2024

Decoding the Black Box

Group Show
27. January – 2. June 2024

Die Ausstellung Decoding the Black Box bringt Künstlerinnen und Künstler zusammen, die Licht in diesen dunklen Raum und die Prozesse werfen, die sich in ihm ereignen. Sie legen dabei nicht nur die Funktionsweisen digitaler Technologien wie beispielsweise von künstlicher Intelligenz offen, sondern visualisieren zugleich die Auswirkungen, die sie auf unsere Wahrnehmung von Realität und unser In-der-Welt-Sein haben. Während sie die ökonomischen und machtpolitischen Strukturen der digitalen Technologien und insbesondere des Internets transparent machen, zeigen sie Gegenentwürfe für eine dezentralisierte, humanere und demokratischere Nutzung ebendieser auf.

2023

Street 3.0

Group Show
23. – 28. December 2023

Osaka Kansai International Art Festival Vol.3

Ai Hasegawa / AQV-EIKKKMA / Algorythmic Perfumery / Aram Bartholl / BYNAM / ETAT LIBRE D’ORANGE /FISHKOM / Goo Nakayama / Hisashi Yamamoto / Kimihiko Hino /Makoto Aida / MOCAF / NEANDERTAL / II / Rintaro Hashiguchi / @shashinn / STORA SKUGGAN / Takehiro Ishitani + Chim Pom from Smappa!Group / Thomas Vautier / Tomotosi / VERYONE / Simon Weckert / Yuichi Inoue / YAP / ZOOLOGIST

Amsterdam Light Festival

Group Show
30. November 2023 – 21. January 2024

The twelfth edition in 2023-2024 revolves around AI and technology. What is the impact on the human condition? The different perspectives will be highlighted with the theme ‘LOADING… Revealing Art, AI and Tech’.

ARAM BARTHOLL, ARNAUD LAFFOND, ATELIER HAUTE CUISINE, ENESS, FLORIAN & MICHAEL QUISTREBERT, FRANK FOOLE, GALI MAY LUCAS, GÁSPÁR BATTHA MET ANDRÁS NAGY, HERMAN KUIJER, JACQUELINE HEN, JOAN GINER, JON VOSS, JORIS STRIJBOS, LIAM CAMPBELL, MACULAR: DAAN JOHAN & JORIS STRIJBOS, MARLEEN SLEEUWITS, MISCHA KUBALL, PETER VINK, STUDIO MAST, UNIVERSAL EVERYTHING, VOUW, VENDEL & DE WOLF, VIBHOR SOGANI, YASSER BALLEMANS

 

*cringe*

Group Show
29. September – 8. October 2023
HGW STD, Athens

The term “cringe” has resurfaced on the internet in recent years. According to Google Trends statistics, there has been a significant increase in searches for this term, which has been steadily rising since 2016. “Cringe” refers to a reaction of embarrassment or social awkwardness. This feeling arises when we become aware of our own uncomfortable actions or when we empathize, or even mock, someone else’s behavior that causes us secondhand embarrassment.

The term “cringe” encompasses a wide range of emotions, making it a versatile word to describe various incidents. However, its usage and application have been shaped by internet communities. Not only is it widely known and used, but it has also managed to bridge divergent identities.

People of different ages, races, genders, political affiliations, and other backgrounds find a common language of communication through “cringe” online. Similar to the existence of metaphorical languages for artistic subjects, “cringe” has spawned a metaphorical language for artistic expression. This is evident in many contemporary works, both digital and non-digital, and has given rise to new artistic media such as memes. “Cringe” has become an overarching concept that encompasses a broader range of social embarrassments.

The universality of identifying with “cringe” when faced with discomfort or socially awkward situations could position it as a contemporary Sublime. Historically, the Sublime has been associated with aesthetic theories heavily influenced by the social dynamics of the time. However, does “cringe” represent a modern form of the Sublime? Has it emerged in response to a shift away from a prescribed aesthetic? We currently exist in a time where collective digital languages are being created to understand a wider range of identities and where a diversity of aesthetic influences is prevalent.

Considering that aesthetics today are multifaceted due to the World Wide Web and the widespread dissemination of information, this exhibition aims to explore these ideas. Through artworks that construct an intimate fusion of references to our digital identity, it presents a familiar chaos that challenges viewers to organize it, while deeply engaging with their present human identity.

curated by Dimi Kalabo, Socrates N. Stamatatos

with:
Aram Bartholl, Aphrodite HGW, Kristen Leo, Marsunev, Bill Posters & Daniel Howe, Noura Tafeche

Die Sirenen heulen (It`s on us)

Group Show
8. September 2023 – 8. October 2023

With: Martin Assig, Aram Bartholl, Hannah Hallermann, Verena Issel, Anne Mundo, Nik Nowak, Raul Walch / Curated by: Anne Mundo & Dirk Teschner

Foto: Marcus Schneider, Courtesy SEXAUER Gallery

This is fine

Solo Show
8. – 17. September 2023

The fire emoji is one of the most commonly used pictograms worldwide in social media and electronic communication. Berlin-based artist Aram Bartholl (born 1972) brings this universally familiar symbol from the digital world into physical space with a massively enlarged yellow-red flame, thereby stripping the symbol of the logic it naturally carries in network communication.

The title references a well-known cartoon meme in which a dog convinces itself that everything is fine despite being surrounded by blazing flames. The installation, erected as part of the urban cultural festival “Mauerblümchen” on Klarissenplatz in front of the Neues Museum, not only serves as a glowing photo backdrop but also alludes to the various crisis themes we currently face: The world is on fire.

A collaboration between the Neues Museum and the project office in the cultural department of the city of Nuremberg as part of the “Mauerblümchen” cultural festival from September 8 to 17, 2023. The festival is supported by financial resources from the Bavarian urban development program and the Special Fund: Revitalize Inner Cities.