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immaterial, Kunstverein Bochum


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immaterial
Vier Positionen zeitgenössischer Skulptur
www.kunstverein-bochum.de
18.6. – 3.9.2017

A/A (Andreas Greiner und Armin Keplinger)
Aram Bartholl
Reiner Maria Matysik
Katrin Wegemann

Eröffnung am Sonntag, den 18. Juni 2017 um 11 Uhr
Es sprechen: Richard Hoppe-Sailer (1. Vorsitzender Kunstverein Bochum)
Reinhard Buskies (Kurator der Ausstellung)

Das Ausstellungsprojekt immaterial untersucht gegenwärtige Optionen von Skulptur unter der Prämisse eines wechselsei- tigen Verhältnisses von Präsenz und Transzendenz. Mehr als andere Kunstformen erscheint die Skulptur bestimmt von einer spezifischen Dialektik, von einem essentiellen Bezug zur Welt der Dinge und einer zugleich über das Dingliche hinaus- weisenden Dimension. Grundsätzlich bewegt sich Skulptur in einem Spannungsfeld zwischen dinghaftem Objekt und ikonischem Zeichen, zwischen materieller Gestalt und imma- teriellem Gehalt. In heutigen Zeiten, in denen sich zusehends materielle und nichtmaterielle, insbesondere digitale Sphä- ren ergänzen und gegenseitig durchdringen, erweist sich Skulptur als Medium der Reflexion für neuartige Strukturen und Prozesse, deren Auswirkungen inzwischen nicht nur alle Bereich des privaten wie des öffentlichen Lebens betreffen, sondern mehr noch unseren Begriff von Wirklichkeit verän- dern. Die vorgestellten Positionen agieren an Schnittstellen von Kunst, Naturwissenschaft und avancierten Technologien wie Bio- und Geo-Engeneering oder weltumspannenden Datennetzen. Sie fragen nach Material und Materialität sowie nach Prozess und Form, spüren stabilen und labilen Zustän- den sowie den Eigendynamiken geschlossener oder offener Systeme nach.

Begleitprogramm:
am Sonntag, den 9. Juli 2017 um 11 Uhr
Kuratorenführung mit Reinhard Buskies
am Freitag, den 28. August 2017 um 19 Uhr
Podiumsdiskussion

Written by Aram

May 29th, 2017 at 10:58 pm

WannaCry (Weeping Angels)


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WannaCry  (Weeping Angels)

Hyperpavilion 2017, Venice Biennale 
(Official Extended Program)

Installation/Performance
Medium: printed carpet, tires, steel, wood, mirror glass, phone charger, four special forces performers,
Size: 14 x 8 x 2 m

Aram Bartholl
2017

http://hyperpavilion2017.com/

Curated by Philippe Riss
Produced by Fabulous Pictures

Opening: May 11, 2017, 12:00-3:00 pm
Exhitbtion dates: May 12 – Ocotber 30, 2017

Credits:
Torsten Oetken & Christian Buchmayr

Statement:

The German government is working on a new law to empower immigration offices in extraordinary ways. Asylum seekers without a passport who make their applications in Germany will be required to hand over all of their data. Immigration centers are being equipped with new forensic hardware and software to make complete copies of smart phones and other devices. Forcing immigrants to show their social media profiles is a strikingly efficient way to obtain proof of identity. A Facebook profile is seen as much harder to fake or lose than a passport. When the meta data on your Instagram pictures shows you’ve spent years in Libya, it may be hard to argue that you are actually a citizen of Syria. The difference is that asylum applications from Libya are not accepted. It is supposed to be a “safe country.”

The very basics of human rights and privacy rights don’t apply here any more. We now live in a world in which your social media profile is becoming more important than a passport. What will happen if you don’t have a Facebook account at all, or not even a smart phone?

What asylum seekers will soon have to endure in Germany is already, in a softer form, being implemented for everyone traveling to the Unites States and other countries. The border search exception empowers customs and border protection agents to search any electronic device. Increasingly, customs officers are asking travelers to show their social media profiles, passwords and to unlock their phones. In the future this process could be, very plausibly, automated at the entry-points and borders of many countries.

Social media is the perfect tool for commercial data mining and user tracking for marketing companies. And it also perfectly serves a governmental total control scenario, which is not some far-off, futuristic idea but a reality that is unfolding right now.

WannaCry  (Weeping Angels) at Hyperpavilion, Venice

The installation/performance WannaCry  (Weeping Angels) plays out on an 8×14 meter carpet printed with logos of more than 3000 internet marketing and user tracking companies. On the carpet, a mirror-covered, disguised, anti-riot police tank is parked. Specially-equipped security guards holding mirrored shields patrol the exhibition space and ask the visitors for their smart phone and social media profile.

“Is your phone ok? Does you Facebook still work? This is just a security measure for your safety. We had some attacks around here and just want to make sure your device is ok. … All good, thank you. Please don’t turn it off! This will help us to track any suspicious activities.”

With conversations like this, the guards cover up the fact that they are actually checking visitors’ phones (in the sense of the performance only; no data is collected). Barcodes are stuck on visitors’ phones, which are then scanned by the special unit officer. Visitors are left unsettled and wondering whether the encounter was real or part of the installation. In the context of the heavily patrolled Venice Biennale and the presence of actual armed soldiers in the Giardini, this performance works very well. The guards are present every weekend for the whole show until the end of October, 2017.

This new installation/performance produced for the Hyperpavilion Venice was inaugurated on May 11th 2017 just one day before the break out of the ransomeware virus WannaCry which led to widespread computer failures across the world. Such an uncanny correlation left me little choice but to rename the piece (formerly: Weeping Angels) with the name of the virus.

WannaCry  (Weeping Angels) evokes a dark age that we are on the cusp of entering: ever-increasing surveillance, terror attack fear and cyber-war panic on a daily basis. While we chill on our fluffy carpet at home thousands of companies retrieve and process our personal data. Increasingly military-like police control the cities while government intelligence collects massive amounts of data unnoticed every day. Is it 1984 yet?

Aram Bartholl 2017

 

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All pictures at flickr.com/photos/bartholl/albums/72157683886912096

Written by Aram

May 19th, 2017 at 7:44 am

Hyper Pavilion


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Hyper Pavilion
Venice Biennale, official extended program, Venice
http://hyperpavilion2017.com/

Exhibition dates: 13.5.-31.10.2017
Opening 11.5.2017 12:00 – 15:00h

curated by Philippe Riss, produced by Fabulous Pictures
with: Aram Bartholl, Vincent Broquaire, Claude Closky, Frederik De Wilde, LabNT2, Lawrence Lek, Claire Malrieux, Théo Massoulier, Julien Prévieux, Paul Souviron, Théo Triantaffyllidis

Written by Aram

May 14th, 2017 at 9:07 pm

Calendar update


Current & upcoming shows / talks / workshops

10.6.-1.10.2017
Skulptur Projekte Münster
LWL-Museum für Kunst und Kultur, Münster
curated by Britta Peters, Kaspar König, Marianne Wagner
with: Ei Arakawa, Aram Bartholl, Nairy Baghramian, Cosima von Bonin, Andreas Bunte, Gerard Byrne, “Camp” , Michael Dean, Jeremy Deller, Nicole Eisenman, Ayşe Erkmen, Lara Favaretto, Hreinn Fridfinnsson, Monika Gintersdorfer, Pierre Huyghe, John Knight, Xavier Le Roy, Justin Matherly, Sany, Christian Odzuck, Emeka Ogboh, Peles Empire, Alexandra Pirici, Mika Rottenberg, Gregor Schneider, Thomas Schütte, Nora Schultz, Michael Smith, Hito Steyerl, Koki Tanaka, Oscar Tuazon, Joelle Tuerlinckx, Cerith Wyn Evans, Herve Youmbi, Barbara Wagner,

12.-13.5.2017
Re-Configuring Anonymity
Symposium 2017, Uni Bremen

17.3.-30.4.2017
BoCA
Biennial of Contemporary Arts, Lisboa & Porto, Portugal
with: Ana Borralho & João Galante, Anastasia Ax, Anthony Hamilton & Alisdair Macindoe (AUS), Aram Bartholl, Cecília Bengolea & Nigga Fox , Crinabel Teatro & Digitópia, Diogo Evangelista, Filipa Francisco & Pedro Tudela, Florentina Holzinger & Claudia Maté, François Chaignaud & Marie-Piere Brébant, Damien Jalet & Gilles Delmas, Héctor Zamora, Ivan Argote, Jan Martens, Jenny Hval, Jérôme Bel , João Maria Gusmão & Pedro Paiva, …. among others

16.3.-2.4.2017
Das ist kein Bild. Das ist ein Bild
Burg Galerie im Volkspark, Halle

15.3.-15.4.2017
evanescence
peer to space Online

6.3.2017
Artist talk:Never Worry Again
Bard College Berlin

4.-26.3.2017
Jeu et Diversion
La Festival Art Souterrain, Montreal

4.3.-27.4.2017
Nothing to hide?
Real Art Ways Hartford, CT, USA
curated by Edward Shanken & Jessica Hodin
with: Franco and Eva Mattes, Aram Bartholl, Paolo Cirio, Eric Corriel, Hassan Elahi, Rafael Lozano-Hemmer, Jonas Lund, Julian Oliver, Trevor Paglen, Ryder Ripps, Bjorne Schuelke, Michelle Teran,

13.1.-31.3.2017
Iconomania
MAIF Social Club, Paris

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more ….

Written by Aram

March 1st, 2017 at 7:09 pm

Artist Talk – Bard college Berlin


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On Monday, March 6th 2017 at 5:00pm, Bard College Berlin has the pleasure to host conceptual artist Aram Bartholl for a guest talk titled “Never Worry Again.” The artist will be speaking about his artistic practice as well as sharing and discussing a wide range of recent works. This talk is open to the public. Refreshments will be served afterwards.

Time: Monday, March 6, 2017 from 5:00pm
Venue: Bard College Berlin, Lecture Hall
Platanenstrasse 98a, 13156 Berlin (map)
Admission free

http://www.berlin.bard.edu/news/events/eventsview/archive/2017/february/article/march-6-never-worry-again-artist-talk-by-aram-bartholl/

Written by Aram

February 28th, 2017 at 5:59 pm

Leaving Facebook URL Generator


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Leaving Facebook URL Generator
website, html, java script
Aram Bartholl
2017

https://leaving-facebook.com/

I stumbled over this funny facebook exit page a few days ago. It is quite standard for many Internet platforms to present you a warning like this: “do you really wanna go to that link?” or “see you again soon at our great platform….”. You are leaving the walled garden but they want you to stay. In this particular case I think it is hilarious that facebook titles one of its own pages ‘leaving facebook’. People been talking about leaving facebook since years.

As a fun (and rather useless) service I offer at leaving-facebook.com for everyone to create custom ‘leaving facebook’-URLs. There has been a bit confusion and questions about what this services actually does. It is very simple. If you enter a URL in the form and hit submit facebook will present you the according exit warning page.  Follow the link, that is the idea of the WWW.

Credits: Jonas Lund

Written by Aram

February 27th, 2017 at 7:27 pm

Never Worry Again


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Never Worry Again
sculpture
medium: dash button, vinyl print; size: 2,5 x 6 x 1,5 cm
Aram Bartholl
2017

Amazon Dash is an Internet connected button to make online shopping as simple as possible. The ‚click-buy‘ interface from the website becomes a real button. For each brand series Amazon offers a different button which, when pressed will result in the delivery of a single product. „Never worry again“ [to run out of soap, shampoo or chocolate etc.] was the slogan Amazon used advertise this new invention in Spring 2016.

With each button press a complicated chain of logistics and automation is triggered. A hyper optimized series of commands is issued through networks, software, robots and low wage workers to make the perfect delivery chain work. We don‘t understand in detail how all this works. Where does the product come from? Who made it? How many robots or low wage workers were involved or what is their condition? We just press a button and like magic a new consumer good appears a day later.

The current worldwide drone war works in a similar way. Drone operations are highly automated and distributed among a series of specialists with different tasks. Only very few officials get the whole picture who and why someone is attacked. The drone soldier in the bunker in nevada (or else where) who presses the button to kill certainly doesn’t know.

All we know is that these soon to be automated wars are taking place to ‘protect’ our ‚freedom‘ to consume, to make sure the people in the western world keep buying more and more products every day.

Aram Bartholl 2017

PS:
The project started with a photoshop mockup and tweet in April 2016.

 

 

Written by Aram

February 24th, 2017 at 5:01 pm

MAKE IT FIT


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Group Show: MAKE IT FIT 

http://make-it-fit.net

New works by the students and members of the class ‘New Media’, visiting Prof. Aram Bartholl, Kunsthochschule Kassel.

Participating artists:
Nicole Brauer, Echo Canluo, Christopher Casper, Hannes Drescher, Lou Hardt, Saskia Kaffenberger, Hannah Kretzschmar, Jonas Leichsenring, Jasper Meiners, Isabel Paehr, EIEE, Fritz Laszlo Weber, Zhifeng Zhang, Aram Bartholl.

04.02.2017 – 05.02.2017, Opening Feb 4th, 7pm
http://panke.gallery , Gerichtstr. 23, Hof 5, 13347 Berlin —>> RSVP fb-event

Opening: 4th February 7:00 pm

07:00 pm – 12:00 am: Exhibition FREE ENTRANCE!,
09:00 pm – 10:00 pm: Video Screening FREE ENTRANCE!,
10:00 pm – open end: AfterParty, Live Acts, DJs FREE ENTRANCE!
01:00 pm – 04:00 pm 05.02.2017: Exhibition FREE ENTRANCE!

MAKE IT FIT

Kunsthochschule Kassel – The New Media class is proud to present new works at panke.gallery, Berlin. The pieces range from installation, performance, screen-based and interactive works to video and film. ‘Make it fit’ refers to the restrictive cabin baggage rules of budget airlines, including their painfully meticulous control mechanisms. A lifestyle-conscious, hyper-mobile generation rattling trolleys along pavements has become the hallmark of gentrified neighborhoods in travel-hyped European capitals.

Kassel’s New Media students are using the classic travel suitcase as a constraint and metaphorical context for art production to meet the challenge of setting up a group show in Berlin in less than one day. Each work must fit into a suitcase to be transported, and setup time has to be either instant or not more than two hours. Hyper-mobile art also facilitates instant pop-up micro shows and performances in trains, in stations, and in other public spaces.

Curatorial processes often see artists selected on the basis of friendship networks or name dropping rather than actual works. How far can an artwork be ‘bent’ to make it fit an art show? An art market open secret is that paintings and sculpture that are small enough to fit in an ‘Upper Westside’ elevator have a better chance of being sold. Does it fit?

Klasse Neue Medien, Visuelle Kommunikation, Kunsthochschule Kassel, 2017

PROGRAM

Video Screening:

Insert your nipple here,
InternetRestroom Trailers,
LAST CHANCE JUNCTION,
Passt doch,
making waves unmastered,
29°01′53″N 111°41′56″E

AfterParty:

GRUPPE FORMAL (live),
Mo Chan & SEABA$$_T_ύN,
DJ Thunder Touch

LINKS
http://make-it-fit.net
http://newmediakassel.com/
http://kunsthochschulekassel.de/

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All pictures on flickr: https://www.flickr.com/photos/bartholl/sets/72157678572549491

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Written by Aram

January 24th, 2017 at 5:14 pm

Off


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Off
Aram Bartholl
2017

Smartphone, cable, switch, zip ties
11 x 13 x 2 cm

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Written by Aram

January 20th, 2017 at 4:43 pm

dash clash rush crush smash crash


dash

dash

clash

clash

rush

rush

crush

crush

smash

smash

crash

crash

google playstore poem
Aram Bartholl
2017

 

 

 

 

Written by Aram

January 15th, 2017 at 9:16 pm

Posted in speedproject

Tagged with

This is my blog. Since 2007 I post about recent projects or small things I make which are just published here. Also you will find news about upcoming activities, like: shows, talks, workshops, press, etc... some years back I used to blog about all kinds of stuff. Press, pic-of-the-day or other-artists-projects are fun categories to click through.