YOUR ART!! party at Eyenbeam last Saturday was super cool!! As part of the F.A.T. GOLD program visitors were invited to build a golden necklace to show art from their phones. The concept is based on an intervention I did with Khoi Vinh during the Seven on Seven conference at Rhizome 2012. More documentation about the F.A.T. GOLD exhibition at Eyebeam to come.
I ll show a new piece “Forgot your password?” at Eva & Franco Mattes’ ‘stolen’ show at Carroll/Fletcher next month. (See also where Artie has ‘stolen’ the concept from before ;))) Nice press release! I took the liberty to OCR it into machine readable format below. (NOT EDITED!!! :)
i ;_56<57 Eastcastle St
London WIW sso
Exhibition: Brand Innovations for Ubiquitous Authorship
Date: m2 23 April – 11 May, 2013
Opening reception: 3Fhursday-19-July-2012-,-6-8pm Monday 22 April, 8:30 – 9pm
Carroll/Fletcher and Eva and Franco Mattes present Brand Innovations
for Ubiquitous Authorship, a group show of anists whose works frequently challenge
traditional notions of object production and material constraint.
For this exhibition each artist was asked to produce an object using a custom printing or fabrication
service. These services, such as CafePress and Zazzle, exist to provide users a cost-effective way of
producing fully customized products, from t-shirts to iPhone cases, and a host of other objects-
custom 3D printing from companies like Shapeways, full printed books from companies like Lulu, &c.
These services have arisen as the result of increasing consumer demands toward customization and
print-on-demand objects, offering a venue for traditional “self expression” to be imprinted onto
commonplace goods. As the tools for image creation and dissemination have become increasingly
democratized, these services attempt to expand this domain into the realm of objects. They are used
here to transform images from a plethora of authors into a mass of commodities.
Higher-Pietu+es Carroll/Fletcher has not seen a single piece in this show as of the writing of this news
release. We expect this backwards approach to be filled with highs, lows, and hopefully more than a
few transcendent successes. The result will be a gallery of art, artifact and artifice.
For further information wnmct . +44 (0)20 7323 6111
Participating artists andwriters include:
Annabelle Arlie Brian Khek
Andreas Banderas Martin Kohout
Aram Bartholl Bryan Krueger
Body by Body Lindsay Lawson
Chris Coy Jaakko Pallasvuo
Christofer Degrér Jon Rafman
Nick DeMarco Sean Raspet
Constant Dullaart Rafael Rozendaal
Andreas Ervik Borna Sammak
Matt Goerzen Oliver Sutherland
Aaron Graham Daniel Temkin
Toby Huddlestone Brad Troemel
Parker Ito Artie Vierkant
Justin Kemp Andrew Norman Wilson
Exhibition concept stolen from Artie Vierkant’s show by the same title.
March 19 – May 7, 2013 at the Museum of Moving Image NYC
by Sakrwoki aka curatingyoutube.net and Aram Bartholl. 2013, 62 mins. DVD.
Vertical Video is a one-hour selection of amateur videos captured in the 9:16 aspect ratio, first compiled for a special screening in Berlin entitled Vertical Cinema. The DVD includes a special How To video with instructions for adjusting a home theater or other viewing environment to properly experience these works.
Fueled by a proliferation of mobile, inexpensive, high quality cameras and free online distribution platforms, self-trained media producers continue to invent creative uses for media technologies that challenge contemporary viewing behaviors and expectations. Even though the 9:16 aspect ratio is often understood to be “wrong” €“the result of using a camera “incorrectly” €“videos in 9:16 are being created and distributed online at an increasing rate. Unchained from cinema screens, televisions, and computer monitors, media makers are free to create for viewing experiences outside of traditional horizontal exhibition hardware.
Vertical Video is a compilation of videos with a wide range of subjects including architecture, wildlife, bodies in motion, gaming, eyewitness accounts, and current events whose vertical treatment is a natural and fitting decision. Until now, many of these videos have only been seen online where they have been thickly pillarboxed and shrunk to squeeze into the existing horizontal viewing system. This compilation provides evidence that a new generation of media producers, freed from concerns about conventional screening requirements, reject the arbitrary restrictions of the horizontal screen and maintain a more fluid relationship with the frame.
The selection was originally screened at Vertical Cinema Platoon Berlin on Feb 18 2013, see also http://datenform.de/vertical-video-eng.html
Let me steal a few seconds of your attention to remind you about some obvious facts and terms. The Internet and the Web are not the same. The Internet is older and bigger, it is a distributed network born in 1969 and turned into a global Internetwork at the very beginning of the 80s.
The Web is younger. In two months we will celebrate its twentieth birthday. The first cross-platform browser, Mosaic, was released to the public in April 1993. There are people who date the beginning of the Web to 1989, when Tim Bernes Lee invented the WWW system, but nothing happened between 1989 and 1993. Nothing before the rest of us started to shape it.
The Web is younger and “smaller.” It began in 1993 as a modest service, one of many. I have a book here with me, “The Whole Internet” – I always have it with me. It has 400 pages and only fifteen of them are about the Web. But it was growing very fast. By 1995, it would make no sense to write a book entitled “The Whole WWW” or something similar, because it was already immense by this time.
The Web became the Internet very quickly. In the 90s many got to know about the Internet through the Web. Many never ever left the Web, so they haven’t seen the rest of the Internet. In the new millennium, most of the users don’t even know there is a difference. I sometimes get angry at new students who don’t know about it, but at the same time, I’m fine with this because the Web is the best thing that happened to the Internet. The best thing that happened to us. It is the best thing that could happen to artists and to the contemporary art world, though not everybody would agree with this.
Apart from the many doors and windows that it has opened to artists and institutions, the Web gave life to a very important movement: net art – or, as one would have called it during the mid 90s, net.art.
Retrospectively, we can say that it gave life to two art forms: web art and net art. The first was busy with browser, HTML and scripts, with the idea – revolutionary at the time – that a browser IS a place for self-expression, for experimentation, for making art. Net art was busy with networking itself.
In the beginning, web and net art were represented by the same people. They – I mean, we, worked for the Web, on the Web and because of the Web. But we didn’t want to be called web artists; we liked being called net artists. The reason is that, for net artists, visual and coding experiments with browsers were less important than the fact that our works were ONLINE.
Artists of that generation emphasized connectivity, networking, and the distributive nature of the works through several means. There was a great desire to create projects that weren’t visible on a computer that was NOT online. Today, we often hear that there is no difference anymore between offline and online, that they are both real life. True. Twenty, fifteen years ago, we knew very well when online stopped and offline started, where net art stopped and where CD-ROM, interactive or whatever art started.
A show that goes back to the initial idea of net art opens tonight. It focuses on connection, its presence, and its absence. It even starts off with a provocative title. I don’t know what you think about when you read OFFLINE art, but I can only think about ONLINE art.
OFFLINE ART: new2 was curated by one of the most important new media artists, Aram Bartholl. His objects and installations in public places precede today’s art and design trends that play with the relationship between the digital and analog worlds. But he is also a net artist, a classic net artist, because he keeps himself busy with the question “am I on or off?”
This question was and still is central to net art, despite new realities, new devices and generational change.
Aram is also a brave artist, because he is not afraid to enter into one of the most slippery issues related to contemporary and media arts: Does it make sense and is it possible at all to show net art in a gallery or real space?
I have been involved with this discussion for the last fifteen years through my own artistic and curatorial work. I can tell you that the answer has changed from a definite No to Maybe, to Yes, but and finally, to Yes.
It became clearly positive some years ago, when the Web stopped being a new medium and became a mass one. It was quite a difficult moment for net art and web art, because these forms are extremely medium-specific. Web artists and net artists are doing work about the medium, but, as soon as it stops being new – when it a matures, when it becomes a mass medium, it becomes very difficult to have a close connection with it. By the way, many net artists went OFFLINE at that time to make works “about the internet and the web” from the outside, in order to keep a distance, to keep the relationship alive.
But there was also a bright side to this: the fact that the Internet became a mass medium meant that net artists got bigger audiences, both online and offline. Ten years ago it made sense for net artists to only address people in front of their computers; today, I can easily imagine addressing visitors in a gallery because most of them have just gotten up from their computers. They have the necessary experience and understanding of the medium to get the ideas and jokes, to enjoy the works and to buy them.
What is especially interesting about today’s exhibition is the fact that it counts on people who came not only with knowledge but also with their own mobile devices. So you are here and you are in front of your own computers again.
How to show net art in the real space? Another eternal question
OFFLINE ART is not Aram’s first answer to it. Three years ago, he conceptualized Speed Shows, an exhibition format that suggested renting an Internet café for one evening and opening online works on computers in a standard browser with standard preferences. It was a great gesture and I’m happy that these series of events still happen all over the world, because it is important to go to Internet cafés, to sit at least once in a while in front of a public computer. It was great for net art because a standard computer with a standard browser is a natural atmosphere. It is much healthier than installations and custom built objects around a work that only needs a browser. “Net.art never died! It just moved to your local Internet-shop!” was the motto of the series. The paraphrased motto of OFFLINE ART could be “net.art never died! It just moved to your local network!”
Once again, Aram suggests showing (distributing) the works through standard devices – Wi-Fi routers. They are modified, though. One router, one artist, one work of art: one network per artist. It is elegant and almost absurd.
This can be very attractive for collectors, who were always warned that you couldn’t buy net art; for this, you’ll have to buy the whole network. Well, here it comes, the artwork and the network.
I’m sorry if it sounds a bit sarcastic, but it is not because I’m against selling. I think, and I have repeated this for fifteen years, that selling web art is easy. Any other art form is more problematic than a web-based one, especially when it comes to pragmatic and legal issues. Additionally, there are so many ways to do it, so many ways to reshape and re-contextualize, to keep and collect. OFFLINE ART is an example of how it can be done.
We can try to see today whether this setting works and how it works. Will you look at the router or will you look at the work it is transmitting? Will you go through one router to another, or stay for hours in front of one? Will you keep the files you’ve downloaded on your devices and transfer them to your nextphone or overwrite them immediately?
You can access the works of twelve artists who belong to the tradition of web art through the routers, and then buy the routers. For OFFLINE ART, Aram selected classic and new works that play with web culture and browser aesthetics. They are all accessible through browsers, not apps. I think it is great to do this in 2013, because at this moment it looks like apps are taking other, but it is not true. Web designers and browsers will adjust to the small screens in the near future and the Web will once again become the environment we are in, even on mobile phones.
As soon as you connect your devices to each of the routers you will get a beautiful piece of web art. The exhibition itself is a wonderful net art project. Thank you for paying attention to both, for keeping both movements alive
Olia Lialina, 21 February 2013
I pass this new2.odt to you. Please scan, spell-check and put it online :)
Thx to Olia for this wonderful and very important opening speech!
Aksioma | Project Space
Komenskega 18, Ljubljana
6 – 22 March 2013
Exhibition opening and artist presentation:
WED 6 March 2013 at 7 pm
How to ANDROID DISCO! 1.Go to Settings 2. Select Developer options at bottom 3. Check all boxes in section User interface. Done! PAAARTY!
— Aram Bartholl (@arambartholl) February 26, 2013
WARNING:If you are a photosensitive epileptic you might need help to have your phone set back to normal. (looks very much like a JODI piece :)))
Also as text at http://www.ecrans.fr/Offline-Art-il-faut-savoir-reseaux,16024.html
Thx to Marie Lechner for the great piece!!
Google Portrait: Kate Middleton
Charcoal on Paper
100 x 100 cm
Aram Bartholl, 2013
Good by Kate! Was cool hanging out! :))
Flickr picture set of OFFLINE ART: new2 opening at xpo gallery in Paris last Thursday. The opening was magic! Thx to all the artist taking part in this experiment! Thx to xpo gallery for making this possible! Thx to Olia Lialina for the fabulous opening speech! Thx everyone!
The Vertical Cinema night at Platoon last Monday was really cool!! Good crowd and lot of fun!! Thx to Platoon for hosting us!
I am showing a new work at DAM Frankfurt “BACK TO BACK” , opening next Sunday . “Graphic Arrays” is about screen resolutions and aspect ratios and how these evolved over the laste decades. The left board is dedicated to more recent mobile vertical resolution ending at iPad retina. The right board represents the long history of desktop screen pixel sizes starting with the classic VGA (640×480) IBM standard from 1987 till todays common 2560×1600 desktop monsters. It’s also fun to look up the top screen resolutions of Internet users for each year screenresolution.org, sometimes even sorted by country (which it was up to date). My first screen ever was a PAL 576×768 on a C64. Currently I am looking at 2560×1440 vastness. Of course the DPI(PPI) has increased immensely over the years, especially with all the mobile screens recently. It feels weird to look at a 5:4 SXGA screen (1280×1024, my favorite!) today, almost portrait ration?!? At the same time when you cut a piece of paper in 16:9 format it looks overkill horizontal. But we look at that ratio all day! (…our glowing window of desire … (in 16:9 …;)) Update: The actual resulution of pixel sized paper sheets is classic 72 ppi (pixel per inch) like the first screens in the good old days. :) Some people’ve been asking…
See also related the verticalcinema.com project.
BACK TO BACK at DAM Frankfurt
Opening, February 17 2013, 11 am – 15 pm
Exhibition: 20th February – 27th April 2013
with: Aram Bartholl (D), Eelco Brand (NL), Joan Leandre (ES), Gerhard Mantz (D), Manfred Mohr (D), Vera Molnar (F), Frieder Nake (D), Casey Reas (US)
media: paper, aluminum dibond,
dimensions: 54 x 72 cm, 90 x 56 cm,
Aram Bartholl 2013
|240×320, 240×400, 320×480, 480×640, 480×800, 540×960, 600×960, 600×1024, 640×960, 768×1024, 720×1280, 1366×768, 800×1280, 1080×1920, 1536×2048||640×480, 768×576, 800×600, 1024×600, 1024×768, 1152×720, 1280×720, 1280×768, 1280×800, 1152×864, 1280×960, 1280×1024, 1360×768, 1366×768, 1440×900, 1600×900, 1400×1050, 1680×1050, 1600×1200, 1920×1080, 2048×1152, 1920×1200, 1920×1440, 2560×1440, 2560×1600|
Last Friday I made a cam bootleg of the world premiere of the TPB AFK film at Berlinale. Whole story and video etc can be found on FFFFFAT :))
Current & upcoming shows / talks / workshops
solo show at xpo gallery, Paris
Fußnoten zum Aufbruch
Motorenhalle in Dresden
see Conference, Wiesbaden
F.A.T. Lab GOLD – 5 years of fffffat!!
at Eyebeam, New York, US
with xpo gallery, Paris
solo show at Aksioma, Ljubljana, Slovenia
with DAM Berlin
OFFLINE ART: new2
at xpo gallery, Paris
curated by Aram Bartholl
participating artists : Cory Arcangel, Kim Asendorf, Claude Closky, Constant Dullaart, Dragan Espenschied, Faith Holland, JODI, Olia Lialina, Jonas Lund, Evan Roth, Phil Thompson, Emilie Gervais & Sarah Weis
BACK TO BACK
DAM Frankfurt am Main
with: Aram Bartholl (D), Eelco Brand (NL), Joan Leandre (ES), Gerhard Mantz (D), Manfred Mohr (D), Vera Molnar (F), Casey Reas (US)
presented by curatingyoutube.net & Aram Bartholl
hosted by Platoon Berlin
Love this!! Grand father of game mod culture meets latest super star in mod heaven. :))
… results in this recent game: Ace of Spades
BEST OF Fach & Asendorf Gallery
February 8–March 14, 2013, at Museum of Moving Image, DVD Dead Drop
Compiled by Ole Fach & Kim Asendorf (http://fa-g.org)
Fach & Asendorf Gallery debuted online in 2011 with these words:
The Internet, it is everywhere. It is here, it is there and it is where you actually are. It is so huge that nobody ever could print it. It is so deep that no one ever would dive to its end. There is peace and war in it, love and hate and all between. Once you have traveled through it, you will never forget, and you will come back, asap.
Since then, Fach & Asendorf Gallery has served 24 online exhibitions of digital and net art to more than 28,000 unique visitors. To celebrate the beginning of their third season, Fach & Asendorf Gallery presents BEST OF, an enormous collection of unreleased and exclusive work by 76 artists from around the world spanning a broad range of formats including applications, videos, and animated GIFs. BEST OF is a whole week of Internet on DVD.
A Bill Miller, Absis Minas, Alan Butler, Alexander Peverett, Alfredo Salazar-Caro, Andrew Benson, Andrew Rosinski, Anthony Antonellis, Aoki and Peverett, Art 404, Bea Fremderman, Brandon Blommaert, Carlos Saez, Charles Chalas, Chris Collins, Christian Petersen, Claudia Mate, Clement Valla and Kyle McDonald, Constant Dullaart, curatingyoutube.net, Daniel Leyva, Daniel Rehn, David Kraftsow, Deanna Havas, Dominik Podsiadly, Emilie Gervais, Emilio Gomariz, Fabien Mousse, Ferestec, Florian Kuhlmann, Francoise Gamma, Fritz Laszlo Weber, Georges Jacotey, Goto80, Grace McEvoy, Hugo Scibetta, Jacob Engblom, Jan Robert Leegte, Jasper Elings, Jennifer Chan, Jerome Saint-Clair, JK Keller, Johannes P Osterhoff, Jon Satrom, Jonas Lund, Jonathan Pirnay and Jörn Röder, jonCates, Jordan Tate, Jörg Piringer, Julien A Lacroix, Lorna Mills, Małgosia Woźnica, Manuel Fernández, Mark Beasley, Mark Durkan, Martin Böttger, Matthew Williamson, Max Capacity, Michael Manning, Mitch Trale, Miyö Van Stenis, Nicholas O’Brien, Nick Briz, Nicolas Boillot, Nicolas Sassoon, Niko Princen, Paul Flannery, Philipp Teister, Rajeev Basu, Raphaël Bastide, Rick Silva, Rollin Leonard, Sara Ludy, Sarah Samy, Sarah Weis, Sebastian Schmieg and Silvio Lorusso, Stefan Riebel, Sterling Crispin, Ted Davis, Theodore Darst, Thomas Cheneseau, Travis Hallenbeck, Yoshi Sodeoka
I am very pleased to announce this upcoming show I curated for xpo gallery. The exhibition format is inspired by David Dart’s Piratebox. OFFLINE ART is some sort of cross-over of Speed Shows and Dead Drops bur still very different :)). Tech specs and software to be released soon! Credits to Matthias Strubel for code! Thx!!
CU there everyone!!
My current favorite clip. These sort of moments are the best in life!
I was live today! On http://iphone-live.net/ by Johannes P Osterhoff. Also congrats to your new project bezos.cc :)) http://rhizome.org/editorial/2013/jan/12/dear-jeff-bezos/
“Click anywhere to begin! – or arambartholl.com is not my hompage but i saved the URL”
Aram Bartholl 2013
#SPEEDPROJECT of the day! feels like there is a series coming of this … :))
THX everyone!! YOUR ART!! party (my b-day party, 40!) at Panke, Berlin was a blast!! Thx for showing up, bringing and making all these beautiful necklaces. WoW!! When you see a workshop table like this above at the end of the night you know the concept worked really well ;)) Thx to Panke and team, was truly awesome!!
Bling & style credits to @TBX for http://fffff.at/maximum-web-cred-with-foxbling/
YOUR ART!! PARTY
Make your own YOUR ART!! GOLDEN NECKLACE at the YOUR ART!! PARTY.
Show off all your works from your phone/tablet/etc wrapped as COOL necklace jewelry.
You are the SHOW!!
Aram Barholl40!!! 2012
PARTY LINEUP!! YESSSS!!!
How to make a YOUR ART!! golden necklace
Bring your art to the PARTY and make your own YOUR ART!! golden necklace.
Anything goes!! Show your latest digital shit from any suitable device!!
“Hey ARAM, I don t have a touch phone!” No problem!!
Bring your paintings and hang them from your neck!! :))
- nokia phone,
- touch phone,
- framed prints or PAINTINGS!!
- what ever you want, hang it from your neck!
Gold chain, gold cardboard & tools etc will be provided.
How to find PANKE
Panke e.V. Gerichtstr. 23, Hof V. 13347, Wedding, Berlin
I am glad to be featured in this very diverse refreshing overview on contemporary art.
Beyond Contemporary Art
Etan Jonathan Ilfeld
250 x 250 mm (9¾ x 9¾ in)
240 pages with 150 illustrations
Paperback with flaps
£24.95 €29.95 US$39.95
In this book, the author surveys the key concepts and ideas that have reverberated throughout the art world in the last decade through studying the artists who have created them. From blockbuster museum exhibitions to influential art fairs and art-stars, the ever-expanding contemporary art world has been increasingly integrated into popular culture. While highlighting established artists such as Gerhard Richter, the book also includes emerging and mid-career artists whose work ranges widely. Artists such as Jeremy Wood who plots his movement across the globe through GPS tracking, Tatsuo Miyajima who does digital light displays, Eduardo Kac who does transgenic bio-art or Santiago Sierra who paid workers to shift a heavy rock back and forth are among the international artists included in this book. Often controversial, these artists push the boundaries of what would traditionally be considered art.
“Wo, bitte, geht’s zur realen Welt?” by Ricarda Stiller, 11.12.2012 08:00 Uhr
Was macht das Internet mit uns?
Mit dem Internet potenziert sich die Medienkritik in dem Maße, wie sich das Medium in alle erdenklichen Lebenssituationen ausbreitet. Vom Überall-Internet sind wir nicht mehr weit entfernt, vielleicht ist es sogar schon da. Nur an den Endgeräten wird noch gearbeitet. Längst besteht die Möglichkeit, dass der Kaffeevollautomat sich seine Software eigenständig über das Web aktualisiert. Konnte man sich vor zehn Jahren kaum eine Verwendung für Tablet-Computer vorstellen, wird man sich in zehn Jahren kaum noch vorstellen können, dass man seinen Alltag ohne einen Tablet-PC bewältigen kann.
Die Frage, was der Computer, das Internet, die sozialen Netzwerke oder Computerspiele mit uns anrichten, stellen sich nicht nur Soziologen, Medienanalytiker, Kulturwissenschaftler oder Psychologen, die zu diesem Thema den Büchermarkt fluten. Den aus Bremen stammenden und in Berlin lebenden Medienkünstler Aram Bartholl beschäftigt dieses Thema derart, dass es sich in fast allen seinen Arbeiten in irgendeiner Form wiederfindet.
I am very pleased to announce the latest DVD vol.4 for the install at the MMI. Was fun to dig through big stacks of DVDs to make this 78 chapters video DVD. Enjoy! :)
‘Home Entertainment’ Aram Bartholl. 2012, 31 mins. video DVD.
DVD Dead Drop vol.4 at the Museum of Moving Image, NYC
December 7, 2012–January 31, 2013
The reign of the DVD is over, and with it the era of the extra. Before home entertainment was streamed from the cloud, movies came on DVDs that contained more than just the featured attraction. Studios added bonus content like behind-the-scenes documentaries and audio commentaries to make DVDs more desirable to consumers.
But DVDs also came with undesirable extras that were universally frustrating to captive audiences waiting for their movie to begin: unskippable content. Trailers for upcoming movies, promotional spots, and other unwanted clips all found their way immovably in front of featured attractions.
Home Entertainment is a collection of media found on DVDs from around the world that you always wanted to skip, but couldn’t: international copyright warnings, home entertainment publisher logos, studio and distributor bumpers, anti-piracy propaganda, and more. This time, however, all the clips are chaptered, so you can finally skip them.