Information on the ZKM exhibitions can be found in the Exhibition Archive. Over 400 exhibitions covering a broad thematic spectrum have been held since 1989: thematic exhibitions, group and solo-exhibitions, as well as installations committed to the art of the twentieth and twenty-first centuries, to the history of culture, to past and present technology and science, as well as to contemporary socio-political questions.
A chronological list of all ZKM exhibitions is located here.
If you you need further information to a previous exhibition, please contact us at email@example.com.
Gözde Bulakeris künstlerische Arbeiten beschäftigen sich vorwiegend mit der unsichtbaren und verbindenden Kraft von Kultur, sowie mit Identität und Mimikry innerhalb von Kulturräumen. Auf die Rolle von Kommunikation, Integration und Interaktion verweist sie durch ein dynamisches Zusammenspiel von Alltagsmaterialien. Für die Kunsthalle Linz Export hat Gözde Bulakeri eine diesen Ansätzen entsprechende neue Videoinstallation entwickelt.
Seit 2013 präsentiert das IFEK – Institut für erweiterte Kunst Linz unter dem Titel »Kunsthalle Linz« an wechselnden Orten einen Würfel mit 40 Zentimetern Kantenlänge, der im öffentlichen Raum aufgestellt und von unterschiedlichen KünstlerInnen und Künstlern bespielt wird. Seit 2015 geht der "White Cube par excellence" unter dem Titel »Kunsthalle Linz Export« auf Reisen. In dem mobilen Ausstellungsraum werden in verschiedenen Städten Europas und in Zusammenarbeit mit jeweiligen lokalen KünstlerInnen und Institutionen Ausstellungen organisiert.
Zur Eröffnung spricht Nina Laaf.
From July 15 to August 6, the ZKM will be presenting the group exhibition of the third [MASTERCLASS]. The [MASTERCLASS] is a special kind of talent pool. Over the course of several months, six young scholarship students develop their own artwork with the support of ZKM mentors.
The [MASTERCLASS] enables young people, aged between 15 and 19 with a great interest in art and special artistic talent, to find out about current art trends and the ZKM program. In dialog with like-minded people and professional artists, the up-and-coming talent learns how to handle new media and develop their own work over the course of a school year. Experienced artists and curators are by their side as mentors who support and advise them with their expertise.
The scholarship was advertized to talented students at Karlsruhe schools which have a main focus on media. For this year’s [MASTERCLASS], a jury of ZKM employees and members of the sponsorship association chose six scholarship students: Hannah Flügler, Moritz Frank, Milla Friede, Tom Mohr, Juliana Rietschel and Christian Sarges. The students had applied with their own artistic work and a covering letter.
Together with the http://zkm.de/en/project/masterclass-at-the-zkmGesellschaft zur Förderung der Kunst und Medientechnologie e.V., the ZKM | Museum Communication is advertising the artistic [MASTERCLASS] talent support program – for the fourth time.The application deadline for the next [MASTERCLASS] is Sunday 16 July 2017. The application documents can be dropped off to the ZKM or sent by post. More information
We cordially invite you to open the exhibition on Friday July 14, at 4 pm with the [MASTERCLASS] scholarship students and contributors to the project.
next_generation 7.0 – Installationen
Mi–So 14.–18 Juni 2017 - ganztägig, ZKM
Zahlreiche Installationen an verschiedenen Orten innerhalb des ZKM bereichern das Festivalprogramm und laden dazu ein, entdeckt zu werden.
- Nico Sauer (HfM Dresden): AcouSuit (2017)
- Michelle Seffino (IEM Graz): tf-hb (2017)
- Ehsan Ebrahimi & Ghazaleh Ghazanfari (HMTM Hannover): Ein Kinderspiel (2017)
- Ken Gubler (ICST Zürich): Ephemer (2016)
- Feliz Anna Macahis (HMTM Hannover): Dimensioning (2017)
- Anne Pammler, Vlad Baran, Jakob Maurer (ICMT St. Pölten): First steps on Mozart (2017)
- Dirk Handreke (MH Trossingen): Waagemut
- Océane Pastier (HEAR Strasbourg): Fièvre (Fever) (2016)
- Emma Kerssenbrock (HEAR Strasbourg): Optical Waves (2016)
- Eric Busch (HfMT Leipzig): reduce, reuse, recycle
- Alfredo Ardia (SEAM Weimar): Metamorfosi (2016)
- Chloe Yoon (SEAM Weimar): Harmonized (2016)
- Josefine Riedel, Thomas Böck, Julian Fischer, Felix Rauchwarter (ICMT St. Pölten): Isidor (2017)
- Yvette Pistor, Christian Berkes, Paul Modler (HfG Karlsruhe): OBSERVATION II come closer (2016)
For 3rd June 2017 the neo-Nazi deployment »Tag der deutschen Zukunf« (Day of the German Future) has been announced to take place for the 9th time. This year in Karlsruhe Durlach. It is a right-wing extremist event, taking place in a different German city each year.
Daniel Garcia Andújar’s »Let’s Democratise Democracy« (2011-) stands as a reminder that democracy requires our constant active involvement especially against fascist movements, social exclusion, discrimination and racism. Therefore, all visitors are invited to take some of the posters with Andújar’s message with them. They are offered in the ZKM_ Museum Balcony. #notddz #zkm
»Art does not reproduce the visible, but makes visible.«
– Paul Klee, 1920
»Sound art does not reproduce the audible, but makes audible.«
– <SA/JO>, 2012
The ZKM is dedicating a two-month retrospective exhibition to the oeuvre of composer and media artist Joachim Krebs (1952–2013), providing an insight into the artist's multifaceted and widely diversified work. The exhibition presents his early performances as a keyboard player in the agitative rock music drama group »Checkpoint Charlie«, musical-theatrical collages in the avant-garde context as well as multimedia installations/environments and radiophonic productions by the artist couple known as <sabine schäfer // joachim krebs>.
After studying piano and composition at the Karlsruhe University of Music, Joachim Krebs composed award-winning instrumental music before he focused on electroacoustic music at the beginning of the nineties. From the mid-nineties Joachim Krebs used the sampler as an audio-microscope and applied an electroacoustic analytical and processing method (»EndoMicroSonoScopy«) specifically developed by him. With that he transported formerly imperceptible melodies, harmonies and rhythms from sounds of animals and nature into the audible range. As the artist couple known as <sabine schäfer ⁄⁄ joachim krebs> (from 2009 called <SA/JO>), from the end of the nineties Schäfer and Krebs developed and realized spatially overlapping installations and sound art projects. Inspired by the philosophy of French intellectual Gilles Deleuze, they dedicated their collaborative work to researching micro and macro dimensions in nature.
In addition to extensive audio and video recordings, (graphic) scores and original manuscripts from the artist’s estate, the stereophonic environment »Sonic Lines 'n' Rooms No. 7« by <sabine schäfer ⁄⁄ joachim krebs> as well as a station for interactive audio-microscopy will be presented in the exhibition. Four audiotape pieces originating between 1995 and 1999 in the course of the Joachim Krebs project series »Artificial Soundscapes« will be presented for the first time in a binaural audio version through which a three-dimensional auditory impression can come into being by means of headphones.
To celebrate the acquisition of Joachim Krebs’ artistic estate, the concert »In-Between Earth and Sky« with selected works by the artist as well as a brief presentation by Sabine Schäfer will be held on the opening evening from 7 p.m. in the Baden State Library. Within the scope of »Media Lounge at Six« at ZKM, on 1 June 2017 Sabine Schäfer will be giving the lecture »Microscopic Glance into the Sound of Nature« to commemorate the microcosm and macrocosm of nature in the works of the artist couple <SA/JO>.
The »Global Control and Censorship« exhibition, which was on display at the ZKM from the end of 2015 to July 2016 as part of the GLOBALE, opened in the Estonian capital on 28th April. Visitors to the Tallinna Kunstihoone – Tallinn Art Hall – thus were also able to examining the subject of global monitoring and censorship in the digital era.
Knowledge is power. But those who control the flow of information have the greatest power of all. The digitalization of all areas of life and its networking in the infosphere have connected all people from all over the world. Each day, all kinds of content and data are created billion-fold and sent all over the world. Even during its creation, before it reaches its recipients, our data is picked up by private service providers and government services and used for their purposes.
Through mass data acquisition, global businesses benefit from the individual and social dependencies of their users. And with the convincing argument of security, government services strive unashamedly for the perfection and major expansion of their data collections.
Has subjection to all-powerful instances of monitoring and censorship already become part of the human condition, to the fundamental basis of our culture? In an emergent culture of suspicion, ubiquitous monitoring of citizens could cause resignation, self-censorship and assimilation through to silent complicity.
Following his retrospective at the Musée d'Art Moderne de la Ville de Paris 2015, and prior to his exhibition at the Hirshhorn Museum and the Phillips Collection in Washington, D.C., the ZKM | Karlsruhe honors the work of the Karlsruhe based painter Markus Lüpertz with the exhibition »Markus Lüpertz. Kunst, die im Wege steht« [Markus Lüpertz. Art which Stands in the Way]. During his time at the State Academy of Fine Arts Karlsruhe (1974–1986) Lüpertz, together with fellow painters such as Georg Baselitz and Per Kirkeby, positioned Karlsruhe as an outstanding center of German painting.
The show at the ZKM reaches back to the beginnings of Lüpertz’ artistic career: »Kunst, die im Wege steht« was the name of one of his first presentations, which was held in Berlin in 1966. The ZKM sheds light on five decades in the life’s work of one of the most important German artists of the post-war generation. Lüpertz has always reinvented himself from decade to decade. With his unmistakeable brush stroke and the vehemence of his painting technique, Lüpertz has long since become a key figure in art history: of great originality, independent and above all multi-faceted.
Born in 1941 in Bohemia, Markus Lüpertz fled with his family to the Rhineland as a seven-year-old, and started an apprenticeship as a painter – of bottle labels – at the age of 14. He was dismissed due to »lack of talent«. Still determined, Lüpertz studied art in Krefeld and Düsseldorf, and has been a freelance artist since 1961. With inspiration drawn from Friedrich Nietzsche, he calls his early painting style »dithyrambic«: intoxicated with happiness, full of enthusiasm. The abstract broken forms of his paintings, with their traditional motifs such as landscapes or heads, are the outcome of his artistic imagination, which is ignited by what surrounds him.
»In his painting, Lüpertz draws on radical elements from the founding phase of modernism. Thus, he is not a postmodernist. His criticism of modernity is derived from modernity itself. His reintroduction of figuration and of an extended range of representation did not occur under the banner of postmodernity, which is to say under the banner of quotation, pastiche and appropriation, the decorative and neoism. It is not neo-expressionism or neo-fauvism; instead his modern painting searches for a way out of the antinomies of modernity.« (Peter Weibel)
The focus of the exhibition curated by Walter Smerling and Peter Weibel is on painting, but also on sculptures, reliefs and printing blocks. Works presented include, among others, »Angst im Walde« [Fear in the Forest], »Gegen Abend besetzen Störche Lüpolis« [Towards Evening Storks Occupy Lüpolis] and the 33-part »Dädalus-Zyklus« [Daedalus-Cycle] from the collection of Sylvia and Ulrich Ströher. For the ZKM_Atrium 9, Lüpertz created an arrangement of works, which comprises a multi-part, stone-cast sculpture of Mercury, and a never-before-exhibited board painting for Ruhleben Crematorium in Berlin.
Adam Słowik has created a geometric structure, with whose rotations the 26 letters of the alphabet can be reproduced in the room. Using special software that was developed at the ZKM by Christian Lölkes, the motion sequences between the individual letters resulting from the rotation of the ABC Object are formed as new objects.
650 objects are developed from the number of possible combinations of the 26 letters of the Latin alphabet. These are exported as CAD models and outputted and materialized by the medium of 3D printing. Therefore, the »Crisis of Linearity« described by Vilém Flusser in 1988 finds a new solution, as we stand today at the threshold of a three-dimensional notation. While movement in film is noted through its linear listing of individual frames as a two-dimensional motion sequence, an ABC room emerges from the two-dimensional linear ABC with spherical or spatial notation. With these transformations in the ABC room, both the individual images and their movements are depicted in the room. With the help of the computer, software and 3D printing, an architecture of the alphabet emerges from the two-dimensional alphabet. The spatial notation transforms the transformation movements of the alphabet object into fantastic architectures and sculptures.
Within the exhibition »Architecture of the Alphabet« the ZKM presents another work of art by Adam Slowik »Digital Defects«.
Following presentations at ZKM Karlsruhe, AdK Berlin and West Den Haag, the next stop of the exhibition »Without Firm Ground: Vilém Flusser and the Arts« is in Flusser’s native city, adapted and enriched with local ties. The unique project takes place at GAMU, Prague, and presents the life and thoughts of one of the most acclaimed Prague-born intellectuals of the 20th century through the combination of rare documents and artistic collaborations and inspirations. It aspires to weave the threads of Flusser’s private and professional life, marked by various migrations, with those of his thinking and writing through dialogues, influences and collaborations.
Vilém Flusser was born in the Bubeneč district of Prague in 1920 and was educated in a middle class Jewish intellectual family. In 1939, after the occupation of the Germans, he fled with his wife-to-be, Edith Barth, first to London, and eventually to Sao Paulo Brazil where he would live for over thirty years. Flusser brought his training in the classics, in Enlightenment Humanist philosophy and literature, to bear on his new environment, revelling in the utopian promise of the radically alien modernity into which he was thrown. Fighting through the despair of the extermination of his family and the horror of the Holocaust, Flusser carved out scintillatingly original, uncompromising philosophical insights into a world of scientific progress, automation and migration. During the 1980s he became one of the most respected philosophical guides of the upcoming electronic era. Even though he died only at the dawn of the Internet age his understanding of networks and communication is every bit as insightful to our contemporary condition as it was then. Through his life, Vilém Flusser sought a new utopian form of thinking, emerging from the crushing disappointment of modernity. He called this »synthetic thinking« using »technical images«. The exhibition will feature, beside biographical trajectories, objects from Flusser’s archive, his typoscripts and positions from artists who knew and loved him, some unique artistic collaborations where he would attempt to enact and elaborate the utopian modes of »synthetic thinking« he described. The selection of artists influenced by Flusser includes renowned personalities of Louis Bec, Michael Bielicky, Fred Forest, Harun Farocki, Joan Fontcuberta, Jiří Hanke, Dieter Jung, Martin Kohout, Andreas Müller-Pohle, Lisa Schmitz, Jiří Skála, among others.
With »The Smell of Ink«, the ZKM is dedicating the first extensive retrospective in Germany to London-based artist, printer and publisher Hansjörg Mayer. Mayer has not merely become one of the most important protagonists of concrete and visual poetry with his typographic experiments. In collaboration with artists such as Dieter Roth, Richard Hamilton or Tom Phillips, he also expanded the scope of what is printable in art forever.
The world of art and literature became aware of Hansjörg Mayer (born in 1943, Stuttgart) as far back as the mid-1960s: In 1964, his first edition was published with the title »13 visuelle texte«, and in 1968, shortly after he turned twenty five, the Gemeentemuseum in the Hague held his first retrospective. Already as a young person, Mayer was in contact with Max Bense, a philosopher teaching in Stuttgart. He acquainted Mayer with the latest international trends and leading figures in art, literature and music. Mayer’s intuitive fascination for the by-products of the printing process, which he discovered and collected in his family’s print shop, quickly developed into a poetry of material and coincidence in this context. When he first met Dieter Roth in 1963, Mayer found a long-term artistic partner, with whom he flouted the rules of printing both fearlessly and with mastery. Following an invitation to the legendary »Between Poetry and Painting« (1965) exhibition at London’s Institute of Contemporary Arts, Mayer moved to England in 1966, where he taught at the Bath Academy of Art and the Watford School of Art. Commuting between London and Stuttgart, Mayer has since published over 330 books, posters, films, records and videos.
The exhibition presents Hansjörg Mayer’s own graphic work together with a selection of experimental films, which he created with Georg Bense and Rainer Wössner between 1962 and 1963, and exhibits the rich spectrum of his publishing influence on art through to ethnology.
On the occasion of the exhibition a book on the editorial work of Hansjörg Mayer will be published: »The Smell of Ink and Soil. The Story of (Edition) Hansjörg Mayer«, edited by Bronac Ferran, Cologne 2017. (17 x 23 cm. 272 p., ill., paperbound, text in German and English.)
Since the 1950s, Nanni Balestrini (born 1935, Milan) has been one of the most important figures of Italian culture: as a poet, novelist, publishing editor and visual artist. For the first time, Balestrini, who is especially well-known in Germany as an author of political novels, will have an exhibition dedicated to him at the ZKM, providing an extensive insight into his visual poetic oeuvre. Collages and cut-ups from images, texts and film sequences show a life’s work, which has turned against the «inertia of language« and, therefore, against the stiffness of thought and action.
Nanni Balestrini is one of the most important representatives of the Italian post-war avant-garde. As an artist, publishing editor and consultant, as a journal founder and organiser of festivals, he occupied a key role in the development and implementation of the literary neo-avant-garde. In 1956, his first poems were published in »Documenti d’arte d’oggi«, the journal of the »Movimento Arte Concreta« (MAC) and the »Groupe Espace«. As an editor, Balestrini initially worked on the literary journal »Il verri«, which was founded by Luciano Anceschi in 1956. Its authors included Umberto Eco and Alain Robbe-Grillet. In 1961, he moved to the publishing house of Giangiacomo Feltrinelli. In the same year, he presented his visual collages to the public for the first time and made a name for himself as one of the co-authors of the literary anthology »I Novissimi«. In 1963, together with a series of authors, he created »Gruppo 63«, a group of authors, who – inspired by authors such as Ezra Pound and T.S. Elliot – distanced themselves from Italian neo-realism through formal and contentual language experiments. Balestrini became known to a wider public through his book »Vogliamo tutto« [We Want Everything] (1971), with which he erected a literary monument for the battles of Italian workers.
Balestrini, who relocated from Milan to Rome in 1961, went into exile in France in 1979 as a result of his commitment to the political left. Since 1985, he has lived and worked in Rome, Milan and Paris.
Nanni Balestrini’s varied poetic and artistic works are based on the poetics of collage, a method which uses fractures, fragments and combinatorics. This connective principle can be seen in Balestrini’s visual collages and in his pioneering experiments with computer-generated poetry. As early as 1961, Balestrini got an IBM computer to generate the poem »Tape Mark I« using a combinatory random procedure, for which Stéphane Mallarmé, Raymond Roussel, Raymond Queneau and William Burroughs were the inspiration. A few years later, in 1966, Balestrini formulated a project in the form of Tristano, which was to liberate literature and art from the restrictive control of Gutenberg's typography. However, he was only able to implement this 40 years later with the help of digital printing: Every book buyer receives one of 109027350432000 possible versions of the combinatory romantic novel. Balestrini used a similar method for the »longest film in the world« Tristanoil: a film which focussed on the destructive exploitation of natural resources and was shown for the first time in 2012 at the documenta 13.
With a selection of Nanni Balestrini’s works from 1960 to 2017, the ZKM is presenting an artist of all genres, who disbands the dominating tales of literature, art, everyday life, love, journalism and politics through the formalistic methods of collage and montage and shows diverging worlds, making both the status quo and the possible visible.
Gerhard Rühm (born in 1930 in Vienna) is a virtuoso in the development of intermedia thresholds and expanded forms of media expression. His work poetically combines sculptures, music, literature and performance and, in overcoming ‘traditional’ categories, opens up new aesthetic fields of context. At the same time, Rühm’s work provides intellectual enjoyment and encourages expanded perceptions, in which the fixed ways of speaking and thinking are transcended in a conceptual and humorous way.
Initially, Gerhard Rühm studied piano and composition at the University of Music and Performing Arts, Vienna and under Josef Matthias Hauer, the inventor of dodecaphony. In the 1950s, he worked mainly with literature and gained recognition as an experimental poet with his first sound poems. As a co-founder of the legendary »Wiener Gruppe« (together with Friedrich Achleitner, H.C. Artmann, Konrad Bayer and Oswald Wiener), Rühm was involved significantly in the innovative expansion of literary processes into new forms of expression: The »Wiener Gruppe« performed »Happenings«, even before this term had been invented. At the 2nd Literary Cabaret in 1959 in Vienna, Gerhard Rühm and Friedrich Achleitner destroyed a piano – this was notably the first time in art history and before the Fluxus artists used such radical means. However, for Rühm, provocation was just a side effect, which describes less the character of his work than the conservative atmosphere in post-war Austria, in which he (together with the circle of his artistic colleagues) endeavoured to link the merits of the experimental avant-garde of expressionism, Dada, surrealism and futurism. Characteristic for Rühm’s creation is the innovative approach of strict concept but spontaneous expression.
The elaborate exhibition »soon | just | now. gerhard rühm als Intermediapionier« exemplarily presents the poetic, visual and musical creation of the artist. Sculptural work (visual poetry, gestural and conceptual drawings, visual music, photomontages, book objects...), films (script films, cinematographic texts, voice-over co-productions with Hubert Sielecki) and also music (auditory poetry, chansons, tone poems...) are being exhibited.
The show envisions that, from the very beginning, the intermedia alignment forms a comprehensive and style-defining principle in the creation of the artist.
The three exhibitions – retrospectives of Nanni Balestrini (born 1935), Hansjörg Mayer (born 1943), and Gerhard Rühm (born 1930) – mark the start of the »Poetic Expansions« series of exhibitions, which will continue in the summer with Reinhard Döhl, Helmut Heißenbüttel, and Konrad Balder Schäuffelen.
With a series of selected artistic positions, »Poetic Expansions« presents one of the most important tendencies of art in the twentieth century: the expansion of artistic media. In the 1950s to 1970s, new artistic forms were developed by removing the boundaries between text, image, object, theater and music and releasing art from its conventional materials and production processes, opening it up to technical media.
The aim of the »Poetic Expansions« series of exhibitions is to show that decisive impulses for this development came from poetry and literature. Poets and artists such as Nanni Balestrini, Reinhard Döhl, Helmut Heißenbüttel, Hansjörg Mayer, Gerhard Rühm, and Konrad Balder Schäuffelen accepted the ilegacy of Mallarmé, the Futurists and Dadaists who liberated text from the linearity and constraints of narration. Letters, signs and sounds became material. In the form of objects, actions and performances, the artists conquered space and time, the third and fourth dimensions. »Poetic Expansions« shows the media revolution of the arts, born from the enquiry into linguistic communication at the end of the Gutenberg Galaxy and the beginning of the Turing universe.
The exhibition presented at the ZKM in 2016 as part of the GLOBALE now opens its doors on 23 March 2017 in the Ludwig Forum for International Art in Aachen.
For more than 20 years, Armin Linke has documented in his photographs the effects of globalization, the transformation from a city to a mega metropolis and the networking of post-industrial society through digital information and communication technologies. His pictures capture the radical economic, environmental and geological changes.
His photo archive—which has now grown to more than 500,000 pictures—forms the starting point of »The Appearance of That Which Cannot Be Seen«. Armin Linke has invited scientists, theorists and cultural anthropologists, such as Ariella Azoulay, Lorraine Daston, Frank Farelli, Bruno Latour, Peter Weibel, Marc Wigley and Jan Zalasiewicz to discuss his photographic archive and to make a subjective choice against the background of their own individual approach to research. The commenting texts and interviews are integrated into the display system and explain the process behind the selection of the pictures. The arrangements are adapted to the respective location of the exhibition and completed with local or time-specific details.
Along with the publication »The Appearance of That Which Cannot Be Seen« (engl., approx. 400 pages, Sector Books), there is a booklet in German for the exhibition in Aachen.
»Black Matters« is the first full solo exhibition of American artist, Aldo Tambellini, who is one of the pioneers of intermedia art of the 1960s and 1970s.
Aldo Tambellini (born 1930 in Syracuse, NY, USA) lives and works in Cambridge. Together with Otto Piene, he founded the »Black Gate Theatre« in 1967, which was the first »Electro-Media« theatre of New York. Between 1976 and 1984, he was a fellow at the legendary Center for Advanced Visual Studies (CAVS) at the MIT in Cambridge.
The exhibition »Black Matters« takes a journey through Tambellini’s most prolific, highly charged and diversified period (1960–1980). The exhibition explores his, paintings, and multimedia practice that includes: Lumagram (hand-painted slides), video, videogram, painting, photography, installation, film works, presenting a selection of his most recent multimedia works that have been shown at Centre Pompidou (2012), Tate Modern (2012), MoMA New York (2013), 56. Biennale di Venezia (2015).
The corpus of works, presented at ZKM for the first major solo exhibition of the artist, is conceived as a manifesto for an organic connection among painting, sculpture, photography, moving image installation, kinetic art and performance. His vision encompasses the full implications of contemporary media, seizing on their potential as linguistic, artistic, and social tools. The aim of this exhibition is also to document Tambellini’s early works from the 1950s along with works never seen from his New York period which through artistic expression demonstrates his political activism and philosophy, as well as films and videos which have marked the artist’s success in the 1960s and 70s. Among his unedited works there will be a section dedicated to his experimentation and projects done at MIT with Communicationsphere.
At the end of the journey through the development of Tambellini’s artistic life will be a site specific installation commissioned for the occasion of this retrospective at ZKM. The new multimedia installation, once again after sixty years, will present his artistic creativity and actual politics and philosophical underpinning that »Black Matters«.
Supported by Harvard Film Archive.
From Karlsruhe to Moscow: The large-scale exhibition project entitled »Art in Europe 1945–1968. Facing the Future« moves on to the other side of the Iron Curtain. On 6 March 2017, the exhibition opened its doors at the Pushkin State Museum of Fine Arts, Moscow.
The large-scale exhibition project was jointly organized by the A.S. Pushkin Museum, the ROSIZO in Moscow, the BOZAR in Brussels as well as the ZKM | Karlsruhe. It focuses on the connecting cultural forces on the Eurasian continent and takes into account a central cultural region, which has been repeatedly shattered and disrupted by wars and crises in the 20th century. For the first time since 1945, the concept of retrospectively tracing the history of art in the whole of Europe can be realised.
The exhibition attempts to reinterpret the development of art in Europe from a pan-European perspective and accounts for a specific renaissance of European art and culture in the period of 1945 to 1968
After Brussels and Karlsruhe the exhibition now opened in one of the most significant art collections of Russia.
Speakers at the opening:
- Marina Loshak, Director of the Pushkin State Museum of Fine Arts
- Mikhail Shvydkoy, Special representative of the President of the Russian Federation for International Cultural Cooperation
- Andreas Meitzner, Charge d’Affaires of the German Embassy in Russian Federation
- Olivier Guillame, Cultural Counsellor to the French Embassy in Russia
- Peter Weibel, Director of the ZKM (Center of Art and Media in Karlsruhe), Curator of the exhibition
- Eckhart Gillen, Curator of the exhibition
After the first venue of the exhibition at the ZKM | Karlsruhe, a second venue at the Falckenberg Collection in Hamburg (June 14, 2015 – January 17, 2016), and a third venue at the Lehmbruck Museum, Duisburg (February 27 – June 5, 2016), a fourth version of »Lynn Hershman Leeson: Civic Radar« has been on display in the space of the YERBA BUENA CENTER FOR THE ARTS, San Francisco (February 10–May 21, 2017).
It is often said that artists are visionaries who show us a path towards the future, but very few artists fit this description as well as Lynn Hershman Leeson.
A fearless pioneer whose performances were fueled by feminist indignation of the vulnerable position of women in American society, her work has been a harbinger of experiments in social practice, new media, interactive and net-based art decades before technology and digital culture would re-shape our experience of reality. Based in the Bay Area for her entire career, it has taken too long to bring attention to her complex practice. –Lucía Sanromán, YBCA Director of Visual Arts
»Lynn Hershman Leeson: Civic Radar« is the only presentation in the Americas of this acclaimed retrospective that provides an overview of the Bay Area artist’s revolutionary career from the 1960s to the present day. A pioneer of performance and conceptual art, Lynn Hershman Leeson has continually examined our relationship to technology. Her work reflects a fascination with the construction of identity and the use of media and technology as tools for empowerment against censorship and repression. Hershman Leeson has been, and continues to be, a strong voice in the feminist movement.
The presentation of »Civic Radar« at YBCA focuses on Hershman Leeson’s investigations of identity and the relationship between the viewer and various modes of surveillance, while also acknowledging her contributions to the field of performance and her commitment to socially engaged practices. The exhibition includes a significant portion of the long-term Roberta Breitmore performance project, along with many of her groundbreaking technological works, including »Lorna« (1984), »Room of One’s Own«(1993), and the film »Teknolust« (2002). Hershman Leeson’s recent work addresses the influence of digital culture on our most intimate selves, as well as the latest developments in regenerative medicine and genetics research, including 3D bioprinters that re-create human body parts. The exhibition will feature a new large-scale installation of Infinity Engine (2014), an interactive work first prototyped at YBCA in the 2013 exhibition Dissident Futures, that re-creates a functional genetics lab to generate infinite narratives about the future of the human species in the post–genetic engineering age.
The ZKM in India:
Under the motto »Art & Science«, the exhibition accompanied the two-day international conference »Delivering Change: Innovation, Transformation and Change in today’s world« in Mumbai. The exchange between advanced research projects, for example in the areas of technology, sustainability, globalization, biomedicine and start-ups was at the center of the conference. The ZKM has put together a relevant exhibition on the subject with installations from its own collection, as a platform for ideas and a source of inspiration.
- Christa Sommerer, Laurent Mignonneau, »Portrait on the Fly«, 2015
- Peter Weibel, »Data Music«, 2016
- Wolfgang Münch, Kioshi Furakawa, »Bubbles«, 2000
- Adam Slowik, Christian Lölkes, »ABC – Creatio Continua«, 2016
- Peter Weibel, »SoundART«, 2012
- Bernd Lintermann, Thomas Schwab, »VR ZKM«, 2016
The ZKM | Karlsruhe, with the »Albrecht Kunkel: QUEST. Photographs 1989–2009« exhibition, is giving an overview of the work of German artist Albrecht Kunkel (1968–2009) for the first time. His photographic works focus on landscapes places which are of historic, cult or social importance and thus search for hidden cultural practices and behaviours.
Albrecht Kunkel devoted himself to prehistoric caves and the archaeological excavations in Troy with the same interest with which he approached the Cannes Film Festival or Times Square in New York. Prehistoric and early forms of civilisation and culture are confronted, in his work, with their modern manifestations and their universal – or changing – principles are questioned as a result. He integrated unfamiliar photographic material into his oeuvre, including topographical aerial photographs or historical archive photographs. In large monochromatic copies which were created without a camera, he plumbed the conditions and possibilities of the photographic medium on the cusp of the digital age. As a portraitist, Kunkel photographed famous personalities such as Tilda Swinton and Peter Greenaway and designed conceptual portrait series’ of monks and nuns or expectant mothers. Kunkel’s works exemplify a broad cultural history and philosophical interest horizon and show the photographer as an artist which was aware of the paradigms of his medium.
Albrecht Kunkel studied with Thomas Struth, Bernd and Hilla Becher, and was a master scholar of Katharina Sieverding. He lived in Berlin, Paris and New York. His photographic estate was donated to the ZKM | Karlsruhe collection in 2013.
The exhibition will be accompanied by the publication »Albrecht Kunkel: QUEST. Photographs 1989–2009«, published by Peter Weibel with Andreas Beitin and Erec Gellautz, at Verlag für moderne Kunst, Vienna, 2016, with text contributions from Jana Duda, Erec Gellautz, Ursula Frohne and Christian Katti, as well as Mirjam Lewandowsky.
What if Leibniz, the bustling polymath of the Early Enlightenment, had set himself the goal of imparting his knowledge to the general public in the clearest and most practical way possible, using natural produce and artefacts? What would the stockroom, in which he stored such items for subsequent teaching, look like? Which scientific instruments, technical achievements, everyday items, souvenirs from faraway countries, artwork and trivia would be contained in this store? Floris Neusüss and Renate Heyne answer these questions in their photogram exhibition which is designed as an intellectual game.
The exhibition »Leibniz’ Storehouse« is an imaginary walk through the fictitious stockroom, where the items are not always carefully sorted, but often have been simply put down. However, the exhibits are not actually artefacts. Instead, they are photograms of them, produced by the two artists in various museums since 2000. As part of the »Leibniz’ Storehouse« exhibition, the extensive photogram archive of Floris Neusüss and Renate Heyne is being presented for the first time. It illustrates the photogram in its medial and historic dimension with its historic and contemporary works and documents.
The photogram has had a great appeal to painters, filmmakers and, of course, photographers since the 1920s – as an experimental image between photography and bodies or sculpture. If Roland Barthes wrote about the indirect form of photography: »From a real object, which once was, rays are emitted, which reach me where I am here« (»Camera Lucida«, 1980), then in contrast, the directly tangible simultaneity of the present and reproduced item forms the basis of the photogram. As camera-less sculptures, photograms are created through direct exposure in a contact procedure of objects on photographical material. The photogram image oscillates between palpably authentic proximity and distancing absence. You could say: Between presence and absence, between exposure and concealment.
An approx. 230-page publication is being published by the Hatje Cantz Verlag on the exhibition including texts by Martin Kemp and Horst Bredekamp.
They inform, they surprise, they are full of science – and they are presented at the ZKM: The winning videos of the »Fast Forward Science« web video competition.
For »Fast Forward Science«, researchers, die-hard web video makers, artists but also anyone interested in science were asked once again this year to submit exceptional videos on current research topics, which are entertaining, scientifically substantiated and comprehensible all at the same time.
The jury has selected the prize-winners of three categories (»Substance«, »Scitainment« and »Vision«) and of the 48h challenge »Super Fast« from 116 submissions. The »MeerWissen« special prize for young people was also awarded for the first time, together with the Deutsche Forschungsgemeinschaft (DFG – German Research Foundation). The YouTube public were also able to award their own favourites with a »Community Award«. The prize-winners of the competition, which has a prize-fund of € 20,000, were honoured on December 6th 2016 as part of the 9th Forum on Scientific Communication in Bielefeld.
The web video award »Fast Forward Science« is a joint project by Wissenschaft im Dialog (Science in Dialogue) and the Stifterverband für die Deutsche Wissenschaft (Donors' association for the promotion of humanities and sciences in Germany) and has been supported by ZEISS in 2016 for the first time. The Special Prize of Deutsche Forschungsgemeinschaft (DFG), »MeerWissen«, was initiated by »Fast Forward Science« and DFG.
Please note the following opening hours, as the exhibition is only accessible via the ZKM | Library:
|Tue–Fri||10 am – 7 pm|
|Sat–Sun||1 pm – 6 pm|
All winning videos at a glance:
The »Substance« category evaluates the depth of content of the video.
- 1st place: »Migräne? Hab ich im Griff!« (Migraine? It’s under control!) by Boris Zernikow & Team, Deutsches Kinderschmerzzentrum (German Paediatric Pain Centre)
- 2nd place: »Attention Schema Theory« by David Peter & Team, Peter & Partner, Mainz
- 3rd place: »Gravitationswellen erklärt« (Gravitational waves explained) by Finn Dohrn, YouTube channel »BYTEthinks«, Tornesch
In the »Scitainment« category, the focus is on the entertainment value of the scientific videos.
- 1st place: »Trust me, I’m a Scientist« by Mai Thi Nguyen-Kim, YouTube channel »The Secret Life of Scientists«, Mannheim
- 2nd place: »Gefangen im Blitzeis?!« (Trapped in black ice) by Stefan Busse & Team, ZDF, Unterföhring
- 3rd place: »Magnetismus hoch 4« (Magnetism to the power 4) by Daniel Laumann & Team, University of Münster – Institute for Didactics of Physics, Münster
Videos, which develop their own vision of the future, feature in this category.
- 1st place: »Virtual Insanity« by Adam Maj & Team, Berlin
- 2nd place: »Kerzenwachs-Rakete« (Candlewax rocket) by Simon Wenkelewsky & Team, Image in Motion, Bremen
- 3rd place: »Little Green Bags: Was ist echte unternehmerische Nachhaltigkeit?« (Little Green Bags: What is real corporate sustainability?) by Andri Hinnen & Team, Zense GmbH, Zürich
DFG MeerWissen special prize
The special »MeerWissen« prize is awarded by Deutsche Forschungsgemeinschaft for videos by young people on the subject of marine and ocean research.
- 1st place: »Kein Plastik Meer!« (No plastic sea!) by Tobias Djuren, Berlin
- 2nd place: »Rohstoffförderung im Meer« (Raw material extraction in the ocean) by Max Heckmann, Bergisch Gladbach
- 3rd place: »Warum schmecken Salzwasserfische eigentlich nicht salzig?« (Why don’t saltwater fish actually taste salty?) by Lilith Diringer, Waldbronn
SUPER FAST: 48H BAUCHGEFÜHL
Videomakers were given exactly 48 hours, to come up with an idea, produce their video and upload it to YouTube!
- 1st place: »Unser zweites Gehirn« (Our second brain), by Finn Dohrn, YouTube channel »BYTEthinks«, Tornesch
- 2nd place: »Bauch vs. Hirn« (Stomach vs. Brain), by David Peter, Peter & Partner, Mainz
- 3rd place: »Das Bauchgefühl in den Zeiten der Cholera« (Stomach feelings in times of cholera), by Lars Fischer, scientific videocast »Wir werden alle sterben« (We will all die), Heidelberg
These are the awards for the public favourites of the YouTube community.
- 1st place: »DIAMANTEN VERBRENNEN! Für die Wissenschaft!« (BURN DIAMONDS! For science!) by Marcel H., YouTube channel »Techtastisch«, Pforzheim
- 2nd place: »Wie sieht die Zukunft aus?« (What does the future look like?) by Cedric Engels, YouTube channel »Doktor Whatson«, Cologne
- 3rd place: »Gravitationswellen erklärt« (Gravitational waves explained) by Finn Dohrn, YouTube channel »BYTEthinks«, Tornesch
The exhibition »Beat Generation«, presented in cooperation with the Centre Pompidou in Paris, was chosen as »Best of 2016: Our Top 15 Exhibitions Around the World« by the art and culture magazine »Hyperallergic«!
In the last few years, the ZKM has already shown the leading figures of the Beat Generation, such as William S. Burroughs (»the name is BURROUGHS − Expanded Media«, 2012) and Allen Ginsberg (»Beat Generation. Allen Ginsberg«, 2013). In this new exhibition, an overview of the literary and artistic movement, which was created at the end of the 1940s, will now be provided for the first time. If »beatniks« were viewed back then as subversive rebels, they are now perceived as actors in one of the most important cultural directions of the 20th century.
The Beat Generation, which developed in the years after the Second World War, at the start of the Cold War, shocked the Puritan America of McCarthy. It anticipated youth culture, sexual liberation (Queer, Gay Pride, etc.) and the psychedelic drug movement of the 1960s as well as creating new cultural forms in literature, music, painting, photography and film. The exhibition shown in the ZKM displays the geographic benchmarks of the movement, which range from New York to San Francisco, Tangier to Paris and London. It traces both the various geographical focuses of the movement and their ever-changing artistic forms.
The germ cell of the Beat Generation was the Columbia University in New York. William Burroughs, Allen Ginsberg and Jack Kerouac met here in 1944. Later, the movement moved to the West coast of the USA, where it revolved around the City Lights book shop, the publishing house of Lawrence Ferlinghetti in San Francisco and briefly around the Six Gallery as well – on 7th October 1955, the celebrated reading of the poem Howl by Ginsberg took place here. It triggered a lawsuit – with the accusation of obscenity – and immediately brought a paradoxical fame to the poets of the Beat Generation. From 1957 to 1963, its sphere of activity concentrated on Paris: William Burroughs, Gregory Corso, Allen Ginsberg, Peter Orlovsky, Brion Gysin and many others regularly stayed in the »Beat Hotel« at 9 Rue Gît-le-Coeur. The Paris of the post-war years became a laboratory for experiments in sound and image. Subsequently, the literary »cut-up« technique expanded influentially into England, Germany and from there into other countries. The virus of subversion, which led to a collapse of old palaces, spread from New York into the entire world and provided the first model of counter-culture, which are echoed today in the utopian visions of the cyber culture, e.g. back in San Francisco in the Silicon Valley. A large proportion of contemporary mainstream art forms such as rap is infected by the alternative underground culture.
»A long display cabinet welcomes the exhibition visitors – in it Kerouac's unrolled manuscript from 1951 as a long paper web, glued together from single sheets: yellowed, torn at the edges. A showpiece that also opens up an impressive cosmos of associations, which constantly transcends the boundaries of the art forms.«
– Gunther Reinhardt, in: Stuttgarter Nachrichten, 20.01.2017
»The Beat Generation exhibition resurrects the saints of intoxication, who paid for their lifestyle with stays in psychiatric clinics and jails.«
– Carmela Thiele, in: monopol, 08.01.2017
»The exhibition makes it clear that the ‘Beat Generation’ is not just poetry, but also painting and film, experimental and revolutionary.«
– Ralf Rättig, in: 3sat Kulturzeit, 28.11.2016
»And in Karlsruhe, it is disclosed that the ‘Beats’ didn’t just write: A whole wall is dedicated to the images and drawings of Jack Kerouac and we can marvel at a shotgun picture by William S. Burroughs.«
– Manfred Heinfeldner, in: SWR KUNSCHT!, 24.11.2016
Computer games transport real-world references, meanings and ideologies and can therefore be political and social media, in a positive, educational or ensnaring, propagandistic manner. The GLOBALE »Global Games« exhibition, between August 2015 and April 2016 at the ZKM, showed the scope of the computer game as a politically and socially relevant medium. From November, you will be able to view the »Games and Politics« exhibition, developed by the Goethe Institute with support of the ZKM, as a travelling exhibition in several Goethe Institutes around the world.
Whether computer games are seen as a political issue, as an entertainment medium or – even – as art, they all have to be viewed in a contextual manner. Every game positions itself in a society and picks it out as the central issue at the same time. A political relevance can be postulated for all computer games, even and especially if they seem to evade any kind of political action. Because the following holds true even in these games: The players issue directions but must play by the rules of the game in order to be able to play at all. At the other end of the spectrum are games which are consciously used for the purposes of political education or propaganda objectives in view of an otherwise hard-to-reach target group. The “Games and Politics” touring exhibition is now investigating how computer games develop their political potential.
Based on computer games from the last twelve years which have had obviously political ambitions, it asks about the opportunities and limits of the genre to design a counter-position within the entertainment industry. On one hand, this counter-position can be formulated in simulation of the contingency of political decision making itself, or in the explicitly critical illustration of social conditions and grievances, which unifies all the games shown in the exhibition. Within the games, precarious working conditions can be the central theme in the same manner as gender issues, the surveillance state, the consequences of war, the handling of refugees or revolutions against totalitarian systems.
But can the game still be a political game in the art institution museum? And is the computer game a suitable medium for dealing with such complex political themes? »Games and Politics« would like to show examples for all these political levels within games. Most of these games can be played as part of the exhibition. The exhibition curators also ask experts from media and cultural sciences and game developers about the political potential of computer games. Their answers will be incorporated in small documentaries and an introductory film for the exhibition as well as in the catalogue being published for the exhibition.
|November 16–January 15, 2017||Goethe Institut Mexico-City, Mexico|
|February 2–March 3, 2017||Goethe-Institut San Francisco, USA|
|April 7–May 21, 2017||Goethe-Institut Boston & MIT Game Lab, USA|
|April 7–8, 2017||German American Conference at Harvard|
Film history without pictures: Gideon Bachmann’s interviews with cinema personalities were broadcast on New York radio between 1955 and 1964. During his »Film Forum« and »The Film Art« broadcasts, Bachmann presented film personalities, many of whom are world-famous today but were not yet discovered back then.
»Film Art on Air« presents a selection of 44 of the approximately 500 interviews that Bachmann conducted: documentary filmmakers such as Jean Rouch and Leni Riefenstahl, representatives of experimental film such as Maya Deren and Hans Richter, greats of new European films such as Jean-Luc Godard and Federico Fellini and actors such as Jean Seberg and Rod Steiger can be heard.
In his half-hour interviews, conducted solely in English, Bachmann did not delve into the technical details, gossip or success and failure of films. Instead, he posed the simple question: »Why do you do that?«
Bachmann (1927–2016) lived in Heilbronn until 1936, before settling in Palestine, the USA, Italy and England. Since 1996, he was living in Karlsruhe. Bachmann considered his extensive audio archive, collected from all over the world, as part of his »Vox Humana« project, an archive of human voices, the medium for which is radio.
The Vox Humana Archive
Gideon Bachman's collection of interviews – »Vox Humana« – belongs to the archival collections of ZKM | Center for Art and Media Karlsruhe and is currently being indexed in cooperation with the State University of Art and Design Karlsruhe (HfG).