2024

Home Smart Home

Einzelausstellung
8. March – 21. April 2024

For the exhibition „Home Smart Home,“ Aram Bartholl equips the tower of the Kunstverein Rotenburg with a variety of home surveillance cameras. In addition to hidden cameras, known as „Nanny Cams,“ Bartholl also experiments with 360° „Lightbulb“ cameras equipped with lights and speakers. The market for surveillance cameras in the private sphere has grown tremendously in recent years. The desire for control over one’s own private space is reflected in this development and is part of the digitally driven society marked by a loss of trust.

The Art Tower, 4 Floors – 122 Steps – 24 m.
Originally slated for demolition in the mid-90s to make way for parking space for the „Ronolulu“ leisure pool, the disused fire brigade water tower was on the chopping block. However, Peter Möhl, the former managing director of the municipal utilities and thus the owner of the tower, envisioned a meaningful repurposing. Together with the vice chairman of the Art Association, architect Jürgen Lohmann, the idea was born to convert the tower into a gallery.

Transmediale Exhibition: you’re doing amazing sweetie

Gruppenausstellung
31. January – 14. April 2024

Exploring the horror of content, the 37th edition of transmediale you’re doing amazing sweetie questions how logics of content production determine and frustrate our relations to technology. The festival takes place from January 31 to February 4, 2024 at silent green Kulturquartier, Akademie der Künste, and Haus der Kulturen der Welt. The festival’s main exhibition will be on view at Kunstraum Kreuzberg/Bethanien.

Decoding the Black Box

Gruppenausstellung
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

Gruppenausstellung
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

Gruppenausstellung
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*

Gruppenausstellung
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