseits wahrnehmbar, andererseits doch nicht gleich wiedererkennbar sein, sich nicht an eine unüberschaubare Öffentlichkeit ausliefern, gar das Gesicht verlieren.
Das Buch dokumentiert künstlerische und andere Strategien, die Möglichkeiten aufzeigen, im unendlichen Buch der Gesichter zu erscheinen und sich dabei doch jeglicher Erfassung zu entziehen. Der Wunsch, kein bloßes Objekt des facialen Ausverkaufs zu werden, bleibt dabei nicht bloß ein ästhetisches Unterfangen. Die Beiträge formulieren auch kämpferische wie ironische Ansagen gegen eine digitale Dynamik, die unseren Alltag längst erreicht hat.
Christoph Merian Verlag
Book, 130 pages, 50 colour illustrations, Paperback, 16.5 × 20.5cm,
2018
Deutsch/English
Migros-Culture Percentage, Dominik Landwehr
ISBN 978-3-85616-867-4
merianverlag.ch, PDF
Media Arts in Switzerland
Pioneers, tinkerers, provocateurs
Featuring Andreas Bosshard, the media art group etoy, Studer/van den Berg, Wachter & Jud, !Mediengruppe Bitnik, Marc Lee and rebell.tv
Never before in history a medium has so radically changed society and culture as digitization and the Internet have. This development has also brought forth a new art movement: media arts.
This publication traces this explosive development in Switzerland since the mid-90s. It addresses on the one hand the most important artistic strategies – sound and video art, Internet art, hacking, mashup and remix, do-it-yourself, robotics and machine art as well as purely conceptual approaches – and, on the other hand, also the role of promoters, festivals, universities and art galleries and exhibition spaces.
The emphasis is on projects and artists supported by the Migros Culture Percentage since 1998. Works of art are discussed and also the artists themselves – many distinguished internationally – speak about their work.
Deutsch:
Medienkunst in der Schweiz
Pioniere, Bastler, Provokateure
Mit Werken u. a. von Andreas Bosshard, der Medienkunstgruppe etoy, Studer/van den Berg, Wachter & Jud, der !Mediengruppe Bitnik, Marc Lee und rebell.tv
Noch nie in der Geschichte hat ein Medium Gesellschaft und Kultur so radikal verändert wie die Digitalisierung und das Internet. Die Entwicklung hat auch eine neue Kunstrichtung hervorgebracht: die Medienkunst.
Die Publikation folgt dieser explosionsartigen Entwicklung in der Schweiz seit Mitte der Neunzigerjahre. Sie thematisiert die wichtigsten künstlerischen Strategien – Sound und Video Art, Netzkunst, Hacking, Mashup und Remix, Do-it-yourself, Robotik und Maschinenkunst sowie rein konzeptionelle Ansätze – und die Rolle der Förderer, Festivals, Hochschulen und Ausstellungsräume.
Der Schwerpunkt liegt auf Projekten und Künstlern, die von Migros-Kulturprozent seit 1998 gefördert wurden. Künstlerische Arbeiten werden diskutiert und deren oft international ausgezeichneten Protagonisten kommen zu Wort.
fadmagazine.com
Website
2018
English
Mark Westall
Synthesis Gallery, the first Virtual Reality art gallery, makes its debut on April 5th in Berlin with ‘Same but Different’ by renowned Swiss artist Marc Lee. The exhibition will premiere new exclusive works as part of the series ‘Same but Different’ and ‘Nonplace’, reflecting on the profound radical transformations brought by the digital revolution to personal identities, places and time.
fadmagazine.com, PDF
ZKM | Center for Art and Media
Exhibition brochure, 63 pages
2017
Deutsch, English
Peter Weibel
https://zkm.de/en/publication/open-codes-leben-in-digitalen-welten-englisch
We live in a world that is not solely generated, driven, and controlled by things, words, and images, but above all by data. A vast number of electronic interfaces, like smartphones, computers, TVs, and data displays, accompany us 24/7. Fields of Data are indispensable and omnipresent.
Living in digital worlds means increasingly a life spent in a programed, smart environment, a so-called »scripted reality.« The script is dictated in part by sensors, which provide information about the state of reality around us. The data from the sensors is processed by algorithms, which steer us through the world as though through a field of data. For the world we live in is more and more an artificial, human-made data world.
The large-scale installation »The World as a Field of Data« which awaits you in ZKM’s Atrium 8, takes up this topic. A »data cloud« of around 40 monitors shows the vast number of electronic interfaces, like smartphones, computers, TVs, and digital data screens that accompany us in everyday life: at the airport or train station, at the stock exchange and in the bank, in the office and in the home, in the hospital or in the medical practice.
Curator: Peter Weibel, Lívia Nolasco-Rózsás, Yasemin Keskintepe and Blanca Giménez
Participating artists: Jean-Michel Alberola, Moreshin Allahyari, Isaac Asimov, Lisa Bergmann, Michael Bielicky, Patrick Borgeat, James Bridle, Ludger Brümmer, Can Büyükberber, Emma Charles, Matthieu Cherubini, Arthur C. Clarke, Tyler Coburn, Max Cooper, Shane Cooper, Larry Cuba, Frederik De Wilde, Simon Denny, Götz Dipper, Constant Dullaart, Margret Eicher, Jonas Eltes, César Escudero Andaluz, Cerith Wyn Evans, Claire L. Evans, Harun Farocki, Thierry Fournier, Kristof Gavrielides, Jan Gerigk, Julia Gerlach, Julia Ghorayeb, Melanie Gilligan, Fabien Giraud, Manfred Hauffen, Daniel Heiss, Anton Himstedt, Yannick Hofmann, ICD/ITKE, Simon Ingram, Eduardo Kac, Helen Knowles, Beryl Korot, Anton Kossjanenko, Brigitte Kowanz, Manfred Kraft, Marc Lee, Donna Legault, Jan Robert Leegte, Lawrence Lek, Armin Linke, Bernd Lintermann, Fei Liu, Christian Lölkes, Andy Lomas, Solimán López, Wolfgang Maass, Shawn Maximo, Tamara Mchedlidze, Rosa Menkman, Ben Miller, Chikashi Miyama, Andreas Müller-Pohle, Jörn Müller-Quade, Martín Nadal, Greg Niemeyer, Helena Nikonole, Julian Palacz, Josef N. Patoprsty, Elizabeth Pich, Matthew Plummer-Fernandez, Julien Prévieux, Chandrasekhar Ramakrishnan, Peter Reichhard, Max-Gerd Retzlaff, Kamila B. Richter, Matthias Richter, Betty Rieckmann, robotlab, Curtis Roth, RYBN.ORG, saai | Südwestdeutsches Archiv für Architektur und Ingenieurbau, Chris Salter, Karin Sander, Raphaël Siboni, Karl Sims, Adam Slowik, Rasa Smite, Raitis Smits, Space Caviar, Barry Stone, Monica Studer, UBERMORGEN.COM, Ruben van de Ven, Christoph van den Berg, Harm van den Dorpel, Koen Vanmechelen, Danja Vasiliev, Ivar Veermäe, Nikolaus Völzow, Michael Volkmer, ::vtol::, Clemens von Wedemeyer, Peter Weibel, Alex Wenger, Where Dogs Run, Dan Wilcox, Stephen Willats, Manfred Wolff-Plottegg, World-Information Institute
Editorial staff: ZKM | Publications (Jens Lutz, Ulrike Havemann, Anna Straetmans, Miriam Stürner, Claudia Voigtländer)
Copy editing: ZKM | Publications (D), Gloria Custance (E)
Translations: Petra Kaiser (D); Gloria Custance, Isaac Custance, Jane Yager (E)
Cover design: Peter Weibel, Christian Lölkes
MAK – Museum of Applied Arts Vienna
Exhibition brochure, 67 pages
2017
Deutsch/English
Christoph Thun-Hohenstein, Gerald Bast, Elisabeth Schmuttermeier, Peter Weibel, Patrick Werkner
www.mak.at
The exhibition AESTHETICS OF CHANGE: 150 Years of the University of Applied Arts Vienna in two parts casts a glance back onto 150 years of the University’s history, while at the same time daring to look into the future.
The Angewandte: 150 Plus 30
The second part of the jubilee exhibition in the MAK’s upper Exhibition Hall, curated by Peter Weibel and Gerald Bast, outlines theses for the future and advocates for a reorientation of education, art, and society. Three chapters present aggregated trends. The exhibition focuses on current and visionary research, in addition to contemporary artistic positions.
“Future is there, where we ourselves strive towards it”
Pursuing this idea leads to an interactive exhibition experience. The spotlight is on the new; old structures dissolve in the darkness. This combination of ruins and enchanted forest allows the search for the future to commence.
Curators:
Elisabeth Schmuttermeier, Curator, MAK Metal Collection and Wiener Werkstätte Archive
Patrick Werkner, Professor and Head of the Art Collection and Archive, University of Applied Arts Vienna
Gerald Bast, President, University of Applied Arts Vienna
Peter Weibel, Professor (emer.), University of Applied Arts Vienna; Executive Director, ZKM | Center for Art and Media, Karlsruhe
Artists:
Christa Sommerer & Laurent Mignonneau, David Bowen, David Reiner, Martin Kusch & Ruth Schnell & Marie-Claude Poulin, Marc Lee, Monika Piórkowska, Scenocosme (Grégory Lasserre & Anaïs met den Ancxt), Peter Weibel, Robotlab (Matthias Gommel, Martina Richter, Jan Zappe) and others.
Verlag Der Buchhandlung Walther König
Book softcover, 256 pages, colour illustrations, 29.5 x 22.5cm
2017
Deutsch/English
Florian Ebner, Fabian Knierim, Boaz Levin
ISBN-13: 9783960982050, ISBN-10: 3960982054
https://biennalefotografie.de
The first Biennale für aktuelle Fotografie bids farewell to photography as we know it. Farewell Photography illuminates the radical changes in our dealings with images in the digital era and presents an alternative vision of the history of photography.
Since its invention, photography has been a medium of social exchange, a means by which people can relate to one another. With digitization not only has the number of photographic images exploded but their capacity to be reproduced and distributed—which was already one of photography’s characteristic features in the analogue age—has multiplied.
Sharing is the photographic usage of the moment. The individual, isolated image has had its day; instead, photographs appear as part of chains of communication and relationship networks. On social media and in messenger services like WhatsApp and Snapchat, a photo often says more than a thousand words, or 140 characters—it calls for a response, it gets liked, hated, and reshared.
As memes, images spread across the Internet like a virus, are modified by users, and released back into orbit. Their natural state is one of circulation. Google searches never bring to light just one image from the Internet archives but hundreds of them. Every photo on Facebook or Instagram is organized in an online biography and linked with a hashtag to a host of other images. No image is an island.
Accompanies the exhibition Biennale für aktuelle Fotografie: Farewell Photography
Biennale für aktuelle Fotografie in Mannheim, Ludwigshafen, Heidelberg, Germany.
Wilhelm-Hack-Museum I, Wilhelm-Hack-Museum II, Port25 – Raum für Gegenwartskunst, Sammlung Prinzhorn, Heidelberger Kunstverein, Kunstverein Ludwigshafen, ZEPHYR – Raum für Fotografie in den Reiss-Engelhorn-Museen, Kunsthalle Mannheim (Installation im Wasserturm)
09.09.2017 – 05.11.2017
Curators:
Boaz Levin, Christin Müller, Fabian Knierim, Florian Ebner, Kerstin Meincke, Kathrin Schönegg
Artists:
Trisha Baga, Rosa Barba, Cuthbert Bede, Hermann Heinrich, Friedrich Behle, Natalie Boockchin, Dirk Braeckman, Kilian Breier, Marcel Broodthaers, Peggy Buth, F & D Cartier, Sara Cwynar, Georges Demenÿ & Étienne-Jules Marey, Joseph Maria Eder, Olafur Eliasson, Harun Farocki, Hans-Peter Feldmann, Forensic Architecture, Richard Frater, LaToya Ruby Frazier, Arno Gisinger, Philipp Goldbach, Vesko Gösel, Josef Grebing, Simon Gush, Robert Häusser, John Heartfield, Oskar Friedolin Herzberg, Candida Höfer, Andreas Horlitz & Reinhard Matz, Nikita Kadan, Katia Kameli, Adrian Sauer, Amalia Ulman, Andreas Langfeld, Andrew Norman Wilson, Andrzej Steinbach, Arne Schmitt, Arwed Messmer, August Johann Klose, Barbara Kasten, Barbara Probst, belit sağ, Buky Schwartz, D. H. Saur, Daido Moriyama, Ed Ruscha, Eva & Franco Mattes, Floris M. Neusüss, Franz Kockartz, Fred Lonidier, Gaston Tissandier, Hajra Waheed, Helmar Lerski, Hermann Vogel, Joachim Schmid, Jochen Lempert, John Smith, Jürgen Klauke, Juergen Teller, Klaus Staeck, Louis Vignes & Charles Nègre, Marc Lee, Marianne Wex, Mark Soo, Max Wolf, Merle Kröger, Philip Scheffner, Migrant Image Research Group, Naeem Mohaiemen, Oraib Toukan, Oscar Muñoz, Peter Miller, Pétrel I Roumagnac (duo), Privatarchiv, Familie Kassem, Privatarchiv Familie Keskin, Privatarchiv Familie Panevski, Privatarchiv Familie Sirma Privatarchiv Familie Troncone, Privatarchiv Familie Zippel, Rosa Menkman, Sebastian Stumpf, Stefan Karrer, Sven Johne, Willem de Rooij, Wolfgang Tillmans, Yves Klein, Zanele Muholi
Deutsch:
Die erste Biennale für aktuelle Fotografie verabschiedet sich von der Fotografie, wie sie bisher bekannt ist. „Farewell Photography“ beleuchtet einen sich radikal verändernden Umgang mit Bildern im digitalen Zeitalter und präsentiert einen anderen Blick auf die Geschichte der Fotografie. „Farewell Photography“ versteht sich als eine Bestandsaufnahme der aktuellen Bilder, fern jeglicher Nostalgie, aber getragen von einer großen Zuneigung zur Fotografie. Es ist eine Art „Abschied“, nicht ohne produktiv nach dem Gestern und dem Morgen zu fragen. Den derzeitigen Umbruch der Bildkulturen begreift unser Kuratorenteam als Chance, die Fotografie einer kritischen Betrachtung zu unterziehen und sie neu zu definieren.“ (Florian Ebner)
SESI-SP cultura
Book, color, 240 pages, 21 x 28 cm
2017
Português, English
Ricardo Barreto and Paula Perissinotto
ISBN 9788589730235
file.org.br/file_sp_2017/file-sao-paulo-2017-bubbling-universes/, Cataloge (PDF)
The 18th edition of FILE – Electronic Language International Festival in São Paulo takes place from 18 July to 3 September 2017 at the Fiesp Cultural Center.
Bubbling universes
The emergence of social networks has led to a multiplicity of events on a scale never seen before. The unchecked proliferation of information has now reached an astonishing level and is stored in an unprecedented amount of storage, accessed by thousands of networked data devices.
This exponential increase in accessible information overwhelms us all in an incessant and overwhelming flow of concepts, images, opinions and desires. No one is exempt from this cross-contamination, no discipline succeeds in remaining within set boundaries. The proliferation of worlds and tendencies carries us into an indeterminate plurality. All and everything is expanding, like a star in its Red Giant phase, ready to explode at any time. What was immense and infinite has become small when faced with the multiverse. We live in an age of bubbling universes.
Curator, FILE Founders and Organizers
Ricardo Barreto and Paula Perissinotto
Artist Installations
Adam Basanta (Canada), Amy Karle (United States), Andreas Lutz (Germany), Gwendaline Bachini (France), Daniel Jolliffe (Canada), Dorette Sturm (The Netherlands), Håkan Lidbo & Max Björverud (Sweden), Lawrence Malstaf (Belgium), Marc Lee (Switzerland), Martina Menegon (Austria), Oculus Story Studio (United States), One Life Remains: André Berlemont, Kevin Lesur, Brice Roy & Franck Weber (France), plaplax (Japan), Plastic Studios (Poland), Teun Vonk (The Netherlands), Thom Kubli (Germany)
Merian, Christoph Verlag, HeK (Haus der elektronischen Künste Basel)
Book softcover, 96 pages, 63 colour illustrations, 17.5 x 24.5 cm
2017
Deutsch/English
Sabine Himmelsbach
ISBN 978-3-85616-850-6
https://hek.ch/en/program/exhibitions/die-ungerahmte-welt
Artistic positions using virtual reality technologies
New perspectives on the depiction of digital pictorial worlds
Essays from Bettina Back, Julia Kaganskiy, Patrick Lichty and Tina Sauerländer
The essays present the works from different research perspectives, thus enabling a broad overview of current trends in a media art based on virtual reality technologies.
The latest virtual-reality technologies are asserting themselves currently in the domain of the fine arts and facilitating an immersion in artificial worlds. Virtual reality is used not only to explore aes-thetic potential, but also as a critical medium for reflecting on the existential state of today’s life-world. The works presented in this publication deal with multifaceted themes, such as physical per-ception and physical laws, societal structures as well as architecture and poetry.
Virtual Reality (VR) ermöglicht es, Kunstwerke zu erleben, statt sie nur zu betrachten. Die aktuelle künstlerische Nutzung dieser Technologie eröffnet neue und spannende Perspektiven auf die heutige Lebenswelt. Die Publikation vereint neun zeitgenössische Strategien, die sich mit dem Medium auseinandersetzen. Theoretische Textbeiträge über die Entwicklung von VR im Bereich der Kunst und die Möglichkeiten der bildgebenden Technologie ordnen die vorgestellten Werke in den aktuellen Kunstdiskurs ein.
Seit jeher experimentiert der Mensch mit dem Eintauchen in andere Welten. Mit der Weiterentwicklung von elektronischen Medientechnologien ermöglicht VR inzwischen ein neues Stadium von Immersion: Räume können erschaffen oder beliebig erweitert werden. Im Zentrum steht dabei immer der Betrachter, der sich direkt, und nicht durch einen Rahmen abgetrennt, mit dem Gezeigten auseinandersetzt.
Erste künstlerische Arbeiten unter Einbezug von VR entstanden bereits Ende des 20. Jahrhundert. Die erleichterte Handhabung und kostengünstigere Erschliessung der Technologie ermöglichen inzwischen einen breiteren Zugang für Kunstschaffende.
Diese erproben in ihren Arbeiten, wie VR die Grenzen zwischen Realität und Virtualität verschmelzen lässt und welche Rolle der User darin einnimmt.
Ganz unterschiedlich sind die Themen, welche die vorgestellten künstlerischen Positionen bearbeiten: Sowohl die ästhetischen Potentiale, als auch die Reflexionsbezüge zur tatsächlichen Lebenswelt werden unter Einsatz des Mediums erprobt und hinterfragt. Neben der Wahrnehmung des menschlichen Körpers und physikalischen Gesetzen, sind auch gesellschaftliche Konstrukte wie Identität und Geschlecht inhaltlich präsent.
Mit ihren zahlreichen Abbildungen und pointierten Essays, ermöglicht die vorliegende Publikation einen Überblick der aktuellen Tendenzen in der auf VR basierenden Medienkunst.
Mit Essays von Bettina Back, Julia Kaganskiy, Patrick Lichty und Tina Sauerländer und einem Vorwort von Sabine Himmelsbach.
Exhibition
19.01.2017 – 05.03.2017
Curator
Tina Sauerlaender
Artists
Li Alin (CAN/DE), Banz & Bowinkel (DE), Fragment.In (CH), Martha Hipley (US), Rindon Johnson (US), Marc Lee (CH), Mélodie Mousset & Naëm Baron (FR/CH), Rachel Rossin (US), Alfredo Salazar-Caro (US)
Nam June Paik Art Center, Seoul
Book softcover, 335 pages
2017
English, 한국 (Korean)
Jinsuk Suh
ISBN: 978-89-971283-3-4 (93600), CIP: 2017002824
https://njpac-en.ggcf.kr New Gameplay, NJP ARTCENTER (PDF)
Table of Contents
Foreword – Jinsuk Suh
Development Needs Subversion: Strategie s in Art and Gameplay – Bernhard Serexhe
The Politicizati on of Videogames? From creati ve subversion of technology to explicit political signifiers – Stephan Schwingeler
Interview: Conversations with Artists – Hyejin Park
Homage a Nam June Paik, Media Art in the Context of Games, Hacking/Modifying Technology, Urban Play, Society and Games, Games and Apps
뉴 게임플레이
목차
서문 – 서진석
발전에는 전복이 필요하다: 미술과 게임의 전략들 – 베른하르트 제렉세
비디오 게임의 정치화 ? 기술의 창조적 전복에서 명백한 정치적 기표까지 – 슈테판 슈빙글러
인터뷰: 참여작가와의 대화 – 박혜진
백남준에 대한 경의
게임의 맥락에서 본 미디어 아트
해킹/테크놀로지의 변형
어반 플레이
게임과 사회
게임과 앱
Curator
Bernhard Serexhe, Stephan Schwingeler, Hyejin Park
Artists (34) (45 works)
Gold Extra, Niklas Roy, Thatgamecompany, Dejobaan Games, Rafaël Rozendaal, London Studio & Sony Computer Entertainment, Lea Schönfelder & Peter Lu, Lucas Pope, Mario von Rickenbach, Mikengreg , Marc Lee , Nam June Paik , Vector Park, Bill Viola, USC Game Innovation Lab, Ah Keung & Awesapp, Atari, Anna Anthropy, Alan Kwan, Everyware, Jens M. Stober, Orhan Kipcak & Reinhard Urban, Zachary Libermann & Golan Lewin, Jeffrey Shaw, JODI, KIT (The Karlsruhe Institute of Technology), Christoph Niemann, Kiyoshi Furukawa & Masaki Fujihata & Wolfgang Münch, Kiyoshi Furukawa & Wolfgang Münch, Molleindustria, Paidia Institute, Feng Mengbo , Peter Brinson & Kurosh ValaNejad, 11 Bit Studios
Organized and Hosted by Nam June Paik Art Center,
Gyeonggi Cultural Foundation
In Cooperation with ZKM, Center for Art and Media Karlsruhe 주한독일문화원, Goethe Institut
Introduction
For twenty years, various forms of artistic, experimental, media-reflective as well as ‘serious’ types of computer games have been developed. New strategies in gaming are based on artistic research in the growing fields of audio-visual media. Computer games reflect and analyze the function and structure of our societies.
The exhibition New Gameplay is comprised of six sections, presenting works of game art ranging from art that has computer games as its subject to computer games designed by artists. Classic media art and video games will also be a part of this engaging dialogue.
The section ‘Homage à Nam June Paik’ reflects on specific works and strategies created by the Korean father of Video Art and analyze them in juxtaposition with works of JODI, the artist couple who presents non-object games by transferring violent ego-shooter into abstract forms.
The ‘Media Art in the Context of Games’ section includes The Night Journey by media artist Bill Viola who translates video aesthetics into the interactive form of a computer game. Chinese artist Feng Mengbo is represented by his work Long March: Restart, a sixteen-meter long satirizing jump and run of the heroic myth of the Long March of the Communist Party of China’s Red Army. Media art pioneer Jeffrey Shaw’s The Legible City also demonstrates the utilization of gaming formats in the field of art. The ‘Hacking/Modifying Technology’ section reflects on Paik’s role as a forerunner of interactive art.
One area of focus is dedicated to independent and serious games, which have distinguished themselves by their particularly innovative game ideas, interesting experimental claims, and unique consciousness of their own means and forms of expression. Categorized as ‘Society and Games’, these works aim to enhance and train the users’ awareness of political structures and processes in their daily lives.
The ‘Urban Play’ section demonstrates the virtualization of the urban landscape that uses latest developments in 3D-modelling and high-resolution immersive environments. The ‘Games and Apps’ section presents fun mobile games for young visitors.
digiart21.org
Website
2017
English
21st Century Digital Art
digiart21.org, PDF
What if we could see the world-wide information that is uploaded to social media in realtime? What would we learn about each other, ourselves, and what would we get from the experience?
Wand 5 e.V., Stuttgarter Filmwinter
Film and exhibition brochure, 274 pages
2017
Deutsch, English
Claudia Preker, Renate Schreck, Petra Rühle, Marcus Kohlbach
filmwinter.de, Cataloge (PDF)
Exhibition Expanded Media, Kunstbezirk Stuttgart
Artistic works from the competitions Media in Space and Network Culture are on display, which includes cross-border formats such as performance, installation, Expanded Cinema and Net Art like interactive web or social web projects or interventions at public and virtual spaces.
Ausstellung Expanded Media, Kunstbezirk Stuttgart
Gezeigt werden künstlerische Werke aus den internationalen Wettbewerben Medien im Raum und Network Culture. Dazu zählen grenzüberschreitende Formate zwischen Performance, Installation, Expanded Cinema und Netzkunst wie zum Beispiel interaktive Web- und Social-Web-Projekte oder Interventionen im öffentlichen und virtuellen Raum.
Curator: Marcus Kohlbach
Artists: Mikhail Basov (RU), Daniel Burkhardt (DE), HC Gilje (NO), Sebastian Jazura (DE), David Clark (CA), KairUs (Linda Kronman und Andreas Zingerle) (AT), Julia König (DE), Marc Lee (CH), Ben Robinson (GB), Emilio Vavarella (US)
Goethe-Institut Sri Lanka, British Council, Alliance Française de Kotte
Exhibition brochure, 60 pages
2016
English
Susanne Jaschko
Cataloge (PDF)
Cinnamon Colomboscope is a contemporary and multidisciplinary arts festival that takes place in Colombo, Sri Lanka. Originally started in 2013, as a joint initiative between Alliance Française de Kotte, the British Council and the Goethe-Institut, the festival has continued to attract support and participation from Sri Lankan artists as well as those from Europe. Over the past two years, the festival’s reputation has spread beyond these two locales, and more artists from the South Asia region and other parts of the world have wanted to be part of the event.
The festival has always had a legacy of challenging how we view art, by presenting works in venues that are not traditional exhibition or performance spaces. The idea of using art to draw audiences into different parts of the city is the trademark of the Colomboscope festival.
The event is organised by EUNIC Sri Lanka comprising the Goethe-Institut, British Council and Alliance Française de Kotte. Cinnamon Hotels & Resorts is the festival’s title sponsor for the second consecutive year.
This year, the festival is held in venue partnership with the Sri Lanka Postal Department, the Ministry of Science and Technology, Sri Lanka and the Ministry of Post, Postal Services & Muslim Religious Affairs, Sri Lanka.
Artists: Arash Akbari (Iran), Kavan Balasuriya (Sri Lanka), Muvindu Binoy (Sri Lanka), Josephine Bosma (Netherlands), Asvajit Boyle and Lalindra Amarasekara (Sri Lanka), James Bridle (UK), COCA (Sri Lanka), Dinelka (Sri Lanka), Stéphane Degoutin and Gwenola Wagon (France), Rohini Devasher (India), Malaka Dewapriya (Sri Lanka), Constant Dullaart (Netherlands), Sanjana Hattotuwa (Sri Lanka), Gustav Hellberg (Sweden), Louis Henderson (UK), Fieke Jansen (The Netherlands), Sunara Jayamanne (Sri Lanka), Zihan Karim (Bangladesh), Gihan Karunaratne (Great Britain), Daniel Keller (USA/Germany), Michael Ketigan (USA/Sri Lanka), Subasri Krishnan (India), T. Krishnapriya (Sri Lanka), Marc Lee (Switzerland), Manu Luksch, Tobias Reinhart, Thomas Tode (Austria/Germany/Great Britain), Imaad Majeed (Sri Lanka), Danushka Marasinghe and Isuru Kumarasinghe (Sri Lanka), Ali Miharbi (Turkey), Mehreen Murtaza (Pakistan), Aamina Nizar (Sri Lanka), Dhanya Pilo (India), Archana Prasad (India), Arun Prematilleke (Sri Lanka), Chamila Priyanka (Sri Lanka), Tobias Revell (United Kingdom), Jocelyn Robert (Canada), Chris and Ali Rodley (Australia), Sebastian Schmieg (Germany), Semiconductor (Great Britain), Sam de Silva (Sri Lanka), Isaac Smith and Sumudi Suraweera (Sri Lanka), Urs Stäheli (Germany), Sunara (Sri Lanka), Tactical Technology Collective (International), Ivar Veermäe (Estonia/Germany), Ansh Ranvir Vohra (India), Arun Welandawe Prematilleke and Isuru Kumarasinghe (Sri Lanka), Yudhanjaya Wijeratne (Sri Lanka), Subha Wijesiriwardena (Sri Lanka)
Pic-me (PDF), Workshop (PDF)
[BE] MER. Paper Kunsthalle
Book paperback, 88 pages, 27.9 x 21.6 cm
2016
Dutch, English
Jean-Marie Dallet & Isolde De Buck
ISBN: 9789492321473 ISBN-13: 9789492321473
UPDATE_6 gives an overview of how new technological art has developed since the 1950’s. At the site ‘Zebrastraat Ghent’ various renowned and upcoming artists gave their take on the idea of new technological art. Update_6 reflects of this international exhibition and takes the reader on an insightful journey through the evolution of how the new technological arts have unfolded through history.
The appearance, during the 1950’s, of electronic and computer tools in the arts, forced artists to a more in-depth knowledge of techniques and their languages to “master” the new instruments that were now put at their disposal by engineers. Artists reacted to this new development in two main ways: either by collaborating with engineers or by learning to use the new techniques themselves. This new undertaking also forced the artist to make an ideological choice: proceed with the idea of art as causa mentale, or consider finding new ways to master the technology and submit it to their artistic needs. In practice of course, this pas de deux was not as straightforward and, over time, many different exchanges and interweavings saw flourishing. This book aims to provide an overview of the most relevant authors, exhibitions, events and places.
Showcased artists: 1024 Architecture, Assocreaton / Daylight Media Lab, Alessio Chierico, Crew Eric Joris, Michiel De Cleene, Dries Depoorter, Verena Friedrich, Julien Grossmann, Elias Heuninck, Michael Kugler & Sebastian Wolf, Marc Lee, Michael Mandiberg, Quadrature, Theresa Schubert, Karina Smigla-Bobinski, Maja Smrekar, Stanza, Bill Vorn & Louis-Philippe Demers en Lien-Cheng Wang
theinitium.com
Website
2016
Chinese
阿毛 lingguorg
theinitium.com, linggu.org, PDF
Book soft cover, 336 pages
2016
Français
Stefano Stoll, Raphaël Biollay
www.images.ch
Festival IMAGES
Curator
Stefano Stoll, Raphaël Biollay
Artist
ECAL/Florian Amoser, Ludovic Balland, Beni Bischof, Terry Brown & Gordon Stettinius, Renate Buser, Edoardo Delille, Cristina de Middel, Stephen Gill, Michel Huneault, Graciela Iturbide, ECAL/Marvin Leuvray, Matt Lipps, Chema Madoz, Guido Mocafico, Asako Narahashi, Christiane Nill & Lionel Henriod, Martin Parr, Pierre et Gilles, Simon Roberts, Darren Roshier, Joachim Schmid, Ekaterina Shelganova, Laurie Simmons, Berndnaut Smilde, Summit Foundation, Matjaz Tancic, Sylvie Théraulaz, Valerio Vincenzo, Xu Yong, Geta Bratescu, James Casebere, Centre d’enseignement professionnel, Walter Chandoha, Mat Collishaw, Susan Dobson, Pascal Dufaux, Simon Faithfull, Hans-Peter Feldmann, Christian Jankowsky, Thomas Kaufhold & Michael Lapuks, Marc Lee, Lei Lei & Thomas Sauvin, Zilla Leuteneger, Christian Lutz, Guido Mocafico, Martin Parr, Philippe Saire, Michael Schirner, Philipp Schmitt, Alec Soth, Corinne Vionnet, Stéphane Winter, Cee-Roo, Yann Gross, Cyril Hatt, OK Go, PhotoJukeBox, Christian Patterson, Laia Abril, Laurence Aëgerter, Jojakim Cortis & Adrian Sondeger, Anush Hamzehian & Vittorio Mortarotti, WaltrautTaenzler, Thomas Adank, Sébastien Agnetti, Davide Bramante, Emilien Colin & Ruedi Flück, Maude FatBear, Valentin Faure & Hector Fassa, David Gagnebin-de Bons, Michael Hoch & Kathy Kissik & Chris Henschke, Short Cuts, Visarte Vaud, Vitr’in Vevey, JiVé.
Pic-me EN (PDF), Pic-me FR (PDF)
mp.weixin.qq.com
Website
2016
Chinese
Moguer 捕流星的人
mp.weixin.qq.com, PDF
ZKM | Center for Art and Media
Exhibition brochure, 65 pages
2015
Deutsch, English
Peter Weibel, Daria Mille, Giulia Bini
http://zkm.de/publikation/infosphare
The »Infosphere« exhibition presents an overview of art in the era of the digital revolution and its social consequences. In addition, it provides insights into the new data world – whose existence has been finally brought home to the general public, through the NSA affair.
Today, people live in a globally interconnected world in which the biosphere and the infosphere are interfused and interdependent. The Earth is surrounded by a layer of gases which we call the atmosphere. It is the product of photosynthesis, of algae working for millions of years, converting light energy from the sun into air. Evolution’s answer to the atmosphere was the lung. Thus the atmosphere is essential for most living organisms, including people. For around 150 years now, we have been surrounded by an infosphere, as well. With this neologism the technical network is meant, consisting of telegraphy, telephony, television, radio, radar, satellites, and the Internet, which covers the globe and enables global exchange of data as well as the organization of transport for people and goods. Without the global traffic in data, goods, and passengers it would be impossible to meet the biological and social needs and aspirations of over seven billion people.
In the nineteenth century, new transport routes and paths of communication were developed through machines operating on land, sea, and in the air. In the years 1886 to 1888, Heinrich Hertz conducted experiments proving the existence of electromagnetic waves and demonstrating that light consists of these electromagnetic waves. With this discovery, the age of wireless communication began, which enabled message and messenger to be separated: Henceforth data could travel through space without the body of a messenger. In the twentieth century, this resulted in a densely interconnected communication and information network of mobile media: the infosphere – an envelope of radio waves surrounding the Earth. Using artificial, technical organs human beings can, for the first time, use electromagnetic waves for the wireless transmission of words, images, and other data – waves for which humans do not actually possess a sensorium. The social media, which have changed our daily lives, are a part of these technological networks. Thus the formula for the nineteenth and twentieth centuries, “Machinery, Material, and Men” (Frank Lloyd Wright, 1930), must be modified for the twenty-first century: “Media, Data, and Men” (Peter Weibel, 2011). Now that the alphabetic code has been supplemented by the numeric code, algorithms constitute a fundamental element of our social order – from stock exchanges to airports. Against this backdrop, contemporary art operating in the thematic field of big data is especially significant.
Curator: Peter Weibel (Curator), Daria Mille (Co-Curator), Giulia Bini (Co-Curator)
Participating artists
Timo Arnall & Jack Schulze & Einar Sneve Martinussen · Amy Balkin · Aram Bartholl · Wafaa Bilal · Zach Blas · Blast Theory · Bonjour, interactive lab (Jean-Philippe Jacquot, Gustave Bernier & Alexandre Rivaux) · Natalie Bookchin · Dineo Seshee Bopape · David Bowen · James Bridle · Bureau d’Études · Emma Charles · Tyler Coburn · Sterling Crispin · Stéphane Degoutin and Gwenola Wagon · Dennis Del Favero with Elwira Titan, Peter Weibel · Aleksandra Domanović · Thomas Feuerstein · Fraunhofer-Institut für Optronik, Systemtechnik und Bildauswertung IOSB · Laurent Grasso · Yoon Chung Han & Byeong-Jun Han · Jonathan Harris · Mishka Henner · Femke Herregraven · Brian House · Scottie Chih-Chieh Huang · Jennifer Lyn Morone™ Inc · Jia · JODI · Matt Kenyon (SWAMP) · Erik Kessels · Jeong Han Kim, Hyun Jean Lee, Jung-Do Kim · Brian Knappenberger · Oliver Laric · Marc Lee in cooperation with the Chair for Intelligent Sensor-Actuator-Systems (ISAS), ZAK | Centre for Cultural and General Studies at Karlsruhe Institute of Technology (KIT) · George Legrady · Rafael Lozano-Hemmer ·!Mediengruppe Bitnik · Laurent Mignonneau & Christa Sommerer · Jonathan Minard & James George · Warren Neidich · The Office for Creative Research (Mark Hansen, Ben Rubin, Jer Thorp) · The Otolith Group · Julius Popp · Jon Rafman · REMOTEWORDS (Achim Mohné / Uta Kopp) · Stephanie Rothenberg · RYBN.ORG · Mario Santamaria · Philipp Schaerer · Semiconductor · Shinseungback & Kimyonghun · Adam Slowik · Smart Citizen Team in cooperation with IAAC | Fab Lab Barcelona, Media Interactive Design and Hangar · Karolina Sobecka, Christopher Baker · Werner Sobek, Stuttgart · Software Studies Initiative (Lev Manovich, Nadav Hochman, Jay Chow, Damon Crockett) · Superflux · Fabrizio Tamburini · Timo Toots · Suzanne Treister · Unknown Fields Division · Clement Valla · Alex Verhaest · Richard Vijgen · Christoph Wachter & Mathias Jud · Addie Wagenknecht · Gwenola Wagon · Where dogs run · Krissy Wilson · Manfred Wolff-Plottegg mit Peter Weibel und Verena Noack · Matthias Wölfel / Angelo Stitz / Tim Schlippe · Erweiterte Sinnesorgane
ZKM | Center for Art and Media
Exhibition brochure, 68 pages
2015
Deutsch, English
Bernhard Serexhe, Lívia Rózsá
Global Control and Censorship Deutsch English
Description
Knowledge is power. And power is possessed especially by whoever controls the flow of information. This applies particularly in digital culture, where all the information in the World Wide Web can be manipulated, uncontrolled. For a long time, a hope for new forms of democratic participation arose from the use of these digital instruments, but recently they have been misused as the ideal door opener for the surveillance of billions of people. Democratic states have long reserved the right to spy even on their »friends«, in all military, economic, and social aspects, and on all levels: governments, organizations, NGOs, and individual citizens are all under surveillance.
Besides mass analysis of communications metadata and massive access to personal data, there is increasingly open or clandestine censorship through manipulation or shutting down. Where the fear of this threat has no effect, the secrecy of important information is enforced, with methods ranging from hindering publication to kidnapping and assassinating journalists. Being at the mercy of overwhelmingly powerful authorities of control and censorship has become the conditio humana of our time. Today a large part of the public has already resigned in the face of a ubiquitous state and commercial surveillance.
This exhibition is based on the collaboration with a network of scientists, journalists, activists, and artists in some twenty countries around the world, and in cooperation with expert organizations such as the German PEN Center, the Chaos Computer Club, Reporters Without Borders, and such platforms as netzpolitik. org, digitalcourage.de, WikiLeaks, and others. The exhibition’s aim is to expand public debate about the ever-present surveillance and censorship methods, which is an urgent priority not only due to constant new reports in the media, but especially because of the extensive obstruction of the investigation of these practices.
Credits
Bernhard Serexhe (Curator) Lívia Nolasco-Rózsás (Co-Curator)
Organization / Institution ZKM | Karlsruhe
Artists (88)
aaajiao (Xu Wenkai), Hamra Abbas, Lawrence Abu Hamdan, Selma Alaçam, Halil Altindere, Jacob Appelbaum, Olivia Arthur, Sophia Bauer, Anca Benera & Arnold Estefan, Michael Bielicky & Kamila B. Richter, Zach Blas, Osman Bozkurt, James Bridle, Gonçalo F. Cardoso, Alice Cavoudjian, Chen Ching-Yao, James Coupe, Maxim Dondyuk, Hasan Elahi, Mounir Fatmi, Lutz Fezer, Finger Pointing Worker + Kota Takeuchi, Daniel G. Andújar, Fidel García, Benjamin Gaulon, Laurent Grasso, Michael Grudziecki, Holly Herndon, Kenneth Tin-Kin Hung, Jonathon Keats, Martin Lukas Kim, Bodo Korsig, Andrée Korpys & Marcus Löffler, Joe Krasean, Frédéric Krauke, Kwan Sheung Chi, Marc Lee, Alexander Lehmann, Milica Lopičić, Jorge Loureiro, Rafael Lozano-Hemmer, Jonas Lund, Jill Magid, Virginia Mastrogiannaki, Erik Mátrai, Metahaven, Tomomi Morishima, Jens Mühlhoff, Gerardo Nolasco Magaña, Chris Oakley, Şener Özmen, Trevor Paglen, Ruben Pater, Dieter Paul, Chantal Peñalosa, Dan Perjovschi, Axel Philipp, Sascha Pohle, Ma Qiusha, Oliver Ressler, Khvay Samnang, Julia Scher, Shinseungback Kimyonghun, Christian Sievers, Hito Steyerl, Svay Sareth, Team Titanic, Wilko Thiele, UBERMORGEN.COM, Young-Hae Chang Heavy Industries, Damian Weber & Elisabeth Pleß, Moritz Walser, Alex Wenger & Max-Gerd Retzlaff
Weltweite Überwachung und Zensur
Wissen ist Macht. Und Macht hat vor allem, wer den Fluss der Informationen beherrscht. Dies gilt in besonderem Maße in der digitalen Kultur, in der alle Informationen im weltweiten Netz unkontrollierbar manipuliert werden können. Erwuchs aus dem Umgang mit diesen digitalen Instrumenten lange die Hoffnung auf neue Formen demokratischer Partizipation, so werden sie in jüngster Zeit als ideale Türöffner zur Überwachung von Milliarden Menschen missbraucht. Längst nehmen sich auch demokratische Staaten das Recht, selbst ihre »Freunde« auszuspionieren, und dies in allen militärischen, wirtschaftlichen und gesellschaftlichen Belangen sowie auf allen Ebenen: Regierungen, Organisationen, Unternehmen, NGOs und einzelne BürgerInnen werden gleichsam überwacht.
Neben die Massenanalyse der kommunikativen Metadaten und den massenhaften Zugriff auf personenbezogene Daten tritt immer häufiger die offene oder geheime Zensur durch Manipulation oder Abschaltung. Wo die Angst vor dieser Bedrohung nicht wirkt, wird die Geheimhaltung wichtiger Informationen durch direkte Behinderung von Veröffentlichungen bis hin zur Verschleppung und Ermordung von JournalistInnen durchgesetzt. Das Ausgeliefertsein an übermächtige Instanzen der Kontrolle und Zensur ist zur conditio humana unserer Zeit geworden. Bereits heute hat ein großer Teil der Öffentlichkeit vor der Allgegenwart staatlicher und kommerzieller Überwachung resigniert.
Die Ausstellung, die im Rahmen der Infosphäre präsentiert wird, beruht auf der Zusammenarbeit mit einem Netzwerk von WissenschaftlerInnen, JournalistInnen, AktivistInnen und KünstlerInnen in allen Erdteilen und in rund 20 Ländern sowie der Kooperation mit Expertenorganisationen wie dem PEN-Zentrum Deutschland, dem Chaos Computer Club (CCC), Reporter ohne Grenzen, Villa Aurora und mit Plattformen wie netzpolitik.org, digitalcourage.de, WikiLeaks und anderen. Ziel der Ausstellung ist eine Erweiterung der öffentlichen Diskussion über die allgegenwärtigen Überwachungs- und Zensurmaßnahmen, die nicht nur aufgrund stetig neuer Berichte in den Medien, sondern vor allem angesichts der weitgehenden Behinderung der Aufklärung über diese Praktiken als dringlich erscheint.
mp.weixin.qq.com
Website
2015
Chinese
师刘卓群（Jack Lew）教授
PDF
Merian, Christoph Verlag, HeK (Haus der elektronischen Künste Basel)
Book softcover, 272 pages, 83 mainly colour illustrations, 17 x 24 cm
2015
Deutsch, English
Sabine Himmelsbach, Claudia Mareis (ed.)
ISBN 978-3-85616-681-6
https://hek.ch/en/program/exhibitions/poetics-and-politics-of-data
Poetics and Politics of Data reflects life in a world increasingly controlled by data and presents artistic positions that aim to make continuous streams of data visible – whether using Internet-based installations or graphic data visualizations. The participating artists question the relevance and place of the individual in a technologically connected society in which every day, each of us generates a nearly incomprehensible amount of data: Our every move on the Internet leaves behind a digital trace. In critical essays, Orit Halpern, Sabine Himmelsbach, Lev Manovich, Claudia Mareis, Ramón Reichert and Roberto Simanowski explore the phenomena of ‹Big Data› and ‹Data Mining› and pose critical questions about the ambivalence of life in a «datified» world.
I can’t think of any other book that pinpoints in such a wide-ranging and critical way the topic of politics and data. This is a solid publication that goes beyond its simple role of being an art catalogue. (Régine Debatty, www.we-make-money-not-art.com, 25.8.2015)
Curator
Sabine Himmelsbach
Artists
Christopher Baker, Aram Bartholl, Paolo Cirio, R. Luke DuBois, Ellie Harrison, Marc Lee, Bernhard Hopfengärtner & Ludwig Zeller, Rafael Lozano-Hemmer, Kristin Lucas, Moniker, Jennifer Lyn Morone, RYBN, Erica Scourti
Catalogue
2015,
日本の (Japanese)
Japan Media Arts Festival, Japan
http://archive.j-mediaarts.jp
The 18th Japan Media Arts Festival is on in Tokyo 4-15 February. The festival includes the Exhibition of Award-winning Works, a reflection of the “here and now” of Media Arts, and a concurrent program of 150 events.
The Japan Media Arts Festival is a comprehensive festival of Media Arts (Media Geijutsu) that honors outstanding works from a diverse range of media – from animation and comics to media art and games. The festival gives awards in each of its four divisions: Art, Entertainment, Animation, and Manga. It also provides a platform for appreciation of the award-winning and other notable works.
The exhibition presents the Award-winning Works from the four divisions of Art, Entertainment, Animation and Manga, chosen by the jury from among a record number of 3,853 entries from 71 countries and regions. The winners of Special Achievement Awards will also be shown. The Award-winning Works, selected after a rigorous judging process, reflect the most recent trends in their respective fields.
Venue
The National Art Center, Tokyo
Head of the Jury
MIWA Masahiro
Jury Selections Art Division
KAWASHIMA Takashi, Goldfish Liberation Movement, ISHIBASHI Tomoya, The old photo studio, SONE Koki, A Woman Imprisoned – by Kuniharu Akiyama’s Poetry for a Tape Recorder, HIGAKI Tomonari, Yohaku Shoten – Bookstore ‘Margin’, UCHIDA Seira / ISHIHATA Ai / KOBAYASHI Kikka, Searching for Eur-Asia, WATANABE Shinya / KIN Mizuki, Abramovic Method Games, Pippin BARR, Alphabet, Mohamed ALLAM, anima, SASAOKA Yuriko, APHASIA, HUANG Yintzu, CINEMA – writing letters in a camera obscura, KIMURA Noriyuki, cloud piano, David BOWEN, Counting Blessings, SHEN Xin, Desilusiones ópticas, Leandro Manuel NUÑEZ, Different Ways to Infinity, Félix LUQUE SÁNCHEZ, Double Standards – Somali Seajacks 2010-2012, Ruben PATER, Forest of Daxophone, UCHIHASHI Kazuhisa, Every Man’s Land, Tamara Abdul HADI, Flat Logic – The Book, Jan CHLUP, Giraffe’s Eye, OKADA Kenichi / HIYAMIZU Kunie / HARIMOTO Kazunori / WATANABE Hirotaka / LIU Gongzhen, I was looking for Park Hyatt Tokyo, Jörgen AXELVALL, Impermanence Trajectory: stained seed, AUJIK (Stefan LARSSON), Lampedusa or the extended desert, Massimiliano GATTI, License 2 Draw – Extreme Distance-Controlled Drawing – Art by the Public via License 2 Draw App, NGUYEN UuDam Tran, Light Barrier, SON Mimi / Elliot WOODS, Mirage, Ralf BAECKER, Pic-me – fly to the locations where users send posts, Marc LEE, POTLATCH, David ADLER, Pythia, Helle Kingbird BJERREGAARD, RELiable COMmunications, Yuri PATTISON, Scriptum, Gijs van BON, Second Livestock, Austin STEWART, sowing machines, Simon DEEG / Andreas PICKER, Street Views Patchwork, Julien LEVESQUE, Sugababe, Diemut STREBE, SYN-Phon, Candaș ȘIȘMAN, The Blind Robot, Louis-Philippe DEMERS, THE CAPTCHA PROJECT, Emilio VAVARELLA, The Mamori Expedition, Els VIAENE, The Mute, Hilla BEN ARI, The Sun Experiment (Ether Echoes), Elise FLORENTY / Marcel TÜRKOWSKY, Time Jitters, Jody ZELLEN, Train, Luisa PUTERMAN, Versteckt, Rob CARTER, VIDERE DECK, YAMASHIRO Daisuke, Jury Critiques
Kunstforum, ZKM | Karlsruhe: GLOBALE
Zeitschrift / Serie, 408 pages
2015
Deutsch
Giulia Bini, Annika Etter, Stine Hollmann, Michael Hübl, Christina Irrgang, Heinz-Norbert Jocks, Sabiha Keyif, Bruno Latour, Marjoleine Leever, Carmela Thiele, Wolfgang Walk, Peter Weibel, Philipp Ziegler
http://zkm.de/publikation/kunstforum-international-237
»KUNSTFORUM« nimmt das 300 Tage dauernde Großereignis des ZKM | Zentrum für Kunst und Medientechnologie KArlsruhe, die »GLOBALE« zum Anlass, die großen Themen und entscheidenden Tendenzen des 21. Jahrhunderts zu dokumentieren: Globalisierung und Digitalisierung an der Schnittstelle zur Naturwissenschaft, werden anhand der ausgestellten aktuellsten Kunstproduktionen in kommentierten Ausstellungsrundgängen, Essays und Interviews diskutiert.
Sie werden dort künstlich geschaffene Mikroben sehen, die verschmutztes Wasser reinigen. Sie sehen, wie in nanotechnologischen Fabriken aus dem Feind CO2 der Freund gemacht wird, indem das Oxygen vom Kohlenstoff abgespalten und zur Erzeugung synthetischer Brennstoffe verwendet wird. Sie sehen Materiezustände, die sich den Erfordernissen des Menschen anpassen. Sie sehen, wie winzige Bewegungen eines Ohrs riesige Flügelapparate in Bewegung versetzen. Sie sehen Lösungen für die Probleme des 20. Jahrhunderts – erschaffen von einer neuen Allianz zwischen Kunst und Wissenschaft, der Renaissance 2.0.
In den beiden zentralen Ausstellungen der Infosphäre und der Exo-Evolution treffen die Leitgedanken brennpunktartig zusammen: Was ZKM-Direktor Peter Weibel als „Confluence of Cultures“ bezeichnet, soll letztlich auf eine neue Definition des Menschen hinwirken, der sich nicht mehr als Mangelwesen, sondern dank seiner avancierten Technologien als Möglichkeitswesen begreift.
Renaissance 2.0: Der Mensch als Möglichkeitswesen
ZKM | Zentrum für Kunst und Medientechnologie
Autor/innen (13)
Giulia Bini, Annika Etter, Stine Hollmann, Michael Hübl, Christina Irrgang, Heinz-Norbert Jocks, Sabiha Keyif, Bruno Latour, Marjoleine Leever, Carmela Thiele, Wolfgang Walk, Peter Weibel, Philipp Ziegler
Artists (200)
aaajiao (Xu Wenkai), Dirk Achenbach, Selma Alaçam, Edmar de Almeida, Halil Altindere, Yuri Ancarani, Alisa Andrasek, Daniel G. Andújar, Anna Anthropy, Jacob Appelbaum, Timo Arnall, Artificial Nature, Lise Autogena, Amy Balkin, Nurit Bar-Shai, Aram Bartholl, Anca Benera & Arnold Estefan, Michael Bielicky, Ursula Biemann, Wafaa Bilal, Zach Blas, Dineo Seshee Bopape, Gabriel Borba, David Bowen, Osman Bozkurt, James Bridle, Peter Brinson, Adam W. Brown, Alexander Bruce, Bureau d’Etudes, Oron Catts, Alice Cavoudjian, Center for PostNatural History, Young-Hae Chang Heavy Industries, Emma Charles, Tyler Coburn, Sterling Crispin, Stéphane Degoutin and Gwenola Wagon, Louis-Philippe Demers, Heather Dewey-Hagborg, Aleksandra Domanović, Maxim Dondyuk, Anna Dumitriu, ecoLogicStudio, Hasan Elahi, Elmgreen & Dragset, Leandro Erlich, Christian Falsnaes, Mounir Fatmi, Dennis Del Favero, Peter Fend / Ocean Earth, Thomas Feuerstein, Samson Flexor, Alicia Framis, Klaus Fritze, Galactic Cafe, Fidel García, Benjamin Gaulon, Alexandra Daisy Ginsberg, gold extra, Pan Gongkai, Baruch Gottlieb, Laurent Grasso, Tue Greenfort, Michael Grudziecki, Zaha Hadid Architects, Yoon Chung Han & Byeong-Jun Han, Jonathan Harris, Mishka Henner, Camille Henrot, Femke Herregraven, History of Others, Richard Hofmeier, Hans Hollein, Brian House, Scottie Chih-Chieh Huang, Kenneth Tin-Kin Hung, Ryoji Ikeda, Jia, Chris Jordan, Dieter Jung, Rocio von Jungenfeld, Dietmar Kamper, Matt Kenyon (SWAMP), Jeong Han Kim, Hyun Jean Lee, Jung-Do Kim, Shinseungback Kimyonghun, Brian Knappenberger, Knowbotic Research, Tetsuo Kondo, Andrée Korpys, Frédéric Krauke, Allison Kudla, Nandita Kumar, Ebru Kurbak, Oliver Laric, Marc Lee, Lynn Hershman Leeson, George Legrady, Armin Linke, Johan Lorbeer, Bernhard Löwe, Gerardo Nolasco Magaña, Erik Mátrai, Einar Sneve Martinussen, Maxin10sity, !Mediengruppe Bitnik, Jeremias Mechler, Chantal Michel, Laurent Mignonneau, Jonathan Minard & James George, Achim Mohnè / Uta Kopp, Jennifer Lyn Morone™ Inc, Matthias Müller, Andreas Müller-Pohle, Jörn Müller-Quade, Dave Murray-Rust, Matthias Nagel, Michael Najjar, Warren Neidich, The Office for Creative Research, Geraldine Ondrizek, Lucy & Jorge Orta, Neri Oxman, Geoffrey Alan Ozin, Şener Özmen, Trevor Paglen, Nam June Paik, Dieter Paul, Paolo Pedercini, Dan Perjovschi, Miklós Peternák, Axel Philipp, Sascha Pohflepp, Sascha Pohle, PONG.LI, Lucas Pope, Julius Popp, Joshua Portway, Irene Posch, Jon Rafman, Kamila B. Richter, robotlab, Robert Root-Bernstein, Tim Otto Roth, Stephanie Rothenberg, RYBN.ORG, Jose Sanchez, Klaus Sander, Mario Santamaria, Tomás Saraceno, Svay Sareth, Philipp Schaerer, Julia Scher, Jack Schulze, HA Schult, SEAD (Space Ecologies Art and Design), Mavros Sedeño, Semiconductor, Corrie Van Sice, Christian Sievers, Maja Smrekar, Werner Sobek, Karolina Sobecka, Christopher Baker, Software Studies Initiative, Ed Sommer, Christa Sommerer, Andrew Stellitano, Hito Steyerl, Adam Słowik, Superflux, Fabrizio Tamburini, Paulo Tavares, Wilko Thiele, Elwira Titan, Transsolar Energietechnik GmbH, Suzanne Treister, Luca Trevisani, Troika, UBERMORGEN.COM, Kurosh ValaNejad, Clement Valla, Koen Vanmechelen, Aline Veillat, Alex Verhaest, José Luis de Vicente, Richard Vijgen, Bill Vorn, ::vtol::, Christoph Wachter & Mathias Jud, Addie Wagenknecht, Moritz Walser, Peter Weibel, Wermke/Leinkauf, Where Dogs Run, Daniel Widrig, Matthias Wölfel / Angelo Stitz / Tim Schlippe, Erwin Wurm, Niobe Xandó, Pinar Yoldas, lonat Zurr
MMCA | Museum of Modern and Contemporary Art Seoul
Book hardcover, 561 pages
2014
English, 한국 (Korean)
CHUNG Hyungmin
ISBN: 978-89-6303-069-2
10.000 moving cities – same but different, Page 60 – 71 (PDF), Website MMCA
Birth of a Museum: Documenting the Construction of MMCA, Seoul
MMCA presents five special exhibitions on the occasion of her inauguration that anticipate the vision and direction of the new museum, introducing artworks by approximately 120 artists in seven disciplines. Connecting_Unfolding aims to advance into the heart of Korean art and into the hub of the international art scene; The Aleph Project symbolizes the future of MMCA Seoul as a platform for communication and a fusion of diverse genres of contemporary art; Zeitgeist Korea depicts the potential of Korean contemporary art within a historical context; Site-specific Art Project presents customized, large-scale site-specific installation works that fully utilize the museum’s spaces; and Birth of a Museum shows a diverse and holistic photographic documentation of MMCA Seoul’s construction process.
Connecting_Unfolding, the premiere exhibition of the Museum of Modern and Contemporary Art Seoul, is designed to accentuate art’s ever-changing interpretation of and union with life, particularly in this era of disintegrating boundaries and emerging dimensions of convergence and synthesis between disciplines. The exhibition represents a fresh inquiry into the ways in which our individual values and ideas may erupt into the world, igniting communication and forcing us to reassess the value of art in any given era or society. In this context, a team of curators from six countries Eunju Choi, Richard Flood, Ann Gallagher, Yuko Hasegawa, Sook-Kyung Lee, Bernhard Serexhe, and Pooja Sood have gathered to select the seven participating artists: Tacita Dean, Kim Jones, Amar Kanwar, Marc Lee, Lee Mingwei, Kishio Suga, and Minha Yang. In the marvelous new venue of MMCA Seoul, built to represent the intersection of various concepts the traditional and contemporary, history and the present, society and art, the museum’s inaugural exhibition focuses on the primary themes of “connecting” and “unfolding,” incessant processes through which phenomena perpetually encounter and contact one another to enact new dimensions and possibilities.
Ions of convergence and synthesis between disciplines. The exhibition represents a fresh inquiry into the ways in which our individual values and ideas may erupt into the world, igniting communication and forcing us to reassess the value of art in any given era or society. In this context, a team of curators from six countries Eunju Choi, Richard Flood, Ann Gallagher, Yuko Hasegawa, Sook-Kyung Lee, Bernhard Serexhe, and Pooja Sood have gathered to select the seven participating artists: Tacita Dean, Kim Jones, Amar Kanwar, Marc Lee, Lee Mingwei, Kishio Suga, and Minha Yang. In the marvelous new venue
Email interview Marc Lee
2014
Chinese/ English
Interview Marc Lee (PDF)
LandEscape Art Review, United Kingdom
Publication
2014
English
LandEscape Art Review, Marc Lee, Page 56 – 71 (PDF)
Schweizer Medienkünstler Marc Lee stellt in Seoul aus
DIGITAL BRAINSTORMING
Website
2014
Deutsch
Sternenjaeger
blog-de.digitalbrainstorming.ch, PDF
Journal Generation i.2 – Ästhetik des Digitalen im 21. Jahrhundert
Claudia Giannetti
Journal with colour ill
2013
Deutsch
Claudia Giannetti
ISBN: 978-3-00-043807-3
EDITH-RUSS-HAUS für Medienkunst
http://www.edith-russ-haus.de/shop/shop/publikationen.html
Exhibiton: Generation i.2 – Aesthetics of the Digital in the 21st Century
15.11.2013 – 16.02.2014
EDITH-RUSS-HAUS für Medienkunst, Oldenburg, Germany
Worldwide networking creates new, global aesthetic tendencies: that is the tenor of this exhibition. It presents a selection of outstanding key works by international artists of the five continents. The exhibition’s main objective is to take interim stock of the most prominent tendencies in contemporary art in the first decade of the 21st century whose works are directly or indirectly influenced by the new languages of digital media, social network cultures, and networking processes—both in a formal and conceptual as well as in an aesthetic sense.
The title plays with various concepts: “Generation” describes the new generation of Internet users; “i” stands for current cultural concepts such as, for example, interactivity, interface, intercommunication, etc.; and “2” refers to the tag “Web 2.0” or social media, which strike a very new path that is geared toward prosumers.
Inspired by applied, formal, and aesthetic qualities, the artists deal with the exploration of the opportunities and risks associated with these new resources, which are brought to bear in the various arts presented in this exhibition: painting, drawing, photography, interactive installations, and video art.
The viewer is confronted with issues related to the globalization of artistic creations and the mondialité (mondalisation [Édouard Glissant]) of the imagination.
Credits
Claudia Giannetti (Curator)
Artists
Christopher Baker (USA), Natalie Bookchin (USA), Mamadou Cissé (Senegal), Hasan Elahi (India/USA), c a l c & Johannes Gees (Spain/Switzerland), Eva Domènech (Spain), Marc Lee (Switzerland), Gabriel Mascaro (Brazil), Antoine Schmitt (France), Georgie Roxby Smith (Australia), David Schnell (Germany), Wolfgang Zach (Germany)
Fundaçâo Eugénio de Almeida, Coleção / Collection ZKM | Karlsruhe
Exhibition brochure, 125 pages
2013
Englisch / Português
Peter Weibel, Claudia Giannetti, Bernhard Serexhe
ISBN: 978-972-8854-63-8
Organisation / Institution
http://zkm.de/publikation/interinvencao-interinvention, English
INTER[IN]VENÇÃO
29.11.2013 – 09.03.2014, Fórum Eugénio de Almeida
Description
Fórum Eugénio de Almeida presents, for the first time in Iberian Peninsula, a wide selection of works from the Collection ZKM | Center for Art and Media Karlsruhe, Germany – the world’s most important center for art and technology.
The exhibition brings to Fórum Eugénio de Almeida some of the most relevant works by Nam June Paik, one of the pioneers of media art, and comprises 33 pieces by 39 internationally renowned artists such as Bruce Nauman, Marina Abramovic, Bill Viola, Christa Sommerer & Mignonneau Laurent, Paul Sermon, Tony Oursler, Peter Weibel, Masaki Fujihata, Valie Export, Pipilotti Rist, Paul Garrin, Robert Wilson, among others.
The selection includes works in formats such as video sculpture, video art, video performance, video installation, audiovisual installation, interactive installation, and interactive sound installation.
The exhibition’s central thematic focus falls on the two concepts present in its title: intervention and invention. We highlight the relation between the etymologies of both terms and the artistic genres shown: the prefix “inter” expresses an intermediate position, while “in” denotes an inward movement, an action with-in the work. Invention is the capacity to create and discover, but also the action of imagining “virtualities”, a characteristic common to many media art pieces. A widely used concept in the field of contemporary art, intervention usually stands for interference, manipulation and interaction between oeuvre and audience. With the show’s emphasis on interactive art and through its inventions and interventions, the audience stops being a passive observer and becomes the main protagonist of the exhibition.
Credits
Claudia Giannetti (Curator), Peter Weibel (Curator)
29.11.2013 – 09.03.2014, Fórum Eugénio de Almeida
Beschreibung
Der Schwerpunkt der Ausstellung, die im erst kürzlich eröffneten Fórum Eugénio de Almeida in Évora in Portugal zu sehen sein werden, liegt auf Interaktion und Erfindung: zentrale Werke interaktiver Kunst aus der Medienkunstsammlung des ZKM machen den passiven Beobachter der Ausstellung zum aktiven Handelnden und Protagonisten. Als umfangreiche Medienkunst-Ausstellung bietet die Sammlung des ZKM einen vielfältigen Einblick in künstlerische Produktionen auf Basis der »neuen« Medien der letzten 25 Jahre und zeigt künstlerische wie technologische Entwicklungen dieser Zeit.
Die Ausstellung besteht aus 33 Werken von insgesamt 39 international renommierten KünstlerInnen wie etwa Bruce Naumann, Marina Abramovic, Bill Viola, Christa Sommerer & Laurent Mignonneau, Paul Sermon, Tony Oursler, Peter Weibel, Masaki Fujihata, Valie Export, Pipilotti Rist, Paul Garrin und Robert Wilson. Die Auswahl der Werke umfasst Formate wie Video-Skulptur oder Videokunst, aber auch Videoinstallation, audiovisuelle oder interaktive Installation und Klanginstallation.
ZKM-Vorstand Peter Weibel wird am Fr, 29.11.2013 um 15 Uhr im Vorfeld der Ausstellungseröffnung einen Vortrag mit Titel »Media and Amechania« (in Englisch) im Auditorium des Fórum Eugénio de Almeida halten. Dieser Vortrag ist Teil der Vortragsreihe »Cultural Technologies and Media Arts | In memoriam Friedrich Kittler« des Goethe-Instituts Lissabon.
Contributors (32)
Marina Abramović/Ulay, Monika Fleischmann, Wolfgang Strauss, Masaki Fujihata, Kiyoshi Furukawa, Wolfgang Münch, Julia Gerlach, Bernd Lintermann, Peter Weibel, Shigeko Kubota, Marc Lee, Rafael Lozano-Hemmer, Franziska Megert, Bruce Nauman, Tony Oursler, Nam June Paik, Jud Yalkut, Paul Sermon, Christa Sommerer, Laurent Mignonneau, Golan Levin, Zachary Lieberman, Tmema, Bill Viola, Valie Export & Peter Weibel, Peter Campus, Zbigniew Rybczyński, Pipilotti Rist, Steina Vasulka, Paul Garrin, Bjørn Melhus, Tamás Waliczky
Autor/innen (8)
Ronja Friedrichs, Doris Gassert, Julia Gerlach, Claudia Giannetti, Bernhard Serexhe, Frauke Syamken, Stephanie Syring, Peter Weibel
Artists (49)
Marina Abramović/Ulay, Joachim Baur, Klaus vom Bruch, Robert Cahen, Peter Campus, Rejane Cantoni, Olafur Eliasson, Valie Export & Peter Weibel, Harun Farocki, Ken Feingold, Monika Fleischmann, Masaki Fujihata, Kiyoshi Furukawa, Paul Garrin, Julia Gerlach, Walter Giers, Ingo Günther, Jenny Holzer, Shigeko Kubota, Daniela Kutschat, Marc Lee, Lynn Hershman Leeson, Bernd Lintermann, Rafael Lozano-Hemmer, Franziska Megert, Bjørn Melhus, Olaf Metzel, Wolfgang Münch, Bruce Nauman, Tony Oursler, Nam June Paik, Otto Piene, Pipilotti Rist, Ulrike Rosenbach, Zbigniew Rybczyński, Paul Sermon, Jeffrey Shaw, Sommerer & Mignonneau, Wolfgang Strauss, Aldo Tambellini, Tmema, Steina Vasulka, Jan Verbeek, Bill Viola, Wolf Vostell, Tamás Waliczky, Peter Weibel, Robert Wilson, Jud Yalkut
Ambra V Wien and ZKM | Center for Art and Media
Anthology / Sammelband, 665 pages, 174 images in color, 30 images b/w
2013
Deutsch, English, Français
Bernhard Serexhe (Hg.)
ISBN: 978-3-7091-1469-8; ISBN: 978-3-7091-1469-8; ISBN: 978-3-9904-3533-Digital Art Conservation Deutsch, English, Français, Fallstudie Gassert: TV Bot 2.0 (DE), (EN)
English edition
Theory and Practice in the Conservation of Digital Art. The Project digital art conservation
Are you born-digital? This could be the ultimate, decisive question in the future when it comes to preserving and making the art of our time accessible for future generations. The book presents the results of the digital art conservation project that was conceived at the ZKM | Center for Art and Media Karlsruhe in 2010. It includes text contributions by major theorists, restorers, programmers, and artists as well as case studies. It is designed to foster the international debate on the conservation of digital art. With contributions by Edmond Couchot, Alain Depocas, Johannes Gfeller, Sabine Himmelsbach, Anne Laforet, Aymeric Mansoux, Antoni Muntadas, Jussi Parikka, Bernhard Serexhe, Peter Weibel, Siegfried Zielinski, and many others.
Deutsche Edition
Konservierung digitaler Kunst: Theorie und Praxis. Das Projekt digital art conservation
Are you born-digital? Das wird in Zukunft die entscheidende Frage sein, wenn es darum geht, die Kunst unserer Zeit zu bewahren und zugänglich zu machen. Die vorliegende Publikation präsentiert die Ergebnisse des Forschungsprojekts digital art conservation das 2010 am ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe ins Leben gerufen worden ist und soll den internationalen Diskurs über die Konservierung digitaler Kunst vorantreiben. Sie enthält Textbeiträge bedeutender Medientheoretiker, Restauratoren, Programmierer und Künstler sowie Fallstudien. Mit Texten unter anderem von: Edmond Couchot, Alain Depocas, Johannes Gfeller, Sabine Himmelsbach, Anne Laforet, Aymeric Mansoux, Antoni Muntadas, Jussi Parikka, Bernhard Serexhe, Peter Weibel und Siegfried Zielinski.
Édition Français
Théorie et pratique dans la conservation d’art numérique. Le Projet digital art conservation
Are you born-digital ? Telle sera la question décisive à l’avenir lorsqu’il s’agira d’exposer et conserver l’art de notre temps. Cette publication présente les résultats du projet de recherche digital art conservation initié en 2010 par le ZKM | Centre d’art et de technologie des médias de Karlsruhe afin de promouvoir le débat international sur la conservation de l’art numérique. Outre les études de cas, les contributions rassemblées ici sont signées par des spécialistes de renom, artistes, restaurateurs, programmeurs et théoriciens des médias, parmi lesquels Edmond Couchot, Alain Depocas, Johannes Gfeller, Sabine Himmelsbach, Anne Laforet, Aymeric Mansoux, Antoni Muntadas, Jussi Parikka, Bernhard Serexhe, Peter Weibel, Siegfried Zielinski.
Artists (13)
Heiner Blum, Frank Fietzek, Herbert W. Franke, Hervé Graumann, Perry Hoberman, Marc Lee, Nicolas Moulin, Michael Naimark, Nam June Paik, Samuel Rousseau, Antoine Schmitt,Jeffrey Shaw, JODI
Neckar-Vlg
Sammelmappe 24,5 x 32,5 cm, inkl. DVD
2012
Deutsch
ISBN-10 3-7883-9215-0 / 3788392150, ISBN-13 978-3-7883-9215-4 / 9783788392154
Breaking The News – Be a News-Jockey, Marc Lee (PDF)
In Zusammenarbeit mit dem ZKM entstand diese Sammelmappe.
Sie dokumentiert 18 beispielhafte Medienkunstwerke aus der Sammlung des ZKM und beleuchtet die Entwicklung der Medienkunst von ihren Anfängen bis heute.
Das beiliegende Begleitheft mit einer Vita der Künstler/-innen und Beschreibung der Kunstwerke ermöglicht zusammen mit der Dokumentation der Werke auf DVD eine fundierte Beschäftigung mit den Kunstwerken im Unterricht und bereitet hervorragend auf einen Besuch des ZKM vor.
Meisterwerke der Medienkunst
Marc Lee (geb. 1969): „Breaking The News – Be a News-Jockey“, 2007
Interaktive Medieninstallation
Text: Katrin Heitlinger
Vom virtuellen Jonglieren mit Nachrichten
Marc Lee (geb. 1969) | Breaking The News – Be a News-Jockey, 2007
Interaktive Medieninstallation, 1 PC mit 4 DVI- oder VGA-Ausgängen, 4 Projektoren, 2
Lautsprecher, 1 Breitband-Internetverbindung | Maße variabel | Zürich, im Besitz des Künstlers
Art World Magazine Shanghai
Art magazine
2012
中国 (Chinese)
Interview with Marc Lee
ISSN 1005-7722
PDF
Art world 2012年1、2月合刊 260 Issue
在这期合刊中，中外艺术家们不仅对灾难、战争发言，对金融、时局表态，也对八卦、娱乐、寻人启事好奇。如果说“去人民性”是第三世界当代艺术曲线救国的策略，那么我们不如把艺术家鉴定为外星来客，或者是那些悬浮在空中让人类焦虑的 PM2.5 颗粒。“介入”社会并非他们的诉求和职业病，因为他们确实生活在其中，只是以漂移的方式罢了。换言之，当他们漂移时，便成为了艺术家（进入了艺术的状态）。
Hatje Cantz Verlag in connection with Tallinn, European Capital of Culture 2011
Exhibition catalogue, 240 pages, approximately 80 color illustrations, 50×24 cm
2011
Deutsch, English, Estonian
Sabine Himmelsbach; KUMU Art Museum, Tallinn; Ralf Eppeneder, Goethe-Institut, Estonia. Texts by Sirje Helme, Sabine Himmelsbach, Raivo Kelomees, Karin Ohlenschläger and others
ISBN 978-3-7757-2796-9
http://www.goethe.de/ins/ee/prj/gtw/ueb/en6944843.htm
The gateways catalogue introduces artists whose works deal with the changed conditions of an interconnected world that increasingly is influenced by media.
The exhibition gateways. Art and Networked Culture introduces a young generation of artists whose work deals with the changing conditions of a networked world – a world increasingly transmitted through media. The artistic works presented here use various means to tackle the theme of gateways that lead to realms of action and experience in our digitally interconnected culture.
Through their use of electronic networks and mobile technologies, the artists encourage the public to participate actively and transport new experiences in perception.
Artists
Aram Bartholl, Clara Boj & Diego Diaz, boredomresearch, Petko Dourmana, Escoitar.org, Mindaugas Gapševičius, Kirsten Geisler, Ingo Günther, Hanna Haaslathi, Karel Koplimets & Ivar Veermäe, Katarzyna Krakowiak, Christina Kubisch, Andreja Kulunčić, Marc Lee, Les Liens Invisibles, Jenny Marketou, Eva & Franco Mattes, Achim Mohné & Uta Kopp, Tanja Ostojić, Julius Popp, RIXC, Sašo Sedlaček, Zoltán Szegedy-Maszák / Márton Fernezelyi, Thomson & Craighead, Timo Toots, Anna Trapenciere, You Must Relax
ZKM | Center for Art and Media
Exhibition brochure, 54 pages
2011
Deutsch, English, Français
Bernhard Serexhe, Arnaud Obermann, Chiara Marchini Camia
http://zkm.de/publikation/digital-art-works Deutsch, English, Français
ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe in cooperation with Espace Multimédia Gantner ; CEAAC (Centre Européen d’Actions Artistiques Contemporaines)
Was passiert mit Medienkunst, wenn sich das Internet–Environment, für das sie konzipiert wurde, verändert? Dürfen Arbeiten, die einst für den PC entwickelt wurden, heute auf dem iPad gezeigt werden? Die Ausstellung »Digital Art Works. The Challenges of Conservation« geht Fragen nach dem Sammeln, Ausstellen und Erhalten computerbasierter Kunstwerke auf den Grund und lässt die Vorgänge rund um die digitale Konservierung sichtbar werden.
Seit wenigen Jahrzehnten erlaubt die Digitalisierung eine leichtere Bearbeitung und Weitergabe von Daten; im Internet sollen sie jedem Nutzer jederzeit an jedem Ort zur Verfügung stehen. Grundsätzlich aber ist die Bewahrung von digitalen Inhalten einer immer kurzfristigeren Anpassung an neue technische Systeme unterworfen. Damit scheint das Fortbestehen des kulturellen Gedächtnisses grundsätzlich unsicher.
Im Rahmen des EU–Forschungsprojekts »digital art conservation« wurden anhand von zehn Fallstudien Konzepte für die langfristige Erhaltung dieser, aufgrund des rapiden technologischen Wandels, besonders fragilen Kunstwerke entwickelt. Die zehn Fallstudien sowie weitere Werke aus der ZKM_Sammlung bilden den Kern der Ausstellung »Digital Art Works. The Challenges of Conservation«; sie eröffnen das breite Spektrum um die Problematik der Konservierung digitaler Kunst und verweisen auf deren Notwendigkeit.
Eingebettet in ein didaktisches Rahmenprogramm werden die Kunstwerke als solche im Mittelpunkt stehen: Klassiker wie Nam June Paiks »Internet Dream« oder Jeffrey Shaw’s »The Legible City« begegnen den BesucherInnen der Ausstellung ebenso wie die jüngsten »Hack–Aktionen« des niederländischen Künstlerduos Jodi oder die »Diagramm–Poesie« des Franzosen Antoine Schmitt. »Digital Art Works« trägt damit nicht zuletzt einer für unsere Zeit repräsentativen Kunstgattung und deren Eigenleben inner– und außerhalb des Museums Rechnung.
Artists (10)
Herbert W. Franke, Hervé Graumann, JODI, Marc Lee, Nicolas Moulin, Michael Naimark, Nam June Paik, Samuel Rousseau, Antoine Schmitt, Jeffrey Shaw
Hildegard Fraueneder, Gianni Stiletto
Book softcover, 208 pages, 16 x 23 cm
2010
Deutsch
Hildegard Fraueneder, Gianni Stiletto
ISBN 978-3-99014-014-7
Reader zum Festival “basics. Medien / Kunst / Gesellschaft”, veranstaltet von ARGEkultur, Fachhochschule Salzburg – MultiMediaArt, subnet und der Galerie 5020
Soll und kann Kunst die Welt verändern? Soll sie zu Revolutionen anstiften und Menschen dazu bewegen, sich zur Wehr zu setzen? Kann sie Unterdrückung und Abhängigkeit bekämpfen?
Der Band erforscht Protest und Widerstandsformen im Kontext künstlerischer, medialer und kultureller Praxis und fragt, wie sich diese in unterschiedlichen Wissensdisziplinen wie der Sozial-, Medien- und Kunstwissenschaft ausbilden.
„Was tun” ist Motto im doppelten Sinn: einerseits als verzweifelte Frage nach Handlungsmöglichkeiten, andererseits als entschlossener Aufruf zum Handeln.
Hildegard Fraueneder, geboren 1961, Kunstwissenschaftlerin und Ausstellungskuratorin. Forschung und Lehre an den Salzburger Universitäten und an der FH Salzburg in Genderstudies, Kunst und Gesellschaft, Kunsttheorie und Gegenwartskunst. Publikationen und Vorträge. Leiterin der Galerie 5020 in Salzburg.
Gianni Stiletto, geboren 1953, freier Komponist und Keyboarder. Kompositionsstudium an der Musikhochschule Wien, Gründungsmitglied des K&K Experimentalstudios, Medienperformances und -installationen. Seit 1996 department head audio des Studiengangs Multi-MediaArt der FH Salzburg.
FHNW, Basel
Cataloge
2010
Deutsch, English
Markus Schwander, Reinhard Storz
PDF
Translations: Aileen Derieg, Jean-Marie Clarke, Tolingo Hamburg
Editing: Isabel Zürcher
Design: Nicole Boillat (Edit – gestaltet)
Publication Owning Online Art – Selling and Collecting Netbased Artworks
The research project Owning Online Art – Study for a Netart Gallery of the UAS Northwestern Switzerland, Academy of Art and Design was funded by the Kommission für Technologie und Innovation (KTI).
This publication was supported by the UAS Northwestern Switzerland, Academy of Art and Design, the Christoph Merian Foundation und the Migros Kulturprozent.
In the publication Owning Online Art – Selling and Collecting Netbased Artworks, art historians discuss the critical positioning of selected works of net art (Rachel Mader) and approach questions on the relationship between internet art and the art market from the standpoint of the history of media (Peter Schneemann). Using the example of specific works, artists discuss aspects of the materiality of net-based art (Markus Schwander) and reflect on their experience with curators and collectors, as well as with the issues of the commercialisation and conservation of net art (Olia Lialina, Carlo Zanni).
Our research partner, the AktiveArchive project contributed its expertise in the areas of documentation, conservation and restoration of electronic art and discussed solutions for the restoration of net-based works (Tabea Lurk). A number of different economies can be applied to the issue of the relationship between net-based art and the art market: the economies of the market, of novelty and of recognition (Simon Grand), as well as aspects of the economy of free, immaterial products (Felix Stalder).
Further articles are devoted to the practice of collecting net-based art, the controversy between the respective attitudes and expectations of collection curators and artists and to the idea of a “Swiss Platform for New Media Art” (Isabel Zürcher). The past and present-day development of the products of net art on the market and its collection in the USA and Europe will also be discussed (Reinhard Storz), as well as the purchase of net-based work for an existing Swiss collection from a curator’s point of view (Roman Kurzmeyer). In closing, a short text will present the idea and current activities of the DA Collection / Store project (Annette Schindler and Reinhard Storz). The text section closes with the answers of the 17 international artists to the questionnaire sent out by the OOA research project.
In the chapter «materials», the list of text studies is expanded by a few practice-oriented investigations, including a brief survey of current online payment methods; a study of the net-specific art form of the screensaver (Beo von Arx); illustrative examples of digital displays at art fairs and art exhibitions; experiments by the Basel web designer and artist Esther Hunziker with interfaces for online art exhibitions and collection archives; and the development of a special wall console with an integrated computer for interactive art works by the Zurich industrial designer Regula Büchel.
Publication of the research contributions is available in four formats. The decision towards this variety is linked to the object of investigation of our research project in the field of online culture: We want to test established and new publication formats for their benefits for research publications.
RESEARCH TEAM
Head
Markus Schwander (FHNW Hochschule fur Gestaltung und Kunst) und Reinhard Storz (Digital Art Collection / Digital Art Store)
Team FHNW
Dr. Simon Grand, Esther Hunziker, Markus Schwander, Beo von Arx, Isabel Zürcher
Practical partners
Tabea Lurk (AktiveArchive, Bern), Annette Schindler (Plug-in, Basel), Urs Staub (BAK, Bern), Reinhard Storz (Digital Art Collection / Digital Art Store)
Scientific partners
Dr. Rachel Mader (University of Berne), Prof. Dr. Peter Schneemann (University of Berne), Dr. Felix Stalder (ZHdK)
Experts
Stephan Kunz (Aargauer Kunsthaus Aarau), Dr. Roman Kurzmeyer (Collection Ricola), Tweaklab and Regula Buchel (Design wall console)
Artists involved
Beat Brogle, Birgit Kempker, Marc Lee, Olia Lialina, Cornelia Sollfrank, Carlo Zanni
Publikation
In der Publikation Owning Online Art. Zum Verkauf und Besitz netzbasierter Kunstwerke befassen sich KunstwissenschaftlerInnen mit der wissenschaftlichen Verortung ausgewählter Werke der Netzkunst (Rahel Mader) und entwerfen medienhistorische Fragestellungen zum Verhältnis von Internetkunst und Markt (Peter Schneemann). KünstlerInnen diskutieren an Werkbeispielen Aspekte der Materialität von netzbasierter Kunst (Markus Schwander) und reflektieren ihre langjährige Erfahrungen mit Kuratorinnen und Sammlern, mit Fragen der Kommerzialisierung und Konservierung von «net art» (Olia Lialina, Carlo Zanni).
Als Forschungspartner bringt das Projekt Aktive Archive seine Kompetenz in Fragen Dokumentation, Konservierung und Restaurierung elektronischer Kunst in die Untersuchung ein und debatiert Lösungsmodelle für die Restaurierung netzbasierter Werke (Tabea Lurk). Zur Klärung der Frage nach dem Verhältnis von netzbasierter Kunst und Kunstmarkt stehen verschiedene Ökonomien zur Debatte – etwa die Ökonomien des Marktes, des Neuen und der Anerkennung (Simon Grand) oder Aspekte der Ökonomie freier, immaterieller Güter (Felix Stalder).
Weitere Beiträge wenden sich der Sammlungspraxis von netzbasierter Kunst zu. Kontrovers werden Haltungen und Ansprüche von SammlungskuratorInnen und NetzkünstlerInnen debatiert und die Idee einer Schweizer Plattform für Netzkunst vorgestellt (Isabel Zürcher). Dann wird die historische und aktuelle Entwicklung sowohl des Marktangebots wie des Sammelns von Netzkunst in den USA und Europa aufgerollt (Reinhard Storz) und aus der Sicht eines Kurators der Ankauf von netzbasierten Arbeiten in eine bestehende Sammlung für Schweizer Kunst thematisiert (Roman Kurzmeyer). Schliesslich wird in einem kurzen Programmtext das Konzept und die gegenwärtigen Aktivitäten des Projekts DACollection / Store vorgestellt (Annette Schindler und Reinhard Storz). Den Abschluss des Textteiles bilden die Antworten von 17 internationalen KünstlerInnen auf einen im Rahmen des Forschungsprojekts OoA entwickelten Fragebogen.
Im Kapitel «Materialien» wird die Liste der Textstudien erweitert durch einige praxisbezogene Recherchen. Dazu gehört eine kommentierte Bibliografie zum Themenfeld der Netzkunst und Ökonomie, eine Bildsammlung zu Beispielen von digitalen Displays in Kunstmessen und Kunstausstellungen, eine Bestandesaufnahme von aktuellen Online-Bezahlsystemen und eine Recherche zur netzspezifischen Kunstform der Screensaver (Beo von Arx), Gestalterische Untersuchungen der Basler Webdesignerin und Künstlerin Esther Hunziker zum Interface-Design von Online-Kunstausstellungen und Sammlungsarchiven und die Entwicklung einer Wandkonsole mit integriertem Kleincomputer für interaktive Kunstwerke durch die Zürcher Industriedesignerin Regula Büchel.
Die Publikation der Forschungsbeiträge bieten wir in vier Formaten an. Die Entscheidung zu dieser Vielfalt hat mit dem Untersuchungsgegenstand unseres Forschungsprojekts im Bereich der Online-Kultur zu tun: Wir möchten bewährte und neuere Publikationsformate auf ihren Nutzen für Forschungspublikationen hin testen.
ZKM | Center for Art and Media
Exhibition brochure, 68 pages
2009
Deutsch
Peter Weibel, Bernhard Serexhe
http://zkm.de/publikation/youser-20, Exhibition
You_ser 2.0 – Celebration of the Consumer
Edition ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe
In its exhibition YOU_ser 2.0: Celebration of the Consumer the ZKM engages with the effects on art and society of net-based, global creation and demonstrates for the first time in technologically advanced installations the link between “user generated content” and contemporary art. The new installations presented in the exhibition transfer the potential for users’ creative collaboration developed in the internet into an artistic context and enables the visitors to emancipate themselves. They can act as artists, curators and producers. Visitors to the exhibition are central as users, as emancipated consumers. YOU are the content in this exhibition! YOU are a part of the universe: YOUniverse. YOU are the user of the world and part of the world, and with that a participant in the world. Whoever is a part of the world also bears some responsibility for the world, of which they are a part. Through their participation, the YOU, the user, has the chance to change the world.In the most technologically advanced environments and installations, the most recent state of the art of participation, pARTicipation, is being shown. That reinforces that tendency, which becomes established in the spirit of the enlightenment for democracy, for untrammelled access to education for all and for the creativity of all.
Curated
Peter Weibel
Project Management
Bernhard Serexhe
Artist (39)
Kees Aafjes, Antonio Barrese, Neil Brown, Dennis Del Favero, Jeffrey Shaw, Peter Weibel, Jim Campbell, Peter Campus, Monika Fleischmann, Wolfgang Strauss, Masaki Fujihata, Ronald Genswaider, Kurt Hofstetter, Informationlab, Airan Kang, Hung Keung, imhk lab, Marc Lee, David Link, Armin Linke, Rafael Lozano-Hemmer, Jonas Mekas, Enrique Rivera, Eva Paulitsch, Uta Weyrich, PIPS:lab, reacTable, Lisa Reinerth, Axel Roch, Mehi Yang, Scenocosme, Christa Sommerer, Laurent Mignonneau, susigames, telewissen, Herbert Schuhmacher, UBERMORGEN.COM, Martin Walde, Matthias Gommel
Edition fundacion biacs
Exhibition catalogue, 386 pages
2008
English
Peter Weibel, RHEE Wonil(이원일), Marie Ange Brayer
ISBN 978-84-6127-285-3
3rd International Biennial of Contemporary Art of Seville – YOUniverse, the exhibition
More than 150 artists from all over the world will participate in the third edition of the International Biennial of Contemporary Art of Seville (Biacs3), which will be held from 2 October 2008 to 9 January 2009.
In the global context of the information and communication society, the Biacs3 will make a new map of Global Art, World Art, addressing the specific aspect of media, environment and technology. Under the title youniverse, the Biennial of Seville will show how contemporary art worldwide has changed through the influence of media, technology, science and architecture by fostering one main goal: the participation of the public and a new equation between man and his environment.
The creations of the selected artists (approximately 180 works) will revolve around mobility, individualisation through technologies, quantum physics, nanotechnology, hydraulic engineering, architecture and the environment. One aspect will be to show that technology as man-made nature can help to solve our problems with natural environments. The other aspect will be the democratization of art. The audience, rather than the artists, is the star. The Biascs3 will present the public with a showcase of the 21st century’s most representative technical breakthroughs on the threshold of a material revolution that will lead us from simulation to stimulation, and will invite visitors to personally interact with the contents of the exhibition.
The artistic curatorial team appointed to plan the contents of the Biacs3 – consisting of Peter Weibel, general director of the ZKM Centre for Art and Media in Karlsruhe, Germany, Wonil Rhee, guest curator of PS1MoMA 2009, Korean curator, and Marie-Ange Brayer, director of the Regional Centre of Contemporary Art of Orleáns, France – aims to adopt an interdisciplinary approach to the general theme of the exhibition.
Artists and works
Airan Kang (Korea), Alessandro Scali & Robin Goode (Italia), The key to paradise. Installation. AMID (cero 9), (Cristina Diaz Moreno y Efren Garcia Grinda. Spain), Immaterial museum. Model + digital animation. Andrei Ujica (Rumania), Out of the Present, 1995. Video-projection. Anne Niemetz / Andrew Pelling (Germany), The Dark Side of the Cell II, 2004/2008. Installation. Antonio Barrese (Italia), Zeus playing, 2008. Installation. Archigram (Peter Cook. U.K.), Instant City, 1969. Drawing. Archizoom (Andrea Branzi. Italia), No-Stop-City, 1969. Model + digital impression. Atelier Hitoshi Abe & Masahige Motoe (Japan), MegaHouse, 2001. Digital animation. Axel Killian (USA / Germany), Chair, 2006. Model + DVD. Bas Princen (Holland), Birdwatchers, 2001. Photography. Bill Viola (USA), Tree of Knowledge, 1997. Video-installation. Bose Krishnamachari (India), Ghost: Transmemoir. Installation. Brümer, Ramakrishnan & Weibel (Germany), Pattern machine, 2004. Installation. Carlo Ratti Associati (Italia), Digital WaterPavillion, Zaragoza, 2008. Digital animation. Catherine Ikam (France), Yoona 1, 1999. Installation. David, 1999. Installation. Depuis, 1990. Installation. Fragments d´un archétvpe, 1980. Installation. Chen Wen Ling (China), Uninvited Guest, 2008. Sound-light sculpture. 400 x 235 x 255 cm. Chico Macmurtrie (USA), Totemobile, 2007. Installation. Christa Sommerer / Laurent Mignonneau (Austria), Life Writer. Interactive installation. Christoph Höschele (France), Blainville-Crevon-Neuilly-sur-Seine, 2007. Installation. CHS Arquitectos (Spain), Nam June Paik Museum. Model + video. Claude Parent (France), Oblique Potentialism. Drawings. CLOUD 9 (Enric Ruiz-Geli. Spain), Media-Tic Building, 2007. Model + digital animation. Concha Jerez y José Iges (Spain), Arenas movedizas, 2008. Interactive installation. Coop Himmelb(l)au (Austria), Villa Rosa,1968. Drawings. Curro González (Spain), El Enjambre I y El Enjambre II, 2005. Painting. Daniela Kutschat / Rejane Cantoni (Brazil), OP_ERA, 2004. Interactive installation. Dionisio González (Spain), Elegia, 1938. Installation. Dora García (Spain), Todas las historias, 2001. Webblog. EcoLogicStudio (Claudia Pasquero & Marco Poletto. U.K.). STEMCloud, 2008. Installation. BIACS production. Electronic Shadow (Naziha Mestaoui & Yacine Ait Kazi. France), Ex – lles, 2003. Installation. Elio Caccavale & Id-lab (Stefano Mirti, Line Ulrika Christiansen, Fabio Mennella. Italia), Animal Pharm, 2008. Installation. BIACS production. Emergent Architecture (Tom Wiscombe. USA), Novosibirsk Pavilion, 2007 Bathwing, 2008 Model + digital animation. EZCT (Philippe Morel, Jelle Jeringa & Félix Agid. France), Chair model, 2004. Model + dvd. Eugenio Ampudia (Spain), Crédulos, Installation. Francisco Almengló (Spain), M.U.A. Manipulaciones Urbanísticas Abusivas, 2000-2001. Installation. François Dallegret (Canada), A Home is not a House, 1965. Drawing. Gianni Pettena (Italia), Wearable Chairs, 1969. Photographs. Giselle Beiguelman (Brazil), Giuliana Cunéaz (Italia), Painted Screens, 2008. Projections. Gregor Eichinger (Austria), Urbar, installation. Golan Levin y Zachary Lieberman (USA), Messa di Voce, 2003. Interactive Sound Installation. Gonzalo Puch (Spain), Sin titulo, 2004. Photography. Götz Dipper (Germany), Mozart-Würfel, 2007. Interactive Sound Installation. hackitectura.net (Spain), Water 4 bits, a second life in Europe´s Pavillion, Sevilla. Installation at CAAC + intervention in the Europe Pabellón. Hiraki Sawa (Japan), Eight Minutes, 2005. Video. Inhere, 2004. Video. Ian + (Italia), Goethe House, 1999. Model. Informationlab (Auke Touwslager, Ursula Lavrenčič. Holland), Cell Phone Disco, 2006. Installation. Jakob + MacFarlane (Dominique Jacob & Brendan MacFarlane. France), Maison H, 2004. Model + digital animation. James Law Cybertecture (China), The Pad Tower, Dubai, 2007. Digital animation. Jeff Han (USA), Media Mirror, 2006. Installation. Jennifer Steinkamp (USA Window Project. John Gerrard (Ireland), One Thousand Year Down, 2005. Portrait to Smile Once a Year, 2006. Jones Partners Architecture (Wes Jones. USA), Hesselink Guest Hut, 2004. Drawing. Jordan Wolfson (USA.), Nostalgia is Fear. Installation. José Maria Mellado (Spain), Jesús Palomino (Spain), EMISIÓN NOCTURNA DUDH * & 4 PROGRAMAS DE RADIO, 2008 * Declared by the Universal Human Rights. Site-Specific installation. Biacs3. Juan Carlos Robles (Spain), Volker, 2003. Video. Jurgen Mayer H. (Germany), Metropol Parasol, 2008. Digital animation. Kibong Rhee (Korea), Bachelor-The Dual Body, 2003. Installation. Kisho Kurokawa (Japan, 1934 – 2007), Pavillon Toshiba, Osaka World Fair, 1970. Model. Kol/ Mac LLC (Sulan Kolatan & William MacDonald. USA), Inversabrane, 2007. Model + digital animation. Lillian Ball (USA), Go-Doñana, 2008. Site-specific installation. BIACS production. Manfred Wolff-Plotegg (Austria), Hiper Hybrid Generador, installation second life. Manolo Bautista (Spain), Diamond Motel. Video. Marc Lee (Switzerland), Breaking the News- Be a News- Jockey, 2007. Installation. Marcel.Li Antunez (Spain), DMD Europa. Installation. Markus Huemer (Germany), Martín Bonadeo (Argentina), Moebius Display, 2006. Installation. Martin Walde (Austria), Production Limits. Installation. Masaki Fujihata (Japan), Beyond Pages, 1995. Interactive installation. Morel’s panorama. Interactive installation. Mathias Gommel / Peter Weibel (Germany), FLICK_SE,, 2007. Interactive installation. MATERIALECOLOGY (Neri Oxman. USA), Beast, 2008. Models. Matthew Ritchie (USA), MGM (Morales, Giles, Mariscal, Esther Pizarro y hackitectura.net. Spain), Plaza de las Libertades. Model + digital impression + installation at the Santa Justa train station + DVD. Michael Sailstorfer (Germany), Sternschnuppe,2002. Installation. Michael Schuster (Austria), Autofocus trap IV / Autofocusfalle IV. Installation. Monika Fleischmann / Wolfgang Strauss (Germany), Liquid Views – De Mirror of Narcissus. Installation. BIACS production. Mushon Zer-Aviv (USA), Atlas Gloves, 2006. Installation. Nam June Paik (Korea), Partition TV. Installation. NOX (Lars Spuybroek. Holland), Pavillon H2O, 1994. Model + DVD. OCEAN (Michael Henses & Achim Menges. U.K. / Sweden), World Center, 2001-2004. Model + digital animation. Oh Yong-Seok (Korea), Drama, 2005. Installation. Cross. Installation. Drama nº3. Installation. Oliver van der Berg (Germany), Kameras, 2007. Installation. Sternenprojektor, 2005. Installation. ONL (Oosterhuis_Lénard. Holland), Portals, 2008. DVD. OSA – Open Source Architecture- (Eran Neuman, Aaron Sprecher, Chandler Ahrens. Israel/ USA), I-Grid, 2008. Model. OSS – Open Source Space (Ángel Borrego Cubero. Madrid, Spain), Civil Registry Office, 2007. Model + impression. Paul De Marinis (USA), Fireflies Alight on the Abacus of Al-Farabi, 1989. Installation. A Light Rain, 2004. Interactive installation. Philip Pocock (Canada), Yunjun Lee (South Korea), Jayoung Bang (South Korea), Alex Wenger (Switzerland), Julian Finn (Germany / U.K.), Daniel Burckhardt (Switzerland), Linus Stolz (Germany), Lorenz Schwarz (Germany), y Markus Zielke (Germany), Alanδ, 2008. Site-specific installation. BIACS production. Philippe Rahm (France), Mollier’s House, 2007. Model + digital animation. PIPS: Lab (collective. Holland), Luma2solator, 2004. Interactive installation. Rafael Lozano-Hemmer (México), Caja de sombras # 6. Interactive installation. Caja de sombras # 2. Interactive installation. Ramón Guardans (Spain), Algorithmic Echolocation 08´. Interactive installation. RobotLab (Germany), Juke_bots, 2001. Installation. bios_bible, 2007. Installation. Roland Fuhrmann (Germany), The Oath of Allegiance, 2005. Installation. Accelerator, 2002. Installation. Prayer Wheel, 2004. Installation. Rosalie (Germany), Helios, 2007. Installation. R&Sie (n), (Francois Roche, Stéphanie Lavaux. France), Dusty relief, Bangkok, 2002. Model + digital animation.. SCENOCOSME (Grégory Lasserre / Anais met den Ancxt. France), Akousmaflore, 2008. Installation. BIACS production. SERVO (Chris Perry, Ulricka Karlsson, Marcelyn Gow. USA), Spoorg, 2006. Installation. Sergio Prego (Spain), Shi Jinsong (China), Moto. Installation. Metal Desk, 2007. Installation. Metal Motorcycle, 2007. Installation. Shilpa Gupta (India), Untitled, 2006. Interactive video-projection. Stephan von Huene (EE.UU., 1932 – Germany, 2000), Greetings/ Grüsse, 1996. Interactive installation. SunMyoung Choi (Korea), Evidence of the invisible 1. Video- projection. Third passover_0307, 2007. Video-installation. Susan Hefuna (Egypt), U 1429/2008 ANA 1429/2008 Site-specific installation. Tamás Waliczky (Hungary), Landscap. Video. Tim Macmillan (Germany), Ferment. Installation. Tom Kovac (Australia), Visualising the virtual concourse, 2008. Installation. BIACS production. Tom Verebes (U.K.), Genlite, 2005. Luminous system, installation. Toyo Ito (Japan), Torre de los Vientos, Yokohama, 1986. Model. Vicente Guallart (Barcelona, Spain), Wroclaw Mountain, Expo 2012. Model + digital animation.. Wolfgang Munch (Germany), Bubbles, 2005. Interactive installation. Wu Ming Zhong / Wu Ming Jong (China), Photographic installation. Xefirotarch (Hernán Díaz Alonso. USA), Young-Hae Chang Heavy Industries (Korea), All Fall Down. Digital animation. Zbigniew Rybczynski (Poland), Adel Abdessemed (Algeria), God is Design, 2005. Video. Ai Ran Kang (Korea), Digital book. Video intallation. Bill Viola (USA), The reflecting Pool, 1977-79. Video projection. Dave Griffiths (UK), Aljazari, 2007. Interactive installation. Eli Gur Arie (Israel), Untitled, 2003. Sculpture. Hand, 1998. Sculpture. Untitled, 2002. Sculpture. Monitored Feeding Station, 2002-03. Sculpture. UVA, 2006. Sculpture. Perfume Pedestal, 1998. Sculpture. Arctic Spring, 2003. Sculpture. Disposable incubator, 2003. Sculpture. Eugenio Ampudia (Spain), En Juego, 2006. Video. Jeffrey Shaw (Australia), T_Visionarium. Interactive installation. Juan Carlos Robles (Spain), Asia Info-Box, 2002. Photography. Kibong Rhee (Korea), Bachelor – The Dual Body. Installation. Kim Shin-il (Korea), Water. Video. Lee Nam Lee (Korea), Digital Korean Eight Fold Screen – Cross of Ensemble. Installation. Lee Yong Doek (Korea), I´m Still Here. Sculpture. MEDRAR (Egypt), Within the region. Audiovisual. Miri Segal (Israel), BRB, Documentary video from Second Life, 2007. Moon Beom (Korea), A Revisionist, 4km/h. Photograph. An Anarchist, 1cm/min. Photograph. An Anarchist, 0m/day. Photograph. An Anarchist, 1mm/day. Photograph. Olafur Eliasson (Denmark), TV Lamp, 2006. Installation. Sangkyoon Noh (Korea), One End. Installation. Another End. Installation. Double End. Installation. The New End. Installation. What are You Looking for. Scupture. WAYLF – me – pink. Sculpture. Sang Nam Lee (Korea), L-Algorithm 002, 2008. L-Algorithm 003, 2008. Shao Kang (China), Temple II. Installation. Shi Jin Song (China), Robot Baby. Sculpture. Son Bong-Chae (Korea), Scent of Andalucía Stone, 2007. Interactive sculpture. SunMyoung Choi (Korea), The Evidence of the invisible, 2008. Digital video. Susan Hefuna (Egypt), ENTA 1429/2008. Installation. Xu Zhong Min (China), Trekking around the mountain nº2. Installation. Yasuhiro Suzuki (Japan), Globe Jungle Project, 2002. Installation. Yong Ho Ji (Korea), Cyborg Lyon. Tire sculpture.
Scheidegger Und Spiess Ag Verlag, Germany
Hardcover, 204 pages, 400 color plates, with PAL-format DVD, 7-1/2 x 9-1/2
2008
Deutsch, English
With Essays by Inke Arns, Andreas Broeckmann, and Giaco Schiesser and Photographs by Schaub Stierli
ISBN-10: 3-85881-210-2 / 3858812102, ISBN-13: 978-3-85881-210-0 / 9783858812100
Mediale Kunst Zürich: 13 Positionen aus dem Studienbereich Neue Medien / Media Arts Zurich: 13 Positions from the Department of New Media (English and German Edition)
Media art is one of the most exciting experimental fields to emerge in contemporary art in recent years—and yet its innovations have been sparsely documented. Media Arts Zurich, the third yearbook published by the Department New Media at the newly founded Zurich University of the Arts, seeks to fill this gap, offering an illuminating overview of the Swiss media art scene of the past decade. This book examines the varying approaches, techniques, and strategies of acclaimed media artists as well as the public reception of their work.
Accompanied by a companion DVD in PAL format and 400 lavish illustrations, this volume presents thirteen individual artists and groups in the context of their backgrounds, exhibitions, and the state of European media art. Two essays by art and media historians here position these Swiss media artists in the international art world and document the first ten years and visions for the future of the media art program at the Zurich University of the Arts and its predecessor, the School of Art and Design Zurich. Richly illustrated and deeply informed, Media Arts Zurich points the way to a new European avant-garde.
A yearbook published by the Department of Art & Media at the Zurich University of the Arts details the support given to the young generation of media artists trained at the institution. This is a lavish product, designed to help promote talented work (and also, therefore, the school) through a combination of short descriptive texts, lots of pictures and a DVD. We are presented with work from 13 artists in total (Valentina Vuksic, André Gwerder, Marc Lee, Lea Filodoro, Andalus, Markus von Glasenapp, Sven König, Annina Rüst, Meriem Bouhara, iMediengruppe Bitnik, Mario Purkathofer, Fabian Voegeli, Roland Roos), some of whom have already been able to establish their name internationally. This yearbook provides an opportunity to survey new media from a generational standpoint, and raises questions about whether there are any commonalities among this young Swiss group. One immediate answer to this focuses on the idea of the choices of specific medias. Moreover, we are presented with works that look at the technical limits and possibilities of various media, and which explore their relationship with social environments and rules. Inke Arns (a member of the teaching staff) frames the current artistic development in terms of being post-medium (which will hopefully help promote the notion of the redundancy of the term ‘new’ in ‘new media’) and stresses the importance of a critical and tactical evaluation of tools used. Andreas Broeckmann, in one of his “Seven short essays on art and media”, reinforces this position affirming that “Even though this art uses digital technological means, it is a mode of experience that takes us to the limits of perception, sensitivity and thought”. And both are simply on the right track.
Vorwort/Preface
Giaco Schiesser
Uber Zeitgenossenschaft: Die medialen Künste im Zeitalter ihrer postmedialen Kondition/On Contemporaneity: The media arts in the age of their post-modern condition
Inke Arns
Sieben Exkurse zu den medialen Künsten/Seven Short Essays on Art and Media
Andreas Broeckmann
Positionen/Positions 1-13
Artists
Valentina Vuksic, Andre Gwerder, Marc Lee, Lea Filadoro, Andalus, Markus von Glasenapp, Sven Konig, Annina Rüst, Meriem Bouhara, !Mediengruppe Bitnik, Mario Purkathofer, Fabian Voegeli, Roland Roos
Total Museum of Contemporary Art
Hardcover book, 113 Pages, 24 cm
2008
한국 (Korean)
Nathalie Boseul Shin
Media art city intervention workshop
ISBN 978-89-961789-0-3 93600
http://datenform.de/blog/digital-playground-hack-the-city
Nathalie Boseul SHIN curator at Total Museum of Contemporary Art, Seoul, South Korea invited me to run the WoW workshop/performance for this exhibition. “Digital Playground” is an annual media art exhibition started in 2005 at Eujeongbu International Media Art Festival. I am quite exited to run WoW in korean hangul letter system.
Digital Playground 2008 “Hack the City!”
Recently, the outlook of Seoul is rapidly changing. It means we are surrounded by ‘under construction’ sign boards. Seoul is under-construction. One day, we have the artificial river, Cheonggae-cheon” at the down town, huge buildings, parks. What is changing is not only outlook, but our daily life is also changed. It is no longer surprise thing or imagination to watch TV or talk with friends face to face.
Last year, Seoul city government announced big plan ‘Seoul city gallery project’ which is for making Seoul as the art city. Many art works are installed on the street, overpasses. People can enjoy art in the park. However, take the different perspective, and ask to ourselves. for what we need art installations in public spaces? Furthermore, what is purpose of art in that sense? There are many kinds of arts, but if we can say about contemporary ‘media’ art, it should be more clear about that question. As I quoted above, “artists alone can’t change the world”, but I believe “artists can make people see or think the other side of what is actually happening with artworks or projects”
It is time to “Hack the city!”
The word of ‘hack’ ing does not mean the specific media oriented act in the computer science. It is not used in negative way which is stealing personal information without permission, either. Rather it is right to say that this word is chosen in the metaphorical context: critical thinking, reconsider of our social system and technology. If people think the place/space where they live, reconsider about the technologies which they use everyday like mobile phone, become unfamiliar with familiar things, then we can say that we are close to make the world what we dream.
This project is consists of two parts. First part is related with actual data which artists get from Seoul city such as traffic flow, sound capture and transfer, some official statistic data. For this TMCA collaborated with media lab in universities. EWHA Womans University and Chungang University join with . Through regular meetings and discussions, they are developing new projects for “Hack the City.” The second part is closed to media activism and performance. Like Balettikka Internettikka from Slovenia and Graffitti Research Lab from USA, they go into the society in order to re-thinking about social system by the intervention and physical hacking. Nanna from Korea is doing performance of asking people to buy or sell their time in the public space. She gets into people, and gives them a chance to think their busy life, or time in philosophical sense. Aram Bartholl (from Germany) make workshop which connected with computer game, but in a very analogical way. The results of performance from the workshop, for sure, bring fresh air to the people who will meet them on the street. Also they have a chance to think about computer game or virtuality.
Artists
Aram Bartholl, BLU, Graffiti Research Lab(James Powderly & Evan Roth), Marc Lee,
Intima Virtual Base(Igor Stromajer & Brane Zorman)
ZKM | Center for Art and Media
Exhibition brochure, 64 pages
2007
Deutsch, English
Peter Weibel
http://zkm.de/publikation/youser Deutsch, English
ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe
YOU_ser,
Das Jahrhundert des Konsumenten
21.10.2007 – 30.04.2009, ZKM | Medienmuseum, EG
Im 19. Jahrhundert ist das 20. Jahrhundert imaginiert worden als Technologie der Mobilisierung und Personalisierung. Mit PC und Handy etc. sind diese Phantasien eingetreten. Diese Technologien haben aber auch die Kunst verändert. Die Geschichte der Betrachter von Kunst und der Besucher von Museen hat im 20. Jahrhundert neue Akzente erhalten. Nach 1945 hat in der Neuen Musik und in der bildenden Kunst die Partizipation des Publikums als Teil des Kunstwerkes eingesetzt. Die Medienkunst hat die Teilnahme des Betrachters am Entstehen des Kunstwerkes als Interaktivität zwischen Betrachter und Kunstwerk, im Sinne einer wechselseitigen Beeinflussung, etabliert (im 1. Stock des ZKM | Medienmuseums kann man diese Entwicklung nachvollziehen). Im 21. Jahrhundert erzeugt nun der Betrachter durch die Möglichkeiten des Internets auch die Inhalte der Kunstwerke, die untereinander ausgetauscht und im Netz frei verteilt werden können. Der Betrachter wird zum Nutzer/User. Die Ausstellung »YOU_ser: Das Jahrhundert des Konsumenten« zeigt in den nächsten ein bis zwei Jahren mit wechselnden Kunstwerken und Positionen erstmals Konturen dieser neuen Nutzerkunst.
Curator
Peter Weibel
Artists (49)
Giselle Beiguelman, Torsten Belschner, Joseph Beuys, Michael Bielicky, Margo Bistis, Bas Böttcher, Joachim Böttger, Ludger Brümmer, Martin Burckhardt, Shane Cooper, Götz Dipper, Monika Fleischmann, Ronald Genswaider, Matthias Gommel, Axel Heide, Mogens Jacobsen, Norman M. Klein, Andreas Kratky, Susanna Kraus, Marc Lee, David Link, Armin Linke, Bernd Lintermann, Rafael Lozano-Hemmer, Michael Mangold, Catalina Ossa Holmgren, Nam June Paik, Philip Pocock, Chandrasekhar Ramakrishnan, Kamila B. Richter, Enrique Rivera, Axel Roch, Herbert Schuhmacher, Michael Schuster, Jill Scott, Jeffrey Shaw, Gregor Stehle, Wolfgang Strauss, Steina Vasulka, Woody Vasulka, Stephan von Huene, Franz Erhard Walther, Peter Weibel, Julie D. Woletz, Erwin Wurm, Mehi Yang, PIPS:lab, susigames, telewissen
Wildprovider
Website
2007
Deutsch
Mario Purkathofer
marclee.io/de/netzspiele
Marc Lee steht auf der kleinen schwarzen Bühne und bewegt eine leicht modifizierte Maus. Rund um ihn herum bewegt sich das akute Weltgeschehen in Bildern, Tönen und Momenten von Menschen produziert, in Szene gesetzt oder abgelegt. Marc Lee garantiert eine Welt in Echtzeit! Seine robotischen Suchmechanismen werden jetzt auf die Reise geschickt. Sie arbeiten schnell. Die Bar ist geöffnet und bald kann jeder das was Lee soeben noch demonstriert hat, selbst ausführen, während Alkohol in Strömen fliesst und die Stimmung steigt.
Situationsbeschreibung zur Eröffnung der Ausstellung Marc Lee: Breaking the News im Dock18 Zürich, 2007
weiter lesen…
Total Museum of Contemporary Art, Art Center Nabi, Alternative Space LOOP
Exhibition brochure
2006
English, 한국 (Korean)
Nathalie Boseul Shin
O-N-N, Marc Lee (PDF)
‘404 Object Not Found_Seoul 2006’ was a research project launched by the Total Museum of Contemporary Art, Seoul, to address issues related to the production, presentation, and preservation of media art, with a particular focus on net-based art and data archiving. It encompasses an exhibition, research project and symposium. It is a follow-up to ‘404 Object Not Found’, which took place in 2003 in Dortmund, Germany.
Total Museum of Contemporary Art, Seoul, South Korea
Art Center Nabi, Seoul, South Korea
Alternative Space LOOP, Seoul, South Korea
This publication presents the exhibited works, research findings and other documentation of the project.
O-N-N_404-object-not-found_Total-Museum-of-contempory-Art_Seoul
Artists and works
Warning – Antonio Muntadas, Babel – Simon Biggs, Reverse Engineering the Library_Simon Biggs Babel – Steve DIETZ, O-N-N – Marc Lee, Technology to the People – Daniel Garcia Andujar
Christoph Merian Verlag, BUNDESAMT FUR KULTUR
Book paperback, 2005. 265 pages, 24 x 19 cm, 1 CD-ROM
2005
Deutsch, English, Français
ISBN10 3856162380, ISBN13 9783856162382
Publikation zur Ausstellung vom 30.1.-27.3.2005, St. Gallen.
[plug.in]; Neue Kunsthalle St.Gallen
Medienkunst – nach den Videos nun auch net.art und interaktive Installationen – halten in jüngster Zeit Einzug in den traditionellen Kunstbetrieb und gewinnen ein breites Publikum. Etliche auch international erfolgreiche Werke entstehen dabei in der Schweiz. ‹Mapping New Territories› nimmt eine Standortbestimmung der Schweizer Medienkunst vor. Essays von Yvonne Volkart, Villoe Huszai, Maria …
GLOBALE: Infosphere
ZKM | Center for Art and Media
Exhibition brochure, 65 pages
2015
Deutsch, English
Jean-Marie Dallet & Isolde De Buck
ISBN: 9789492321473 ISBN-13: 9789492321473
WHOIS, Heidelberg
Book hardcover
2004
Monika Fleischmann, Ulrike Reinhard
ISBN: 3-934013-38-4, Signatur: KT-AUS-4140.3
GOLDSTRASZ-Thomas Suchmaschinen Digitale Transformationen (PDF), issuu.com
Die Publikation “Digitale Transformationen” beschäftigt sich mit den grundlegenden Transformationen, welche die Kunst und das moderne Leben durch digitale Technologien erfahren. Theoretiker, Künstler und Wissenschaftler kommen neben Produzenten, Förderern und Vermittlern zu Wort, um die digitalen Transformationen in ihren vielfältigen Rollen und an konkreten Beispielen als neue Ästhetik und als Innovationsforschung vorzustellen. In der Kunst mit Informationstechnologien geht es um Bild(er-)findungen auf der Grundlage kommunikativer Prozesse, um begriffliche Strategien und kognitive Methoden.
Damit möchten die Herausgeberinnen Ulrike Reinhard und » Monika Fleischmann nicht nur den klassischen Kulturbereich ansprechen, sondern die Medienkunst als künstlerische Position an der Schnittstelle von Technologie, Wirtschaft, Wissenschaft und Kultur denen nahe bringen, die bereit sind, diese Kunstform als einen wichtigen Schlüsselfaktor für neues Denken und Innovation anzuerkennen und zu fördern. Medienkunst zeigt neue Weltbilder. Sie zeigt, wie wir verstehen, was wir sehen und hören. Die Texte geben einen Einblick in Diskurs und Praxis im deutschsprachigen Raum und sind hier nachzulesen.
KAPITEL
Einführung
1. Spielraum Medienkunst
2. Theorie-Positionen
3. Themen, Ansatzpunkte & Modelle der Medienkunst
4. Künstler & Methode oder Medienkunst als Forschung & Experiment
5. Kunst & Publikum
6. Modelle zur Online-Vermittlung: Wissen über Medienkunst im Internet
7. Produktion & Anwendung
8. Medienkunst fördern
9. Suchmaschinen
AUTOREN
Rosanne Altstatt, Gabriele Blome & Jochen Denzinger, Sabine Breitsameter, Bazon Brock, Dieter Daniels & Rudolf Frieling, Alberto de Campo & Julian Rohrhuber, Christian Dögl, Jan & Tim Edler, Sabine Flach, Monika Fleischmann 1, Monika Fleischmann 2, Monika Fleischmann & Wolfgang Strauss, Herbert W. Franke, Ursula Frohne, Thomas Goldstrasz, Oliver Grau, Hans-Jürgen Hafner, Gabriele Hartmann, Sabine Himmelsbach, Susanne Jaschko, Wilhelm Krull und Vera Szöllösi-Brenig, Katja Kwastek, Dominik Landwehr, Wolf Lieser, Sigrid Markl & Virgil Widrich, Wilfried Matanovic, Peter Matussek, Laurent Mignonneau & Christa Sommerer, Sibylle Omlin, Sebastian Peichl, Danièle Perrier, Ulrike Reinhard, Mareike Reusch, Joachim Sauter, Giaco Schiesser, Holger Schulze, Gerfried Stocker, Reinhard Storz, Georg Trogemann, Eku Wand, Peter Weibel, Ulrich Weinberg, Axel Wirths, Andrea Zapp, Christian Ziegler, Annett Zinsmeister
Digitale Transformationen
Medienkunst als Schnittstelle von
Kunst, Wissenschaft, Wirtschaft und Gesellschaft
Einführung
Ulrike Reinhard
Digitale Transformationen – 10 Jahre whois
Monika Fleischmann
Digitale Transformationen –
Innovation durch interdisziplinäres Arbeiten
Audio-CD: digitale transformationen, alle Beiträge als mp3-files, gelesen von Oliver Siebeck
Monika Fleischmann
Digitale Transformationen – Ein Überblick
Bazon Brock
Gaunerprüfung für Medienkompetenz, die nur als Fälschungskompetenz in erkenntnistheoretischer statt krimineller Absicht verstanden werden kann
Spielraum Medienkunst
Herbert W. Franke, Interview:
»Wir sind in der glücklichen und interessanten Lage, uns eines Instrumentariums zu bedienen, das noch nicht ausgereift ist«.
Peter Weibel, Interview:
»Es geht um Dinge von öffentlichem Interesse«.
Gerfried Stocker, Interview:
»Eine Wissenschaft und/oder Kunst, die nicht in einem wirtschaftlich-industriellen Zusammenhang steht, bleibt für die Gesellschaft im weitesten Sinne irrelevant und wird nicht wirkungsvoll«
Positionen
Giacco Schiesser
Arbeit am und mit EigenSinn
Georg Trogemann
Müssen Medienkünstler programmieren können?
Sibylle Omlin
Intermedialität in der Kunst
Susanne Jaschko
Interaktivität als künstlerisches Ausdrucksmittel
Ursula Frohne
MedienKunst und Öffentlichkeit – Diskursräume und Handlungsfelder
Peter Matussek
Der Performative Turn: Wissen als Schauspiel
Sabine Flach WissensKünste –
Die Kunst des Wissens und das Wissen der Kunst
Themen, Ansatzpunkte und Modelle
Sabine Breitsameter
Die Apparatur hinterfragen:
Telekommunikationskunst im Radio
Holger Schulze
Körper in Klang
Joachim Sauter
Das vierte Format: Die Fassade als mediale Haut der Architektur
Katja Kwastek
Kunst und (drahtlose) Kommunikation
Künstler und Methode oder Medienkunst als Forschung und Experiment
Laurent Mignonneau / Christa Sommerer
Von der Poesie des Programmierens zur Forschung als Kunstform
Monika Fleischmann / Wolfgang Strauß
Kunst an der Schnittstelle von Technik,
Forschung und Gesellschaft
Andrea Zapp
Vernetzte Installationskunst:
Flüchtige Begegnungen und imaginäre Handlungsräume
Hans-Jürgen Hafner
Leuchtfeuer und V-Effekte
Alberto de Campo / Julian Rohrhuber
else if – Live Coding, Strategien später Entscheidung
Christian Ziegler
Das Tanzauge
Annett Zinsmeister
Transformation und Faltung
Kunst und Publikum
Sabine Himmelsbach
Vom white cube zur black box und zurück
Rosanne Altstatt
Wie man ein örtliches Publikum für internationale Medienkunst interessiert – Ein Leitfaden für Benutzer
Wolf Lieser / Axel Wirths, Interview:
Interview: Absatzmarkt Medienkunst
Online-Vermittlung
Dieter Daniels / Rudolf Frieling
Medienkunst muss multimedial vermittelt werden – Thesen und Modelle zur Online-Vermittlung
Gabriele Blome / Jochen Denzinger
netzspannung.org:
Online-Archiv und Labor für die Digitale Kunst und Kultur
Oliver Grau
Datenbank für virtuelle Kunst
Reinhard Storz
Die Schweizer Netzplattform Xcult.org
Produktion und Anwendung
Tim und Jan Edler
Praxis Reaktorbau: Kunst als Strategie und Labor
Sigrid Markl / Virgil Widrich
Edutaining Generation Z
Sebastian Peichl
floating.numbers – Eine interaktive Installation im Jüdischen Museum Berlin
Mareike Reusch
Ist Virtuell = Computergeneriert = Visuell?
Christian Doegl
Digitale Medien zwischen Ambiente und Transparenz
Eku Wand
Geschichten, Handlungsstränge, Ereignisse
Uli Weinberg
Alles Spiel
Medienkunst fördern
Danièle Perrier
Medienkunst fördern: wie?
Wilfried Matanovic
Anmerkungen zur Entwicklung und Vermittlung von Medienkunst
Wilhelm Krull / Vera Szöllösi-Brenig
Wissenschaft – Öffentlichkeit – Kunst
Gabriele Hartmann
Zwischen Kunst und Unternehmenssoftware
Dominik Landwehr
Die Computerkultur ist eine soziale Kultur – Das Förderkonzept des Schweizer Unternehmens Migros
Suchmaschinen
Thomas Goldstrasz, »Suchmaschinen«
Sechs Kunstwerke und eine Suche zum Thema »suchen – speichern – suchen lassen«
Suchmaschinen als Medienkunstwerke
Oliver Siebeck: »26 Karten für J.« –
Eine symbolische Suchmaschine
Franz John: »Turing Tables« –
Ein Erdbeben-Such- und Speicherprojekt
Ralf Chille: »Capture the Map« – Ein Google-Spiel:
Erobern Sie die Welt mit Suchbegriffen!
Jason Freeman: »N.A.G. – Network Auralization for
Gnutella« – Eine Suchergebnis-Mischmaschine
Marc Lee: »Loogie.net – We Report. You Decide« –
Ein generatives Nachrichten-Such-Portal
Gerhard Dirmoser: »Verben im KONTEXT« –
Ein semantische Suche in Gutenbergs Galaxis
Aarhus
Book, 396 pages, 21 cm
2004
Olga Goriunova and Alexei Shulgin
ISBN 87-98844-404-0
Software Art and Cultures Conference (2004 : Århus, Denmark)
Software art is a practice that regards software as a cultural phenomenon that defines one of the principal domains of our existence today. Thus, software is not regarded as an invisible layer, but rather as a decisive level and a language working at reproduction of certain orders, whether aesthetic, cultural, social or political. Software art creatively questions and redefines software and its ways of functioning.
Contents
Pt. 1. Software Art and Cultures Conference: papers. Software art and cultures : people doing strange things with software / Christian U. Andersen and Søren Pold
Read_me today / Olga Goriunova and Alexei Shulgin
Digital objects / Matthew Fuller
No carrier and other stories from Philippine BBS culture/ Fátima Lasay
Made by users. How users improve things, provide innovation and change our idea of culture : problems and perspectives / Mirko Schaefer
Software art and political implications in algorithms / Pau David Alsina Gonzalez
A glimpse beyond search engines. “Verb thou art, and unto verb shalt thou return” / Christophe Bruno
The world according to the Web / Douwe Osinga and Ernst Wit
The sequencer paradigm / Alessandro Ludovico
A re-declaratoin of dependence : software art in a cultural context it can’t get out of / Jacob Lillemose
Mise en abyme in software art : a comment to Florian Cramer / Troels Degn Johansson
Coding praxis : reconsidering the aesthetics of code / Geoff Cox, Alex McLean, Adrian Ward. ♭t.
Read_me, run_me, execute_me : software and its discontents, or : it’s the performativity of code, stupid! / Inke Arns
(Mostly WestEastern-European theoretical blabla-) lego for a meta-theory of meta-art-forms / Andreas Leo Findeisen
Code art brutalism : low-level systems and simple programs / Simon Yuill
Live algorithm programming and a temporary organisation for its promotion / Amy Alexander … [et al.]
The software language art / Janez Strehovec
(Software) structures / Casey Reas
Super-abstract : software art and a redefinition of abstraction / Brad Borevitz
An exploration of the visual mind of the software artist / Ewan Steel
pt. 2. Runme.org software art repository: project features.
Notes
“This book is published as a part of the Read_Me 2004 Software Art Festival. It consists of papers from the Software Art and Cultures Conference and features projects from Runme.org Software Art Repository”–T.p. verso.
Includes bibliographic references.
The basic question is: Can software in itself, as a collection of code, instructions, structures and protocols, objects and classes and whatever else it might include, be considered as an artistic medium? Can a program, however simple or complex and in whatever language or programming environments it is written, be a work of art? Is there a software aesthetic? Or is it just an intermediate carrier of something else, like paint in a painting or timber in a building? Is a program merely a string of (dis)functional bits and bytes operating in a hardware context and performing tricks at the programmer’s or user’s will?
Birkhäuser, Basel
Book paperback, 175 pages, color illustrations, CD-ROM
2004
English, Deutsch
Vera Bühlmann, Association MetaWorx
ISBN 3764300892, 9783764300890
by Association MetaWorx (Editor), Christoph Tholen (Preface)
New media and interactivity: what do the latest generation of young Swiss designers have to offer? This book provides an overview. MetaWorx is a foundation supported by the leading design schools and art academies of Switzerland. In this publication, MetaWorx presents the next generation of “Swiss Graphics, ” providing a challenging contribution to the research into the theory and expression of interactivity which must surely be one of the most stimulating and fascinating fields of art and design in our time. The transdisciplinary perspective opens a wide field where moments of interactivity are expressed in surprising and visionary installations. In this publication, the artists and designers present their projects themselves, and their contributions are accompanied by theoretical texts which reflect on interactivity in general and set the projects within the broader context of modern day culture. The accompanying DVD provides a video documentation including texts, pictures, sounds and applications. MetaWorx will first go public in October 2003 when an exhibition will take place at Viper Basel, an international festival for film, video and new media.
Pro Helvetia and Xcult project
56kTV MAGAZIN ONLINE
2004
Deutsch, English, Français, 日本の
Reinhard Storz
PDF
56kTV – bastard channel has its own programme magazine. International authors from the worlds of the film, art and the media sciences comment on the TV project and the individual programmes, thus enriching the audio-visual online offer by a print & read version. We are investing in a good visual concept and leaving the print-on-demand to our public, since the TV magazines can be printed on every home printer.
EDITORIAL
bastard channel is a cross between a television and a web project, a platform in the Internet that tells the story of itself as a television channel. The channel works with the lowtech and financial means of network art and has collaborators on three continents. Its programme can be received all over the world.
On 18 November 2004, bastard channel has been celebrating its start with six programmes within the framework of the Viper Media Festival in the Basel Kunsthalle. By the winter of 2005, seven new programmes will have been added. The participants are artists from Bangalore, Basel, Berlin, Geneva, Los Angeles, Mexico, Paris, Seoul, Tokyo and Zurich, as well as collaborating text writers, translators, programmers and graphic artists.
It will not be possible to receive all the bastard channel programmes at all times, for our online project operates according to the television programme structure. Trailers will provide information about the times of day and night when you will be able to receive the next programmes in your part of the world. Whereas the terrestrial television stations are working on making it possible for programmes to be broadcast online independently of times and dates, bastard channel is set on limiting consumption: we do not want our programme to be available all the time, and we take the opportunity of wagging a cautionary medial forefinger at the “zap & surf attitude”.
bastard channel is intended to reflect the web as a time medium. This is a cross between the babbling TV promises and the hesitant web response of a 56k modem. Some of our programmes are run like films, animating the screen at a breakneck pace, others step intentionally on the brake, tempting and frustrating at one and the same time. Still others bring streams of data onto the screen or make interaction offers where the public can spend 30 minutes or 30 seconds. At bastard channel, even the TV test pictures are interactive, and viewers receive personal answers to existential problems from the Television Sphinx – without, however, knowing whether they will receive a written or spoken answer from the Sphinx herself or her intelligent robot within two to three days.
56kTV – bastard channel has its own programme magazine. International authors from the worlds of the film, art and the media sciences comment on the TV project and the individual programmes, thus enriching the audio-visual online offer by a print & read version. We are investing in a good visual concept and leaving the print-on-demand to our public, since the TV magazines can be printed on every home printer.
Texts of 2nd Issue
Reinhard Storz, Basel
Editorial / All programs on 56kTV. abridged version
Claus Pias, Berlin
Monica Studer / Christoph van den Berg, Basel. TRAVELOGUE
Tsutomu Okada, Tokyo:
exonemo, Tokyo. ‘ZZZZZZZZapp?’ a Detuner for 56kTv
Inke Arns, Dortmund:
Marc Lee, Zürich. TV-BOT
Guido Graf, Jarlingen:
Birgit Kempker, Basel. SPHINX
Max Bruinsma, Amsterdam:
Young-Hae Chang Heavy Industries, Seoul. VIEW AND PLAN OF SEOUL
Martin Krusche, Gleisdorf:
Nathalie Novarina / Marcel Croubalian, Genf. NEWS FROM THE DEAD
ibro fooman hasanovic, Sarajevo:
Jimpunk. AcidMissile
Eveline Suter, Zürich:
Fran Ilich, Telenouvelle Vague
RealismusStudio, NGBK Neue Gesellschaft für Bildende Kunst
Book, soft cover, 64 pages
2004
Deutsch
Harald Fricke, Knut Hickethier, Marlene Streeruwitz, Renée Zucker, Hildtrud Ebert
ISBN-10: 3926796944 ISBN-13: 9783926796943
Hildtrud Ebert (Vorwort)
Harald Fricke (Autor)
Knut Hickethier (Autor)
RealismusStudio NGBK (Herausgeber/-in)
Marlene Streeruwitz (Autorin)
Renee Zucker (Autorin)
Inhalt
9 Teststrecke der Musikindustrie: »Deutschland sucht den Superstar« Harald Fricke
13 Nichts gegen Infotainment, Renee Zucker
28 Influtainment, Marlene Streeruwitz
iß Entertainisierung, Knut Hickethier
58 Werkverzeichnis
59 Filmprogramm
59 Biografien
63 Autorenverzekhnis
63 Bild- und Quellennachweis
6i). Impressum
35 Friederike Anders
38 Guy Ben-Ner
18 Claudius
Böhm/Volker, Möllenhoff/Heiko Sievers
23 Geissler & Sann
25 Gabriela Golder
28 Jon Haddock
Eno Henze u. Andreas Lorenschat
36 Christian Jankowski
41 Anja Kempe
20 Korpys/Löffler
16 Marc Lee
17 Johannes Maier
37 Bj0rrt Melhus
26 Monika Oechsler
22 Christian Pundschus,
Philip Grözinger
57 RothStauffenberg
iii. Björn Schülke
U2 John Wood und Paul Harrison
RealismusStudio
Die Ausstellung zeigt künstlerische Positionen, die sich kritisch mit neueren medialen Genres wie Edutainment, Infotainment, Politainment oder Militainment – welche sich alle an den Begriff des Entertainments anschließen und aus ihm hervorgegangen sind – auseinandersetzen.
Wer erinnert sich nicht an die Fernsehbilder aus dem Irak-Krieg, an die im grünen Licht der Infrarotaufnahmen aufblitzenden Detonationen, an das Stakkato der Bilder ? Als Mix aus dokumentarischer Berichterstattung und Videoclipästhetik kam das Kriegsgeschehen als Event der besonderen Art ins Haus. Das Unbehagen am Verschwinden einer brutalen und komplexen Wirklichkeit hinter einer verharmlosenden TV-Repräsentation war Anlass im RealismusStudio, die Ausweitung der Unterhaltungsstrategien zum Thema einer Ausstellung zu machen.
Seit Neil Postman mit seinem Begriff des Infotainment die mediale Verpackungspraxis von Informationen zum Gegenstand seiner Fernsehkritik gemacht hat, erfasst die Entertainisierung praktisch jeden Lebensbereich. Mili-, Edu-, Psycho-, History – oder Politainment markieren den unübersehbaren Trend zur unterhaltsamen Vermittlung von komplexen Sachverhalten und Wissensgebieten. Welcher Bildstrategien bedienen sich die neuen Genres und welche Selbstbilder und sozialen Verhaltensmuster bringen sie hervor – solche und ähnliche Fragen stellen sich die KünstlerInnen dieser Ausstellung. Sie nehmen die für die –tainment Praxis charakteristische Verschränkung verschiedener Formen, Genres und Gattungen zum Anlass, die Praxis des Bildtransfers medienkritisch unter die Lupe zu nehmen und ihre Effekte herauszustellen.
-tainment Formate arbeiten mit den Mitteln der Simulation und Inszenierung und haben sich bekannte Verfahren künstlerischer Interventionen längst einverleibt. Es war und ist daher eine Herausforderung an die KünstlerInnen, die Trennlinie zwischen affirmativen und kritischen Bildverfahren zu ziehen und die „Konstruktionselemente“ der neuen Medienwelten offen zu legen. Sie machen mit ihren Arbeiten einen Prozess transparent, der sich durch die Transformation kulturell geprägter Bilder und Zeichen in „Baumaterial“ zur freien Verfügbarkeit permanent vollzieht: den Verlust an Eindeutigkeit. Die Werke der Ausstellung verweisen aber auch auf die Ambivalenz dieses Vorgangs. Sie zeigen, dass sich die Bedeutung von Bildern erst aus konkreten Kontexten erschließt und sich das Problem „real oder fiktiv“ nicht mehr zwingend stellt.
In der Ausstellung sind folgende Künstlerinnen und Künstler vertreten:
Friederike Anders, Guy Ben-Ner, Claudius Böhm/Volker Möllenhoff/Heiko Sievers, Geissler & Sann, Gabriela Golder, Jon Haddock, Eno Henze und Andreas Lorenschat, Christian Jankowski, Anja Kempe, Korpys/Löffler, Marc Lee, Johannes Maier, Bjørn Melhus, Monika Oechsler, Christian Pundschus/Philip Grözinger, RothStauffenberg, Björn Schülke, John Wood und Paul Harrison
ZKM | Center for Art and Media
Exhibition brochure, 32 pages
2004
Deutsch
Dominika Szope, Peter Weibel, Margit Rosen, Sabine Himmelsbach
zkm.de/publikation/die-algorithmische-revolution, Exhibition
Normalerweise liegt eine Revolution vor uns und kündigt sich mit »Getöse« an. Die Algorithmische Revolution dagegen liegt bereits hinter uns und nur wenige haben sie bemerkt – umso wirkungsvoller ist sie gewesen. Die Algorithmische Revolution begann um 1930 in der Wissenschaft, um 1960 in der Kunst. Inzwischen gibt es kaum noch einen Bereich unseres gesellschaftlichen und kulturellen Lebens, der nicht von Algorithmen durchdrungen ist: Technik, Transport, Haushalt, Banken, Wirtschaft, Kommunikation, Architektur, Literatur, Kunst, Musik.
Unter einem Algorithmus versteht man eine Entscheidungsprozedur, eine Handlungsanweisung, die aus einer endlichen Menge von Regeln besteht, eine endliche Folge von eindeutig bestimmten Elementaranweisungen, die den Lösungsweg eines spezifischen Problems exakt und vollständig beschreiben. Der wohl bekannteste Einsatz von Algorithmen ist deren Umsetzung in der Computerprogrammierung. Ein Programm ist ein Algorithmus, der in einer Sprache formuliert ist, welche die Abarbeitung durch einen Computer ermöglicht. Jedes Computerprogramm (eine höhere Maschinensprache) ist also ein Algorithmus. Der Mensch hat die Abarbeitung von Erzeugungs- und Entscheidungsverfahren, z.B. tage- und stundenlanges Rechnen, in eine Maschine, die Rechenmaschine, ausgelagert. Parallel zur Entwicklung der Rechenmaschinen wurden daher auch immer präzisere Programmierungen notwendig. In den letzten Jahrzehnten sind Algorithmen vor allem in der Informatik, der Komplexitäts- und der Berechenbarkeitstheorie zu einem zentralen Thema geworden. In Form von Computerprogrammen und elektronischen Schaltkreisen steuern Algorithmen Computer. Der erste für eine mechanische Rechenmaschine konzipierte Algorithmus (für die Berechnung von Bernoulli-Zahlen) wurde 1842-1843 von Ada Lovelace in ihren Notizen zu Charles Babbages Analytical Engine (1833) niedergeschrieben. Weil jedoch Babbage jene Analytical Engine nicht vollenden konnte, wurde Lovelaces Algorithmus nie darauf implementiert.
Die mangelnde mathematische Genauigkeit in der gängigen Definition eines Algorithmus störte viele Mathematiker und Logiker des 19. und 20. Jahrhunderts. A.A. Markow schuf 1906 eine generelle Theorie stochastischer Prozesse bzw. Zufallsprozesse durch seine so genannten Markow-Ketten, die 1936 von A. Kolmogorow generalisiert wurden. Diese repräsentieren das mathematische Modell eines Prozesses ohne Gedächtnis, der ein physikalisches System beschreibt, wenn die Wahrscheinlichkeit des Übergangs in einen anderen Zustand nur abhängig ist vom Zustand des Systems zu einem gegebenen Zeitpunkt und nicht von der vorangehenden Geschichte dieses Prozesses. Die Übergangswahrscheinlichkeit für den Zustand zum Zeitpunkt t+1 ist nur abhängig vom Zustand zum Zeitpunkt t. Markow-Ketten erlauben das Studium von Sequenzen wechselseitig abhängiger Variablen nach Gesetzen der Wahrscheinlichkeit, sind also Sequenzen von Zufallsvariablen in denen die künftige Variable abhängig ist von der gegenwärtigen Variablen aber unabhängig vom Zustand ihrer Vorgänger.
Diese Theorie stochastischer Prozesse konnte Ende der 1950er und Anfang der1960er Jahre auch erfolgreich auf die stochastische Erzeugung von Poesie und Musik, also auf Zufallsmusik und Zufallstexte angewendet werden. Der Begriff des algorithmischen Zufalls wurde als ultimative Definition des Zufalls akzeptiert und führte durch Kolmogorow, Chaitin und Solomonow zur Begründung einer Algorithmischen Informationstheorie. Schon um 1930 wurde der intuitive Begriff der Berechenbarkeit bzw. des Algorithmus mathematisch präzisiert. Die Arbeiten von Kurt Gödel, Alonzo Church, Stephan Kleene, Emil L. Post, Jacques Herbrand, Alan Turing haben gezeigt, dass alle formalen Fassungen des Begriffs der Berechenbarkeit gleichwertig sind und als Präzisierung des Begriffs Algorithmus angesehen werden können. Algorithmen sind also älter als Computer, obwohl ihr bekanntestes Einsatzgebiet in den letzten 70 Jahren die Umsetzung in der Computerprogrammierung ist. Die Computer dienen der Abarbeitung von immer komplexeren Algorithmen. Jedes Problem, das programmierbar ist, ist mit jeder heutigen Programmiersprache algorithmisch lösbar. Eine der vermutlich bekanntesten Problemlösungen ist das1936 von Alan Turing (1912-1954) entwickelte Konzept der Turing-Maschine, die aus einem unendlich langen Speicherband, einem Schaltwerk und einem programmgesteuerten Lese- und Schreibkopf bestehend, sämtliche mathematischen Grundfunktionen simulieren kann, und darauf aufbauend wiederum alle restlichen vorhandenen mathematischen Funktionen erzeugen kann. Ein Computer kann also als eine Implementierung der Turing-Maschine angesehen werden. Mit Nullen und Einsen operierend ist er in der Lage, die komplexesten Dinge zu berechnen.
Die Ausstellung Die Algorithmische Revolution stellt unter dem Zeichen der Handlungsanweisung und des Algorithmus eine Klammer her zwischen diversen Kunstbewegungen wie sie bisher nicht wahrgenommen wurde. Op-Art und kinetische Kunst haben Kunstwerke hervorgebracht, die entweder von der Bewegung des Betrachters abhängig sind oder vom Betrachter in Bewegung versetzt werden müssen, um in Erscheinung zu treten. Mit dieser Beobachterabhängigkeit haben sie die Interaktivität der computergestützten Installationen vorweggenommen. Dies ist auch rein formal durch die visuelle Ähnlichkeit von Computergrafik und optischer Kunst ablesbar. Die Handlungsanweisungen von Fluxus, in Buchstaben geschrieben und an ein Publikum adressiert, antizipieren und parallelisieren die Anweisungen, die an Maschinen adressiert und in Ziffern geschrieben sind, die so genannten Algorithmen. Die Ausstellung gibt zum ersten Mal einen Überblick über die Herrschaft der Algorithmen als Erzeugermechanismus in Literatur, Musik, Architektur und Kunst, von den Anfängen in den 1960er Jahren bis zur Software-Art. Sie ermöglicht einen neuen Einblick in eine neue Entwicklung der Kunst.
ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe
Curator
Peter Weibel, Dominika Szope, Margit Rosen, Sabine Himmelsbach
Artists (154)
Marc Adrian, Yaacov Agam, Getulio Alviani, Giovanni Anceschi, Kovac Architecture, Mario Ballocco, Thomas Bayrle, James Beauchamp, Giselle Beiguelman, Tom Betts, Alberto Biasi, Claus Böhmler, Ecke Bonk, Davide Boriani, George Brecht, Bazon Brock, Ludger Brümmer, Herbert Brün, Klaus Burkhardt, John Cage, Jim Campbell, Bruno Cohen, Gianni Colombo, Shane Cooper, Toni Costa, Luc Courchesne, Charles A. Csuri, Frank den Oudsten, Gabriele Devecchi, Hans H. Diebner, Götz Dipper, Ralph du Carrois, Marcel Duchamp, Jonathan Feinberg, Frank Fietzek, Robert Filliou, Henry Flynt, Herbert W. Franke, Masaki Fujihata, Kiyoshi Furukawa, Karl Gerstner, Walter Giers, Joe Gilmore, Hermann Goepfert, Richard Hamilton, Leon D. Harmon, Agnes Hegedüs, Heinrich Heidersberger, Maurice Henry, Lynn Hershman Leeson, Lejaren Hiller, Perry Hoberman, Markus Huemer, Jochem Hüskes, Alice Hutchins, Norbert Huwer, Boris Jakubaschk, Joe Jones, Utz Kapmann, Thomas Keller, Friedrich Kiesler, Orhan Kipcak, Wolfgang Kiwus, Kenneth C. Knowlton, Kenneth C. Knowlton, Kenneth C. Knowlton, Kenneth C. Knowlton, Rem Koolhaas, Alison Kowles, Michael Krause, Seymour Krim, Marc Lee, Golan Levin, Golan Levin, David Link, Rafael Lozano-Hemmer, Boris Lurie, Greg Lynn, Jackson Mac Low, George Maciunas, George Maciunas, George Maciunas, Enzo Mari, Manfredo Massironi, Max Mathews, Jonas Mekas, Laurent Mignonneau, Manfred Mohr, Franz Mon, François Morellet, Leonardo Mosso, Wolfgang Münch, Bruno Munari, Frieder Nake, Georg Nees, A. Michael Noll, Ralf Nuhn, John Pierce, Sigmar Polke, Chandrasekhar Ramakrishnan, J. K. Randall, Casey Reas, Vjenceslav Richter, Bridget Riley, Arthur Roberts, David Rokeby, Dieter Roth, Gerhard Rühm, Takako Saito, Takako Saito, Ralph Salm, Charles Sandison, Samson Dietrich Sauerbier, Michael Saup, Christian Scherr, Friedemann Schindler, Peter Schmidt, Tomas Schmit, Lillian F. Schwartz, Jill Scott, Joshua Selman, Jeffrey Shaw, R. N. Shepard, Mieko Shiomi, Charlotte Sommer-Landgraf, Christa Sommerer, Jesús Rafael Soto, Armin Steinke, Gerald Strang, Paul Talman, André Thomkins, Edward Thorden, Jean Tinguely, Endre Tót, Stan VanDerBeek, Grazia Varisco, Victor Vasarely, Woody Vasulka, Roman Verostko, Peter Vogel, Gerhard von Graevenitz, Wolf Vostell, Peter Walter, Martin Wattenberg, Robert Watts, Peter Weibel, Michael Weisser, Stefan Wewerka, Emmett Williams, Maciej Wisniewski, Shelly Wynecoop, La Monte Young, Edward E. Zajac, Konrad Zuse