Current & upcoming shows / talks / events
27.11.2014 – 18.1.2015
Hayward Gallery Project Space, London
Networked Space, Marketplace, Aarhus,
16.10.2014 – 4.1.2015
Kunsthalle St.Gallen, Switzerland
Curated by !Mediengruppe Bitnik
Master Artist-in-residence program
Atlantic Center for the Arts, Florida
Todaysart festival Scheveningen, Netherlands
HURT ME PLENTY
solo show at DAM Gallery, Berlin
Cuban Contemporary Art Salon
Centro de Desarrollo de las Artes Visuales – CDAV, Cuba
10.9. – 6.11.2014
Work in Public
Alingsås Kosthall, Denmark
art / space / public
symposium Urbane Künste Ruhr, Duisburg
KUNSTrePUBLIK, Urbane Künste Ruhr, Recklinghausen
19. 6. – 31. 8. 2014
net.art Painters and Poets
Mestna galerija Ljubljana, Solvenia
Curated by: Vuk Ćosić & Alenka Gregorič
with: !MEDIENGRUPPE BITNIK, 0100101110101101.org, Cory Arcangel, Kim Asendorf, Mez Breeze, Cristophe Bruno, Heath Bunting, Shu Lea Cheang, Paolo Cirio, Vuk Ćosić, Constant Dullaart, Lisa Jevbratt, JODI, Justin Kemp, Olia Lialina, Alessandro Ludovico, Mouchette, Mark Napier, Evan Roth, ®™ark, Eryk Salvaggio, Alexei Shulgin, Teo Spiller, Igor Štromajer, Thomson & Craighead, Ubermorgen, Young-Hae Chang Heavy Industries, Jaka Železnikar
Rauma Biennale Balticum 2014 Rauma art museum, Finnland
with: Aram Bartholl (DE), Cooltūristės (LT), Liisi Eelma & Minna Hint (EE), Inga Erdmane (LV), Evgenia Golant (RU), Geir Tore Holm & Søssa Jørgensen (NO), Stine Marie Jacobsen (DK), JP Kaljonen (FI), Karel Koplimets (EE), Haidi Motola (FI), Dorota Nieznalska (PL), NUG (SE), Lauri Rotko & Jukka Rapo (FI), Telekommunisten (Dmytri Kleiner, Baruch Gottlieb) (DE)
While I was working at Bethanien recently the bbk printing workshop cleaned up their space. A beautiful pile of abandonend DVDs build up it the middle of the empty room. Hundreds of files of precious art pieces ready to print left by artists. Nice sculpture! :))
16 mai – 8 août 2014
With: Aram Bartholl, Cèsar Escudero Andaluz, Hassan Darsi, Manuel Fernandez, Bodys Isek Kingelez, Florent Lagrange, Simon Nicaise, Jean-Christophe Nourisson, Evan Roth, Vaan et Addie Wagenknecht.
Curated by Alexis Jakubowicz
at Espace Verney-Carron, Lyon
Nr. 176 | Samstag, 2. August 2014
Der international agierende Künstler Aram Bartholl erklärt im Interview, weshalb er gerne digitale Symbole nachbaut und in die reale
Welt stellt. Er ist der Ansicht, dass man sich durchaus mal die Frage stellen sollte, was man den ganzen Tag am Computer macht.
thx @ Ricarda Stiller!
‘A’ for Art
In the summer of 2006 I built the first Google map pin physical representation and set it up temporarily in the backyard of my studio in Berlin Mitte. It was six meter tall and made from a wooden frame mounted with red cloth showing the capital ‘A’. The year 2006 was an important year in my early artistic career. I made a lot of new works and had my first big group shows etc. As it turns out the piece ‘Map’ became one of my important and iconic works. Since 2006 this sculpture was shown worldwide in many different places, art shows and cities. It was made from different materials and in different sizes and it marked many different city centers around the world.
In 2005 Jens Eilstrup Rasmussen designed the map pin symbol for Google Maps which was launched later in the same year. The startup ‘Where 2′ co-founded by Rasmussen which in fact became Google Maps got acquired by Google the year earlier. To point out the locations of search results on the map the pin symbol showed letters of the alphabet. Starting with an ‘A’ through ‘J’ the red pins on the map corresponded with the first 10 search results listed on the page. A couple months ago in spring 2014 Google did a complete overhaul of the design of the Google Maps page. The red map marker does still exist in the new interface but it is displayed in more rare occasions and is only showing a black dot. The lettering A – J is gone. An era of almost 10 years of the Google Maps ‘A’ marker seemed to be over. But just recently in June 2014 the Architecture and Design department of the MoMA acquired the classic map pin symbol with capital ‘A’ from Google for its collection.
I am very pleased to see this symbol, made for a web page on the Internet by Rasmussen a decade ago is now in the collection of the MoMA. The red pin and its creator Rasmussen very much deserve this attention. This 35 pixel icon became a very important symbol for a whole new era. An era in which society slowly realized the actual impact of computers and Internet. The way we live, communicate and perceive the world has changed dramatically over the last 10-20 years. With my piece ‘Map’, the physical representation of Rasmussens interface symbol I try to point out this paradigm shift since 2006.
Aram Bartholl, June 19, 2014
First physical representation, ‘Map’ Summer 2006. Bartholl studio backyard, Borsigstr. 33, Berlin
Screen shot: MoMA website, recent acquisitions, Arch & Design, June 19 2014
Screen shot: Google Maps, June 19, 2014, re-shaped map pin and no more ‘A’
Beautiful Killyourphone tutorial on http://www.technikjournal.de :)) thx!!
Nähanleitung für ein tragbares Funkloch
Wie schützt man sich mit Nadel und Faden vor der NSA? Der Berliner Künstler Aram Bartholl hat eine Lösung: Sein Projekt “Kill Your Phone” ist eine Handytasche aus Spezialvlies, die das Telefon abhör- und ortungssicher macht. // Von Falko Klöpper
June 22, 2014, Sunday, 12:00 pm – 12:00 am (save the date!)
at awesome! c-base, Rungestr. 20, Berlin (map)
We will brainstorm, discuss, hack and hang at Spree riverside with bbq and drinks!
Open to everyone, free entrance, drop by any time!
#webstreaming #IRC #beers #sun
Deaddrops started in 2010. People from all over the world have been making more than 1300 deadrops untill today! The project inspired many other DIY offline network projects and since last year after Snowden the site gained again new momentum. It is interesting how this and similar projects are perceived in a different light today. We actually need secure and alternative communication channels since we now know how bad mass surveillance on the Internet is. You are invited to discuss all these questions with us at the DeadDrops HackDay.
The platform deaddrops.com, mobile site and apps etc were developed by a whole bunch of enthusiasts from around the world in the past 4 years. Thx everyone!! :)) Unfortunately the development of deaddrops.com came to a halt some time ago but now is the right moment to pick up and take things to the next level. You are invited to join us on June 22 at c-base to brainstorm, discuss and hack for deaddrops. I’m very open to all kind of proposals! It’s not only about USB drives, there is much more waiting out there… Let’s rock!!
Please register at deaddrops at deaddrops com and let me know your interest, skills and field of work. This would help a lot. In the evening there will be slots to present your spinoff, project and ideas. More info and details coming soon!
PS: Congrats to my friends David and Matthias at Piratebox.cc for their version 1.0 release and new website! Cool!!
‘Art vs. Surveillance’ TV report with Mediegruppe Bitnik, Christoph Faulhaber, Kenneth Goldsmith and myself.
“Smart New World” – Künstler gegen Überwachung: Mit Kreativität gegen den Big Brother: Künstler reagieren auf Spionage und Machtverschiebungen im digitalen Zeitalter. Sie schlagen die Überwacher mit bizarren Mitteln, etwa mit einer Handy-Tasche, die Funksignale verhindert. Auf “Capriccio” (Bay. Fernsehen) May 2014.
In case you missed the DVD Dead Drop install at the Museum of Moving Image last year visit the show Hyper-Resemblances up at Wallach gallery right now. I am showing a documentation of the DVD Dead Drop install there and you are invitved to DOWNLOAD ALL 10 DVD Volumes from a local hard drive to your computer! Quick quick, before the show is over!!
at Wallach Art Gallery, Columbia University NYC
April 22–June 7, 2014
curated by Alison Coplan
with: Aram Bartholl, BFFA3AE, Nicolas Ceccaldi, Petra Cortright, Aleksandra Domanović, Marisa Olson, Hito Steyerl and Ryan Trecartin.
An exhibition in three parts, Hyper-resemblances explores how both modern and contemporary artists have experimented with different notions of representation as filtered through psychological, mechanical and digital lenses. In interchanges between embodied vision and the external world across various media, the grouping of works focuses on relationships between subjectivity, image production and reality. This show examines the role of the artist in reflecting and shaping images of both the self and “society.” Through modes of conceptual self-portraiture, montage and digital mediation, these artists subjectively construct contemporary consciousness. Hyper-resemblances is curated by Alison Coplan, Heidi Hirschl, and Kathleen Langjahr. It is the second presentation of the MODA Curates series—an annual opportunity offered by The Miriam and Ira D. Wallach Art Gallery and the MA in Modern Art: Critical and Curatorial Studies Program (MODA) for outstanding curatorial proposals related to students’ theses. Coined by Jacques Rancière, the term “hyper-resemblance” deftly embodies the theoretical underpinnings of each curator’s project: it refers to an image that refuses to be defined by the reality in which it resides and, rather, establishes its origin and interior identity in the pursuit of a truer vision. Alison Coplan’s REALITY FX explores how artists both create and expose constructions of reality, mediated by the digital technology with which we experience the world. These works challenge the concept of a hegemonic reality put forward by modern media industries and demonstrate how existing power dynamics can be rearranged when artistic subjectivity engages with these technologies. The artists featured here are: Aram Bartholl, BFFA3AE, Nicolas Ceccaldi, Petra Cortright, Aleksandra Domanović, Marisa Olson, Hito Steyerl and Ryan Trecartin.
The Wallach Art Gallery is located on the eighth floor of Schermerhorn Hall on Columbia’s Morningside Heights campus, 116th Street and Broadway, in Manhattan. The gallery is free and open to the public from Wednesday through Saturday, 1- 5 pm. For more information, call 212-854-2877 or visit columbia.edu/cu/Wallach.
I’m currently guest teaching a semester at Merz Akademie in Stuttgart. (Thx to Olia for the invitation!) “For Your Eyes Only” is the title of the class. We are looking into the hype about wearables like Oculus Rift, Google Glass and smart watches and all these new gadgets. What makes sense, what’s retro lost, how can we combine, what can we make better etc…? Yesterday the students were testing (fake) Oculus rift VR glasses in downtown Stuttgart. What would it be like people wearing those in public space? Today 90% of passengers in public transport are looking at their phones. Why not wearing a full VR (virtual reality) helmet?? :) Surprisingly many people recognized the dummies as Oculus gear. Will we walk around like this in a few years?? ;)
All about the new VR hype on http://www.roadtovr.com/
Last week I gave a little workshop to a group of 9-11 year olds at my sons school in Berlin. While we were building paper craft models and painted swords from the game Minecraft I talked with the kids about pixels. Children today often look at very high resolutions screens ( ipads, tablets etc). Pixels became so small over the past 5 years that you hardly can see them with your eyes any more. This is one of the reasons why generation retina doesn t really understand the retro-pixel-look reference in Minecraft. For them pixels ARE Mincratft. :)) I showed them a bunch of old games like Boulderdash and Doom II. We talked about how 2D games became 3D and the diffrerent perspectives like the first person view etc. It was fun! In the end they ran off with their freshly painted wodden swords to play Minecraft in the yard. ;))