Aram Bartholl – Blog

Really good show!! Thx for great pics! Good text!

Vernissage
Mittwoch, 08.05.2013, 20:00 – 22:00 Uhr
Motorenhalle - Wachsbleichstraße 4a, 01067 Dresden
http://riesa-efau.de/kalender/2013/05/08/fussnoten-zum-aufbruch-950/

Footnotes to breakup

A human being gets off, a group, many groups, generations, whole societies are in a state of breakup. What does connect these breakups? What kind of effects into art and out of art do they have? Phenomena of setting off will be illuminated from many different perspectives. The result will be a network of possible meanings for the individual and the collectivity. The term breakup is mainly connoted positively. But of course, there are also many examples for a problematic or even absolutely negative breakup. Eventually the word has got several aspects of meaning in our language. Besides the internal or external breakup to new – internal or external again – worlds, there is also the simple breakup of the road surface, of incrustations, of painting tops.
In the exhibition “Footnotes to breakup” and the accompanying events, we will ask questions for the tensions between personal, collective and social breakups and get to the bottom of them together with artists and other experts. Do we live in a period of a breakup? How do they work? Is there after Fukushima, amid a fiscal and a crisis of values, a stronger willingness to break fresh ground? Nearly nobody will start just for a breakup, for sure. This begs the question of the motives, as well as of those who don’t want to or cannot get off. At the latest since modernity breakup has basically been a term with positive connotations. Associations seem likely to utopia or the New human.
No later than at this point it becomes clear how complex and problematic the per se harmlessly seeming breakup can be. On the one hand, we will continue the topic breakup of last year’s Phenomenon Prosperity, but on the other hand we will also refer to our own situation. In front of the Motorenhalle there is being erected a new building for us. Its completion at the end of this year will imply another breakup for riesa efau, of course, and thereby give an impulse for our reflections.

Fußnoten zum Aufbruch

In der Ausstellung Fußnoten zum Aufbruch und den begleitenden Veranstaltungen sind Fragen nach den Spannungen zwischen persönlichen, kollektiven und gesellschaftlichen Aufbrüchen zu stellen und gemeinsam mit Künstlern und weiteren Experten auszuloten. Leben wir in einer Zeit des Aufbruchs? Wie wirken Aufbrüche? Gibt es nach Fukushima, inmitten einer Fiskal- und Wertekrise eine höhere Bereitschaft, neue Wege zu gehen? Wohl kaum Jemand bricht allein des Aufbrechens wegen auf. Die Frage nach den Motiven steht ebenso wie die nach denen, die nicht aufbrechen wollen oder können. Spätestens seit der Moderne ist der Begriff des Aufbruchs prinzipiell positiv besetzt. Assoziationen zur Utopie oder zum Neuen Menschen liegen nahe. Spätestens in diesem Augenblick aber wird klar, wie vielschichtig und wie problematisch der an sich harmlos scheinende Aufbruch sein kann. Mit dem Thema Aufbruch schließen wir einerseits an Phänomen Wohlstand aus dem vergangenen Jahr an, beziehen uns andererseits aber auch auf unsere eigene Situation. Vor der Motorenhalle wird gerade ein Neubau errichtet, dessen Fertigstellung zum Jahresende für riesa efau natürlich einen neuerlichen Aufbruch bedeuten wird und so einen Anstoß für unsere Überlegungen gibt.

Künstler/innen
Zbynek Baladrán (Prag/CZ), Aram Bartholl (Berlin), Franca Bartholomäi (Halle), Till Ansgar Baumhauer (Dresden), Ondrej Brody & Kristofer Paetau (Prag/CZ), Gregory Buchert (Lyon/F), Maria Bussmann (Wien/AT), Ayelen Coccoz (Buenos Aires/AR), Chto Delat (St. Petersburg, Moskau/RU), Ulrike Gärtner (Dresden), Göran Gnaudschun (Potsdam), Arti Grabowski (Krakow/PL), Igor Grubic (Zagreb/HR), Eberhard Havekost (Berlin), Martin Kippenberger/Walter Dahn (Köln), Friedl Kubelka (Wien/AT), Heimo Lattner (Berlin), Muda Mathis + Sus Zwick (Basel/CH), Eduardo Molinari (Buenos Aires/AR), Pavel Mrkus (Rumburk/CZ), Société Réaliste (Ferenc Gróf & Jean-Baptiste Naudy, Paris, Budapest/F/H), Stefan Nestler (Dresden), The Trailblazers (Mircea Nicolae, Stefan Tiron und Larisa Sitar, Bukarest/RO), Laura Pawela (Warschau/PL), Ute Richter (Leipzig), Jürgen Schön (Dresden), Jirí Suruvka (Ostrava/CZ)

Aram Bartholl (D)
How To Vacuum Form
Installation und Video (6:13 Min.), 2012

In vielen seiner Arbeiten reagiert Aram Bartholl auf die zunehmende Virtualisierung unseres Lebens mit einer Re-Materialisierung von Zeichen, Icons oder Verhaltensweisen zurück in die materielle Welt, die eigentlich nur im virtuellen Web- Raum Web einen Sinn haben. In der vorliegenden Arbeit balanciert der Künstler noch subtiler zwischen virtuellem und realem Environment. Er inszeniert eine Arbeitsstation zur Do it Yourself- Herstellung und Bemalung von Guy-Fawkes-Masken.In diesen anonymisieren sich in der Gegenwart Hacker der Gruppe Anonymus, deren Name geht auf die Bezeichnung eben anonymer Kommentatoren in Foren, aber auch anonymer Spieler in Games zurück; die Maske wurde Symbol der Occupy Wall Street und weiterer antikapitalistischer Bewegungen, Symbol für Veränderung, Revolution. Als solches wird sie durchaus ernst genommen. So wurde in einigen arabischen Staaten das Tragen der Maske verboten, da sie im Kontext des Arabischen Frühlings als Bedrohung der statischen Verhältnisse interpretiert wurde. Zu den Volten der Geschichte der Maske gehört aber auch, dass die ursprünglich vom Zeichner David Lloyd mit durchaus anarchistischen Ideen gestaltete Maske ausgerechnet von Anhängern des ehemaligen konservativen US-Präsidentschaftskandidaten Ron Paul in die Öffentlichkeit gebracht worden ist. Interessant ist an der Geschichte hinter der Maske, wie der durchaus als religiös fundamentalistisch und konservativ zu wertende Anschlagsversuch des historischen Guy- Fawkes vom Beginn des 17. Jahrhunderts – als Sprengstoffexperte wollte er als Teil einer katholischen Verschwörung den englischen König samt Parlament in die Luft sprengen – sehr schnell auch als anarchischer, befreiender Akt interpretiert wurde.
In der Installation von Aram Bartholl liegt der leichten Maske eine schwere Gipsform zu Grunde. Eine total abenteuerlich- wackelige Konstruktion bringt die Hitze auf die PVC Platte. Mit einer demgegenüber regelrecht profimäßigen Vakuumpumpe saugt man die heiße Platte in die Form. Auf dem Tisch liegen Arbeitsergebnisse, Halbzeuge und Arbeitsmaterialien verstreut. Man kann sich bedienen.Neben der hinlänglich bekannten weißen Maske gibt es schwarze Exemplare. Durch den popkulturellen Bezug auf Darth Vader verstärkt, fließt der Dualismus von Gut und Böse ein, von Hell und Dunkel, Ying und Yang. Da es zu einfach wäre, den Betrachter mit einer derart simplen Botschaft zu entlassen, gibt es die Masken auch in einer dritten Farbe, in der Transparenz. Allein diese Maske stellt als Edition ein Kunstwerk dar. Hinter der Maske, die auf einem Stativ in die Gesichtshöhe justierbar ist, kann man sich fotografieren lassen. Man kann auch sinnen über den Sinn von Maskierungen oder über den schönen künstlerischen Griff, per Definition Intransparentes transparent zu machen.Im Video, das die Installation begleitet, ist nicht nur das „Making of“ der Installation und die Anleitung zur Fertigung der Maske sondern auch der Auftritt des Künstlers mit seinem Stand bei einem Compuer-Kongress zu sehen. Womit wir zurück am Beginn wären.

Imagine a search engine inserts a personal easter egg for you! :))))) thx guys!!

@arambartholl thanks for sharing @duckduckgo! An easter egg in your honor duckduckgo.com/?q=arambartholl — bottom right corner :)

— DuckDuckGo (@duckduckgo) 22. Mai 2013

THX EVERYONE!! OPENING WAS GREAT!!!
:)))

★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★

First solo show in Paris by Aram Bartholl at XPO gallery
17.5.-26.6.2013, opening May 16, 7pm
XPO gallery, Paris

PRESS:
http://www.aqnb.com/2013/05/22/aram-bartholl-xpo-gallery-reviewed/

Flickr picture set

★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★

First solo show in Paris by Aram Bartholl at XPO gallery
17.5.-26.6.2013, opening May 16, 7pm
XPO gallery, Paris

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.

http://www.flickr.com/photos/bartholl/sets/72157633205582132/

‘Express Yourself’ intervention with Khoi Vinh during the Seven on Seven conference at Rhizome 2012.

Prior YOUR ART!! party at my birthday party in Berlin Dec 2012

http://www.flickr.com//photos/bartholl/sets/72157632425447016/

Olia Lialina opening the show at xpo gallery Feb 21, 2013

For the opening of OFFLINE ART: new2, curated by Aram Bartholl at XPO Gallery.

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 :)

Olia Lialina opening the show at xpo gallery Feb 21, 2013

Thx to Olia for this wonderful and very important opening speech!

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 :)))

Google Portrait: Kate Middleton
Charcoal on Paper
100 x 100 cm

Aram Bartholl, 2013

On display at DAM Berlin at Art13 London  March 1-3 2013

Good by Kate! Was cool hanging out! :))

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)

http://www.flickr.com/photos/bartholl/sets/72157632865293922

Graphic Arrays

media: paper, aluminum dibond,
dimensions:   54 x 72 cm, 90 x 56 cm,

Aram Bartholl 2013

‘

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
_________________________________________________________

16.5.-26.6.2013
★RETWEET★IF★YOU★WANT★MORE★FOLLOWERS★
solo show at xpo gallery, Paris

8.5.-13.7.2013
Fußnoten zum Aufbruch
Motorenhalle in Dresden

20.4.2013
see#8
see Conference, Wiesbaden

1.-14.4.2013
F.A.T. Lab GOLD – 5 years of fffffat!!
at Eyebeam, New York, US

28.3.-4.4.2013
Art Paris
with xpo gallery, Paris

6.3.-27.3.2013
Go!Go!Go!
solo show at Aksioma, Ljubljana, Slovenia

1.3.-3.3.2013
Art13 London
with DAM Berlin

21.2.-12.3.2013
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

20.2.–27.4.2013
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)

18.2.2013
Vertical Cinema
presented by curatingyoutube.net & Aram Bartholl
hosted by Platoon Berlin

Past shows / talks / workshops
….

“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!!

https://www.flickr.com/photos/bartholl/sets/72157632425447016/with/8342975330/

Bling & style credits to @TBX for http://fffff.at/maximum-web-cred-with-foxbling/

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.

and Niko’s reply links to:

:))

Case Mod I
Aram Bartholl 2004

Size: 50x60x40 cm
Media: sand stone, 386DX40 PC, b/w screen, keyboard, floppy w/ Prince of Persia

at [DAM] Berlin show ‘Meine Wunderkammer’

First tests and surface samples for Dust in our backyard in Berlin Wdding.

Dust Crate 1
64 x 64 x 64 cm, 250 kg
Concrete

Aram Bartholl
2012

The 3rd volume of the DVD Dead Drop is featuring massive 18 hours of Let’s play Max Payne. It ll launch next week Tuesday 30th. If you haven t got hold of ‘INSERT DISC‘ yet make sure to stop by at the museum on the weekend!

Let’s Play Max Payne
vol. 3 of the DVD Dead Drop
at Museum of the Moving Image, 36-01 35 Avenue, Astoria, NY 11106
October 30 –December 3, 2012

Eighteen hours of ‘Let’s Play’ Max Payne walkthrough videos on DVD

Three players—Tetraninja, AMF1534, and TehNevs—provide commentary while playing Max Payne 1, 2, and 3 from start to finish. Enjoy 4.5 GB and 60 video files of intense game-play action, hilarious comments, and compelling story-mode cut scenes.

The video game series Max Payne, which premiered in 2001, represents an important milestone in gaming history. Initially developed by the Finnish game studio Remedy, this third-person shooter won acclaim for its strong storyline and film noir scenarios coupled with its unique use of “bullet time” slow motion effects and advanced character controls. Through a large number of cut scenes and off-screen narration, the game tells the classic story of a revenge-driven cop in an experience at the intersection of cinema and game. In the latest title Max Payne 3, developed by Rockstar Games, the broke ex-cop Max once again causes more problems than he solves. Famous for high quality storytelling and hilarious cynical humor, Rockstar delivers another groundbreaking third-person game/film hybrid.

“Let’s Play” originated on Something Awful forums in 2006 as screen shot walkthroughs of video games before also coming to describe screen capture videos of game walkthroughs. Instead of playing a game oneself, the viewer watches someone else play, a common gesture in gaming culture. As CPUs and screen capture software became more powerful, Let’s Play developed into a widespread entertainment form. Many Let’s Play enthusiasts have attracted large numbers of subscribers on YouTube and frequently play several games for large audiences.

As Max Payne already possesses many cinematic qualities, the Let’s Play version of the game adds another layer of experience. The common third-person game perspective is heightened by a fourth person: the commenting player. Through multiple pairs of eyes, the viewer can relax and watch the action take place from a double over the shoulder view.

Aram Bartholl 2012

!!! POSTPONED TILL MARCH13 DUE TO STORM SANDY !!!

http://fffff.at/your-art/

FAT LAB WANTS YOUR ART!!

Participate!! Be part of FAT GOLD at EYEBEAM Nov 2012!!

The YOUR ART!! killer exhibition series includes:

YOUR ART!! KARAOKE ARTIST PANEL
YOUR ART!! GOLDEN NECKLACE PARTY
YOUR ART!! DEADDROP SHOW
YOUR ART!! ENDLESS SCREENING

Submit your ART today and be part of this awesome series!! FAT will show all your pieces during FAT GOLD!! Be included in the YOUR ART!! DEADDROP SHOW. Everything will be uploaded onto this DeadDrop and will be available to the public 24/7. (You can also upload your works there any time yourself)!! Also, your files will be projected in YOUR ART!! ENDLESS SCREENING in maximum size in the FAT GOLD exhibition. If you are in NYC drop by and make your own YOUR ART!! GOLDEN NECKLACE. Show off your works on your personal phone necklace at the FAT GOLD closing party or participate in the YOUR ART!! KARAOKE ARTIST PANEL discussion. Present and discuss works ( you’ve never seen before as if their where your own :) and win a YOUR ART GOLDEN USB DRIVE!! It s gonna be KILLER!!

Aram Bartholl 2012


YOUR ART!! GOLDEN NECKLACE test run with Khoi Vinh during Rhizome Seven on Seven

SUBMIT your art here  YOURART@datenform.de

(links preferred!!)

!!! POSTPONED TILL MARCH13 DUE TO STORM SANDY !!!

include: name, titel, year, website
deadline: Nov 5, 2012
FAQ in the comments

F.A.T. GOLD: Five Years of Free Art & Technology
AT EYEBEAM
November 5–17, 2012,
Grand opening Nov 7, closing party Nov 11, more TBA soon
www.gold.fffff.at/

‘

!!! POSTPONED TILL MARCH13 DUE TO STORM SANDY !!!

HANG ON!! 2 WEEKS TO GO! BE READY FOR THE MONSTER!!

F.A.T. GOLD: Five Years of Free Art & Technology
curated by Lindsay Howard
AT EYEBEAM
November 5–17, 2012
www.gold.fffff.at/

I am very much looking fwd to the upcoming FAT lab show FAT GOLD  at Eyebeam NYC in 2 weeks. CU there!!

“reflecting on networks / artistic strategies using the web” – GROUP SHOW
at km temporaer
Opening Reception: Friday, Oct. 19, 2012; 7pm
Exhibition: Oct. 19 – Nov. 11, 2012

David Helbich – http://davidhelbich.blogspot.de/

flickr.com/photos/bartholl/sets/72157631682603000/
speedshow.net/gml/

SPEED SHOW: GML show will feature a series of projects and tools around this open protocol GML. Graffiti Markup Language was originally created by Evan Roth, Chris Sugrue, Jamie Wilkinson and Theo Watson. SPEED SHOW:GML is part of backjumps – ‘Rock The Block’ – FB event!! ENJOY!!

GML = Graffiti Markup Language from Evan Roth on Vimeo.

“Graffiti Markup Language (.gml) is a universal, XML based, open file format designed to store graffiti motion data (x and y coordinates and time). The format is designed to maximize readability and ease of implementation, even for hobbyist programmers, artists and graffiti writers. Popular applications currently implementing GML include Graffiti Analysis and EyeWriter. Beyond storing data, a main goal of GML is to spark interest surrounding the importance (and fun) of open data and introduce open source collaborations to new communities. GML is intended to be a simple bridge between ink and code, promoting collaborations between graffiti writers and hackers. GML is today’s new digital standard for tomorrow’s vandals.” http://www.graffitimarkuplanguage.com/

SPEED SHOW: GML
at Or@nien net, Oranienstr. 185, Berlin
TUESDAY, October 2, 7pm

SPEED SHOW: GML curated by Aram Bartholl
A group show about the graffiti motion protocol Graffiti Markup Language with Evan Roth, Chris Sugrue, Jamie Wilkinson, Theo Watson, Golan Levin, KATSU …

We are very excited to present INSERT DISC. It was a great adventure to travel back in time to free sunken art treasures
guarded by Moore’s monster octopus on a sunken MacOS7.We hope you will enjoy this travel as we did! Get the DISC at MMI, NYC, any time, for FREE!

INSERT DISC
Selected CD-ROM art of the 90’s on DVD

September 22 – October 27, 2012
at DVD Dead Drop, Museum of Moving Image NYC

curated by Aram Bartholl & Robert Sakrowski (curatingyoutube.com)

The second DVD Dead Drop volume INSERT DISC, features several classic art CD-ROMs from the mid-90s on DVD. While the web was still in its infancy, artists from a wide range of fields explored the possibilities of interactivity and multimedia on CD-ROMs, fancy new silver discs that held an unbelievable 650 megabytes of data. Today most of these pre-web multimedia works are no longer accessible because they require legacy operating systems and software to run. INSERT DISC offers the full experience of a cutting edge, mid-90s operating system packed with stunning multimedia art. Each DVD comes with a safe-to-install virtualized Ubuntu Linux operating system running an emulated Mac OS 7.6. In addition to the historic CD-ROM art, special features include historic browsers, link lists, and more, guaranteeing a true 1995 computer experience!

artist/projects:

Anti Rom
SASS Collective: Andy Allenson, Joel Baumann, Andy Cameron, Rob LeQuesne, Luke Pendrell, Sophie Pendrell, Andy Polaine, Anthony Rogers, Nik Roope, Tom Roope, Joe Stephenson, Jason Tame
CD-Rom, 1995

Manuscript
Eric Lanz, CD-Rom 1994

Cyberflesh Girlmonster
Linda Dement, CD-Rom 1995

User Unfriendly Interface
Josephine Starrs & Leon Cmielewski, first shown 1994, CD-Rom 1996

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Extra 90’s specials:
Browser collection, ‘Einblicke ins Internet’ offline Internet CD-Rom, Bookmark easter eggs & more

credits:
Andreas Broeckmann, Sandra Fauconnier, nbk Berlin, ZKM Karlsruhe, Transmediale archive

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Anti Rom
1995, CD-Rom, http://www.antirom.com/
SASS Collective: Andy Allenson, Joel Baumann, Andy Cameron, Rob LeQuesne, Luke Pendrell, Sophie Pendrell, Andy Polaine, Anthony Rogers, Nik Roope, Tom Roope, Joe Stephenson, Jason Tame
self-published and funded by the Arts Council of Great Britain.

“Offering a highly interactive interface to the collected sounds and images, this work is an exploration of the limits of what the CD-ROM medium can actually handle. Andy Cameron: “Antirom offers a radical critique of the poverty of contemporary multimedia in a number of savagely ironic, absurdist and incisive satires. Antirom is specifically against the ill conceived grafting of point-and-click functions onto traditional linear forms. Antirom is for the development of a new language of representation, and new modes of spectatorship, within the new apparatus of interactivity.” http://www.v2.nl/archive/works/antirom
[ http://www.antirom.com/

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Manuscript
Eric Lanz, 1994, http://www.ericlanz.net/
CD-Rom, Macromedia Director Apple QuickTime
Production: ZKM | Institute for Visual Media, 1994.

“A text, displayed in a linear way but made out of visual characters of tools, is activated by a mouse-click on an icon and plays back a four second video sequence with the actual use of the tool. The title refers to the iconography of each letter as well as to the origin of language in so far as it is related to manufactured objects, i.e. here a page ‹written› by hand and set in motion by the user's hand.”
Rudolf Frieling - http://at.zkm.de/node/270

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Cyberflesh Girlmonster
Linda Dement, CD-Rom 1995, http://www.lindadement.com/
Australian Network for Art and Technology, Australian Film Commission

“Donated body parts collected during Artists' Week of the Adelaide Festival 1994 have been used to construct a computer based interactive work. About 30 women participated in the original event by scanning their chosen flesh and digitally recording a sentence or sound. Conglomerate bodies were created from the information donated. These have been animated and made interactive. When a viewer clicks on one of these monsters, the words attached to that body part could be heard or seen, another monster may appear, a digital video could play, a story or medical information about the physical state described by the story, may be displayed. The user moves relatively blindly between these. There is no menu system or clear controllable interface. The work is a macabre, comic representation of monstrous femininity from a feminist perspective that encompasses revenge, desire and violence.[...]” http://www.v2.nl/archive/works/cyberflesh-girlmonster  http://www.newmediacaucus.org/html/journal/issues/html_only/2006_spring/Sp06_Davis.htm

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User Unfriendly Interface
Josephine Starrs & Leon Cmielewski, first exhibited 1994, CD-Rom published 1996. http://lx.sysx.org/
Produced with the assistance of the Australian Film Commission

User Unfriendly Interface, CD ROM/Installation on themes of conspiracy theories, male vs female concept of space, dating services, mens issues & personality testing. 1997 Video Positive, Liverpool, UK “Since 1994 we have collaborated on a variety of new media arts projects that incorporate interactivity and play as strategies for engaging with the social and political contradictions inherent in contemporary society. Audience engagement is a vital element in our interactive artworks. We sometimes think of our work as performance art, were the artist is not physically present; the actions of the performer are programmed into the work, with the viewers’ response completing the piece. We have closely observed how viewers interact with our work, and have drawn on these observations in the creation of each subsequent piece. [...]”http://scan.net.au/scan/journal/display.php?journal_id=100

Map at GDFB

Map at GDFB

(800 kg!)

‘Art, dance and unidentifiable cities’ - bbc.co.uk/blogs/outriders

“..From walking around with paper models of over sized World of Warcraft weapons to planting giant replicas of Google map pins in real locations – Artist Aram Bartholl is interested in exploring the boundaries between offline and online worlds. He’s just completed a new work – DVD Dead Drop at New York’s Museum of the Moving Image – and so Chris asked him what he was trying to achieve through his art…”

25min podcast – Mp3 link

see also Dust Rhizome Commission