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.
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.
After Brussels and Karlsruhe the large-scale exhibition project entitled »Art in Europe 1945–1968. Facing the Future« was on display at the Pushkin State Museum of Fine Arts, Moscow until May 28, 2017.
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
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.
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.
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).
The exhibition aims at introducing new perspectives on the work of Frei Otto as well as formulating present-day questions concerning the future of our built environment involving architecture, technology, sustainability and society. The exhibition opening takes place on Friday, November 4, 2016.
Frei Otto (1925-2015) is among the most internationally celebrated and innovative German architects of the 20th century and is a central figure in building the culture in the state of Baden-Wuerttemberg. In March of last year, he received the Nobel Prize for Architecture, the Pritzker Prize, for his work, which is the most highly recognized award for architecture in the world. On the occasion of this honour, the »Südwestdeutsches Archiv für Architektur und Ingenieurbau« (saai) and the Wüstenrot Foundation are planning the biggest exhibition to date of the work of Frei Otto in cooperation with the ZKM.
The exhibition will showcase well-known and completely unknown projects. The material on display comprises over 200 design models, objects, tools and instruments, more than 1,000 photos, drawings, sketches, plans and films, as well as various large-scaled media projections. The exhibition is made up of four central positions, which extend scenographically through the two atriums and guide visitors through the extensive archive material, which the Südwestdeutsches Archiv für Architektur und Ingenieurbau (saai) has prepared specifically for this exhibition:
Frei Otto’s model landscape
All models are sorted by scale, correlated in terms of content and history and presented on an approx. 50 metre long table structure. Further plans and images relating to the historical, technical and constructive context of individual models and projects are supplemented by original plans and small display screens. In this way, the questioning character and aesthetic continuity in Frei Otto’s thought processes become visible. Visitors get the impression that they are floating through a »horizontal cabinet of wonder«.
Frei Otto’s open archive
A central component of the exhibition is the »open archive«. It consists of 18 oversized filing racks, which are built around both courtyards and which provide the exhibition with its scenic stabilisation. On the basis of selected original plans, photos, books and reproductions, visitors are guided through the most important biographical stations of Frei Otto – the development centre of lightweight construction in Berlin, the world-famous institute for light-weight surface structures in Stuttgart and his studio in Warmbronn through to pioneering projects such as the German Pavilion for Expo 67, the Multihalle Mannheim and the first studies for Stuttgart 21. The circular filing racks act as a freely accessible viewing warehouse and place of knowledge between presentation and storage.
Frei Otto’s cosmos
During the course of his life, Frei Otto collected and classified images of the structures of nature. They served him equally as inspiration and free association and as specific objects of investigation. The central focus here is that Frei Otto recognised the model character of nature and tried to make this useful for architecture and civil engineering. At 18 tables – which are based on the workbenches of Frei Otto in Warmbronn – visitors can study large-scale images of nature studies, spider’s webs, sand structures and soap bubbles. It opens up a complex imagery for them, establishing an insight into the poetic but scientific cosmos of Frei Otto’s world of thought.
Frei Otto’s projection
The innovative potential of Frei Otto is based on the radical multidisciplinarity of his thought processes between architecture, technology, science and society. The technical imaging and media dimension play a major role here. In a projection measuring over 25 m, this thought process is conveyed in its aesthetics and medial imagery.
»Frei Otto is missing. And you can only recommend to all those who are staring at their monitors right now to take a trip to Karlsruhe and to think, yes to take in the models.«
– Gerhard Matzig, in: Süddeutsche Zeitung, 03.01.2017
Amber Sayah writes in the Stuttgarter Zeitung: The Frei Otto exhibition is an »abundantly adorned and brilliantly designed show covering 2000 square metres.« Other architecture galleries are »matchboxes in comparison to the virtually endless sequence of rooms at Karlsruhe’s ZKM.«
– Amber Sayah, in: Stuttgarter Zeitung, 10/11.12.2016
»The tremendous panorama of the Karlsruhe exhibition outlines the image of a relentless researcher, based on models and tools, on over a thousand photos, drawings, sketches, plans, films and an open archive.«
– Karin Leydecker, in: Neue Zürcher Zeitung, 06.01.2017
»The exhibition offers a new look at the cultural connections and historical links between the European nations. Through the historical retrospect, it opens up new perspectives to a future Europe and shows what a strong and positive effect art and culture can have to overcome the current crisis.«
– Winfried Kretschmann
Together with the A. S. Puschkin-Museum, the ROSIZO in Moscow and the BOZAR in Brussels, the ZKM is organising the large-scale exhibition project entitled »Art in Europe 1945-1968: Facing the Future« – curated by Eckhart Gillen and Peter Weibel. The exhibition 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. The period of 1945 to 1968, which is highlighted in the exhibition, stands in many ways for artistic and political perspectives, which were forward-looking in contradictory ways. After the end of the Second World War in 1945, the political and cultural boundaries hardened increasingly, until a decisive turning point for shaping the future in European post-war history in the East and West was marked ultimately in 1968 through the Anti-American student revolts and the new Ostpolitik introduced by Willy Brandt.
For the first time since 1945, the concept of retrospectively tracing the history of art in the whole of Europe can now be realised. To date, the attention of historiography was largely focussed on abstract expressionism as a symbolisation of the free West, while the socialist realism embodied the conservatism of the Communist East. But today, we know that this dominant model of art history was a product of the Cold War. For this reason, 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. Whilst the exhibition project brings together the neo avant-garde from the East and West, it becomes evident that many new art forms (produced after the war) – from media art to conceptual art, from performance art to sound art – originated in Europe or were formulated simultaneously in Western Europe, the USA, Russia and Eastern Europe in parallel developments.
With the collaborative efforts of three internationally-renowned museums, the exhibition unites approx. 500 loans from over 200 artists into a panorama of pan-European art development on both sides of the historic Iron Curtain.
At the ZKM, which is focussing on the experimental artistic developments of the 1950s and 1960s in one of its programme lines, the exhibition is experiencing independent prioritisation and expansion. Representatives of Western neo avant-garde – like the ZERO group – are now appearing at the ZKM for the first time in the context of new Eastern European and Russian trends that have developed in parallel – such as the Nove Tendencije and the Dvizhenie group.
A new narrative about Europe is developing with the exhibition and the catalogue accompanying it. The separation of Europe as a result of the Yalta Conference in 1945 and the resulting Cold War gravely impacted on both Eastern Europe and Western Europe. The fact that Western Europe accepted this separation until the fall of the Berlin Wall in 1989 amounts to auto-amputation. The exhibition aims to retrospectively bring closer together what grew apart and became distanced during the time of divided Europe and thus further suture the gaping cultural wound that still exists between Eastern and Western Europe. The image of this »suture« itself can be documented multiple times in the artistic manifestations from the time between 1945 and 1968.
This reunification of Eastern and Western Europe, as put into place by the exhibition in the name of art, not only closes a gap within art history. It should also be taken as an active pleading for Europe – to face the future. The exhibition contrasts the current economic and political accounts, which are propelling Europe towards the right and back into the former nationalism, with a committed, alternative narrative. It is the task of art to show alternatives and facilitate change.
»If Armando’s painting of a black head is replaced by a black board with barbed wire and eventually with scorched objects, this is a captivatingly linear rationale. (...) The ZKM in Karlsruhe celebrates the healing power of art.«
– Ursula Scheer, in: Frankfurter Allgemeine Woche, 50/2016
»The Karlsruhe exhibition prepares nothing less than a mental map of manifests and artistic factions all occurring at almost the same time (...). From an artistic surrounding, which directly involves realities and visitors, machine-controlled movement and illuminations arise, which you can take – in the ZKM – as building blocks for media art.«
– Andrea Gnam, in: Neue Zürcher Zeitung, 31.12.2016
Marc Adrian, Yaacov Agam, Kurd Alsleben, Gábor Altorjay, Hans Peter Alvermann, Eric Andersen, Giovanni Anselmo, Marina Apollonio, Karel Appel, ARCHIGRAM, Arman, Armando, Art & Language, Roy Ascott, Enrico Baj, Vojin Bakić, Mario Ballocco, Paolo Baratella, Gianfranco Baruchello, Georg Baselitz, Max Beckmann, Otto Beckmann, Alfred Graßl, Joseph Beuys, Remo Bianco, Alberto Biasi (Gruppo N), Ely Bielutin, Max Bill, Hans Bischoffshausen, Agostino Bonalumi, Davide Boriani (Gruppo T), Václav Boštík, Van den, Guy Branden, Robert Breer, Jacques Brissot, Bazon Brock, Marcel Broodthaers, Günter Brus, Tadeusz Brzozowski, Bernard Buffet, Erik Bulatov, Daniel Buren, Victor Burgin, Alberto Burri, Hal Busse, Reg Butler, Pier Paolo Calzolari, Anthony Caro, Enrico Castellani, Jorge Castillo, Karel Černý, Ennio Chiggio, Christo, Inge Claus-Jansen, Ettore Colla, Compos 68, Constant, COOP HIMMELB(L)AU, Fritz Cremer, Roberto Crippa, Almir da Silva Mavignier, Dadamaino, Hanne Darboven, Gabriele de Vecchi (Gruppo T), Herman De Vries, Guy Debord, Alexander Deineka, Hugo Demartini, Gérard Deschamps, Bruno di Bello, Lucia di Luciano, Braco Dimitrijević, Milan Dobeš, Piero Dorazio, Gianni Dova, Jean Dubuffet, François Dufrêne, Umberto Eco, Equipo 57, Equipo Realidad, Miklós Erdély, EXAT 51, Valie Export, Agenore Fabbri, Luciano Fabro, Öyvind Fahlström, Harun Farocki, Jean Fautrier, Stano Filko, Robert Filliou, Constantin Flondor, Piero Fogliati, Lucio Fontana, Lucian Freud, Krisztián Frey, Bulat Galeyev und Prometheus-Büro, Ivo Gattin, Poul Gernes, Karl Gerstner, Stefan Gierowski, Hermann Goepfert, Gorgona Group, Zbigniew Gostomski, Tomislav Gotovac, Karl Otto Götz, Lily Greenham, HAP Grieshaber, Franco Grignani, Groupe de recherche d’art visuel, Hans Grundig, Milan Grygar, Renato Guttuso, Hans Haacke, Dieter Hacker, Raymond Hains, Matjaž Hanžek, Haus-Rucker-Co., Bernhard Heiliger, Wilhelm Hein, Jan Henderikse, Maurice Henry, Eva Hesse, Gerhard Hoehme, Oskar Holweck, Miljenko Horvat, HP Zimmer, Alfred Hrdlicka, Francisco Infante-Arana, Isidore Isou, Asger Jorn, Nam June Paik, Ilya Kabakov, Tadeusz Kantor, Lajos Kassák, Ilona Keserü, Yves Klein, Julije Knifer, Milan Knížák, Viacheslav Koleichuk, Július Koller, Béla Kondor, Gyula Konkoly, Arthur Køpcke, Dezső Korniss, Edward Krasiński, Dmitry Krasnopevtsev, Radoslav Kratina, Kurt Kren, Norbert Kricke, Vlado Kristl, Erkki Kurenniemi, László Lakner, Edoardo Landi (Gruppo N), Carl Laszlo, John Latham, Le Corbusier, Julio Le Parc, Jean-Jacques Lebel, Fernand Léger, Maurice Lemaître, Alfred Lenica, Adolf Luther, Heinz Mack, Karel Malich, Frank Josef Malina, Mangelos, Edgardo Mannucci, Piero Manzoni, Gerhard Marcks, Adam Marczyński, Enzo Mari, Gino Marotta, Manfredo Massironi (Gruppo N), Lidia Masterkova, Almir Mavignier, Hans Mayer-Foreyt, David Medalla, Christian Megert, Teresa Mellerowicz-Gella, Albert Mertz, Mario Merz, Gustav Metzger, Harald Metzkes, Manuel Millares, Henry Moore, Marcello Morandini, François Morellet, Tony Morgan, Gabriele Mucchi, Otto Muehl, Bruno Munari, Frieder Nake, Paul Nash, Georg Nees, Ernst Neizvestny, Werner Nekes, Hermann Nitsch, Jerzy Nowosielski, Marek Oberländer, OHO, Roman Opalka, Meret Oppenheim, Nam June Paik, Mihovil Pansini, Eduardo Paolozzi, Ervin Pátkai, Henk Peeters, A.R. Penck, Vladimir Petek, Pablo Picasso, Ivan Picelj, Otto Piene, Pierluca, Yuri Pimenov, Michelangelo Pistoletto, Dmitri Plavinsky, Stanislav Podhrázský, Marko Pogačnik, Uli Pohl, Sigmar Polke, Giò Pomodoro, Viktor Popkov, Charlotte Posenenske, Enrico Prampolini, Heimrad Prem, Oskar Rabin, Andrea Raccagni, Carol Rama, Jean-Pierre Raynaud, Martial Raysse, Antonio Recalcati, Alain Resnais, Gerhard Richter, Hans Richter, Bridget Riley, Jean-Paul Riopelle, Peter Roehr, Mikhail Roginsky, Mimmo Rotella, Dieter Roth, Georges Rouault, Roland Sabatier, Zorka Ságlová, Hans Salentin, Beatrice Sandomirskaya, Jean-Michel Sanejouand, Antonio Saura, Paolo Scheggi, Alfons Schilling, Niklaus Schilling, Tomas Schmit, Nicolas Schöffer, Eugen Schönebeck, Jan Schoonhoven, Emil Schumacher, Duro Seder, Vadim Sidur, Willi Sitte, Zdeněk Sklenář, Kjartan Slettemark, Ed Sommer, Jesús Rafael Soto, Karel Souček, Daniel Spoerri, Aleksandar Srnec, Klaus Staudt, Graham Sutherland, Zdeněk Sýkora, Alina Szapocznikow, Tamás Szentjóby, Takis, Paul Talman, Antoni Tàpies, Vladimir Tatlin, Hervé Télémaque, Gyarmathy Tihamér, Joe Tilson, Jean Tinguely, Endre Tót, Werner Tübke, Günther Uecker, Timm Ulrichs, Giuseppe Uncini, Jiří Valoch, Paul van Hoeydonck, Josip Vaništa, Grazia Varisco (Gruppo T), Victor Vasarely, Ben Vautier, Emilio Vedova, Vladimir Veisberg, Aleš Veselý, Nanda Vigo, Jacques Villeglé, Tibor Vilt, Daniela Vinopalová, Gerhard von Graevenitz, Vostell Vostell, Franz Erhard Walther, Peter Weiss, Ludwig Wilding, Stephen Willats, Gerd Winkler, Gil J. Wolman, Andrzej Wróblewski, Vladimir Yankilevsky, José Maria Yturralde, Yvaral, Rimma Zanevskaya, Herbert Zangs, Alexander Zhdanov, Yuri Zlotnikov und Gilberto Zorio.
Daily 11 am to 6 pm
Throughout the world biennales have been literally mushrooming over the last two decades. Whereas, in the mid-1980s there were six Biennales of contemporary art, today over 150 of them form a densely-knit network spanning across the world, which constitutes what is influential, interesting and relevant in today’s art scenes. Hence, commissioned by the ZKM Institute for Visual Media, Stewart Smith, Robert Gerard Pietrusko and Bernd Lintermann have collected and evaluated data on the temporal and spatial development of the Biennale system before going on to visualize it in trans_actions: The Accelerated Art World 1989–2011 (2011) on an eight- meter wide, three-meter high panorama screen. With this, trans_actions makes it clear that what we today call the global art world is, in fact, a conglomeration of globally recruited artists, globally active curators, disparate art markets and a concurrently emerging biennale landscape.
Bombastic in size, frequently divided across several events locations in a city, locally tied though global in ambition, accompanied by symposia and publications and centered around a group exhibition presenting a panoramic view on a new artist generation: this is how the reader of Elena Filipovic and Marieke van Hal defines the typical biennale. Its characteristics provide a hint as to why, in reference to biennales, Thomas Fillitz makes reference to »Worldmaking«. And the dynamic diagrams in trans_actions convey the impression that, in fact, what emerges is less places than transnational »zones of contact« where artists and curators travel from all regions of the world to Moscow, Istanbul or Sydney. Today, almost half the biennales are realized in countries at great distance from the West, and non-western biennales, such as the ones in Sao Paolo, in Havana, but also the Johannesburg biennale, realized only twice, are concieved to be central initiators for a globalized art discourse. But trans_actions also throws up questions: is there really no longer any center in the decentralized world of the biennales? What of the well-known Venice biennale or the Documenta in Kassel – are they no longer spokesmen in art? And why is it that, until today, the Dak’Art Biennale is the only one of its kind on the African continent?
The cinematic panorama projection was produced for the exhibition »The Global Contemporary - Art Worlds after 1989« (17.09.2011 to 19.02.2012) at the ZKM and in 2013 in the exhibition »Nothing to declare? - World Maps of Art '89« shown in the Academy of Arts in Berlin.
The »CODE_n« Festival at the ZKM | Karlsruhe and the Karlsruhe University of Design (HfG) will be accompanied by an exhibition conceived especially for this three-day event: »dataspheres. The ZKM CODE_n Exhibition«. »Dataspheres« presents interactive media artworks from the ZKM collection and works from the »Infosphere« exhibition which was part of last year’s GLOBALE, a major event celebrating the 300th anniversary of the city of Karlsruhe and interrogating the role of art in the age of the digital revolution and its social consequences. The selection of artworks is complemented by a number of art projects by HfG students. Additionally, a special highlight of »dataspheres« is a preview of the ZKM exhibition »Hybrid Layers« which will take place in the summer of 2017. The preview features works by young artists belonging mainly to the 1980s generation, which are integrated in the main »CODE_n« Festival. The young artists’ works show the effects of the new media on our aesthetic categories and our everyday perception. In addition to the varied program of the innovation festival, these works provide visitors with an opportunity to look at digital technologies, branding, and net identity from a fresh and very different perspective.
Artists & Scientists
Bárbara Acevedo Strange & Eva Tatjana Stürmer, Riccardo Bennassi, Michael Schmid, Jörn Müller-Quade & Thomas Beth, Enrico Boccioletti, David Bowen, Emma Charles, Sterling Crispin, Rohini Devasher, Ed Fornieles, Adam Gawel, Jonathan Harris, Daniel Keller, Christian Lölkes, Laurent Mignonneau & Christa Sommerer, robotlab (Matthias Gommel, Martina Richter & Jan Zappe), Scenocosme (Gregory Lassere & Anais met den Ancxt), Adam Słowik, Superflux, Fabrizio Tamburini & Freddy Paul Grunert, Unknown Fields Division, Benoît Verjat & Ricci Donato, Anne de Vries Guan Xiao and Konrad Zuse.
»Datumsoria« is a neologism that conjugates datum and sensoria, denoting a new perceptual space immanent to the information age. The exhibition is consisted of three idiosyncratic works. Pushing boundaries of his documentary style of live painting, LIU Xiaodong reinvents himself by penetrating into the digital now. In »Weight of Insomnia«, the artist has created an automated system to continuously paint monumental canvases using streaming data from three distinctive locations, generating at each moment a new sediment of emotional residue as if the painter, reincarnated in a robotic consciousness, wrestles through an endless, restless insomnia to piece together an ever-evolving jigsaw of amorphous desires and anxieties, fleeting nightmares and ruptures. In contrast, Carsten Nicolai’s installation »unitape« offers an examination of perception on graphic structures that resemble punch cards of the early computing era. »unitape’s« immaculate images and sounds manifest pure mathematical precision that illuminate an algorithmic sublime while at the same time addressing issues related to the socio-psychological aspects of the interaction between human and machine. In addition, a 1993 robot sculpture titled »Rehabilitation of Genghis-Khan« by the media art pioneer Nam June Paik lends a historical footnote to the evolution of artistic imaginations prefiguring a new reality elicited by the technical construct of space and time.
»Weight of Insomnia« is a specially commissioned work and the inaugural presentation of Chronus Art Center (CAC) initiated Art & Technology @ program conceived and curated by ZHANG Ga, artistic director of CAC. The Art & Technology @ program facilitates leading artists working in conventional media to critically experiment with new potentials enabled by digital technologies. »Datumsoria« is co-presented by Chronus art Center, ZKM | Center for Art and Media, and the Nam June Paik Art Center.
Note: The exhibition will be on display at the ZKM from
September 9th 2017 till November 12th 2017.
Daily from nightfall till midnight
The large-scale panoramic projection »More Sweetly Play the Dance« by South African artist William Kentridge shows a procession of shadowy figures, accompanied by the sounds of a brass band. The dancing skeletons are reminiscent of a mediaeval death dance. Workers swinging flags and carrying banners awake associations with a political demonstration. Musicians and dancing clergymen make one think of religious processions. Last but not least, the procession of people nearly collapsing under the weight of their luggage and personal belongings and who are marching towards an uncertain future and, all too often, death, is reminiscent of the images of refugees we see on a daily basis.
Thus, the motif of the procession becomes a general symbol of movement, the course of history, political change as well as the global flows of refugees. This motif plays a central role in Kentridge’s oeuvre. It appears for the first time in 1989/90, at a time when the apartheid system in South Africa began to be dissolved. The political transformation was accompanied by mass demonstrations, in which Kentridge also participated. The title »More Sweetly Play the Dance« is an allusion to Paul Celan’s famous Todesfuge (Death Fugue) and the line »Play death more sweetly – this Death is a master from Deutschland«. However, Kentridge does not show a mere dance of the dead, but rather shadows passing by Plato’s cave.
William Kentridge, who was born in 1955 and whose parents campaigned for the abolition of apartheid, aims to fight for justice using the means of art, which becomes very clear in his work. The presentation of the work in public space, on the "Platz der Menschenrechte" [“Square of Human Rights”], adds a further important level of significance to it.
The projection is a massive 22 metres long and six metres high. In addition to the superimposition of the media of drawing, shadow theatre, performance, dance, music, film and projection, William Kentridge also employs computer animations in »More Sweetly Play the Dance« for the first time in his artistic work.
The work was produced at the invitation of Peter Weibel and with the support of the lichtsicht 5 Projection-Biennale in Bad Rothenfelde and the EYE Filmmuseum in Amsterdam.
To mark the 150th birthday of the cultural scientist Aby Warburg (1866–1929), the ZKM is exhibiting a complete reconstruction of his Mnemosyne picture atlas in its original size. Warburg developed this comprehensive and unusual instrument in his last years. All 63 panels are presented for the first time with a detailed commentary, combining the findings from Warburg’s writings with an analysis of his visual language. Due to his sudden death, it was long assumed that the work was a fragment. Even at the end of the 20th century, after the panels were first published as a book, the »Mnemosyne Atlas« remained a legend. Warburg examined the »Afterlife of the Antiquity« with its foundation in European culture. In the open structure of his picture systems, he showed how images and gestures — that he called »Pathosformeln« [expressions of pathos] — were passed on across cultures and periods of time.
The atlas lists the »Wanderstrassen of culture« and follows the long voyages of images on their »vehicles«, called »Bilderfahrzeuge«: Calendars, carpets, graphics. As the first »media scientist«, he extended the art history of masterpieces to fashion, advertising and everyday culture. Pinning black and white photographic reproductions on black-strung boards, Warburg created constellations that made cross-epochal inferences visible.
In addition to Warburg’s Atlas, an artistic update of the instrument »Bildertafel« will be shown, 12 panels created specially for the exhibi- tion by Linda Yasmine Fregni Nagler, Andy Hope 1930, Albert Oehlen, Tal R, Elfie Semotan, Sarah Lehnerer, Olaf Metzel, Christian Vind, Jannis Marwitz, Jochen Lempert, Matt Mullican, and Peter Weibel.
Artists and scientists
Andy Hope 1930, Linda Fregni-Nagler, Sarah Lehnerer, Jochen Lempert, Jannis Marwitz, Olaf Metzel, Matt Mullican, Albert Oehlen, Tal R, Elfie Semotan, Christian Vind, research group MNEMOSYNE (represented by Axel Heil, Roberto Ohrt, Christian Rothmaler, Philipp Schwalb and Regine Steenbock) and Peter Weibel.
In summer 2016, people can look forward to the Schlosslichtspiele again: the facade of Karlsruhe Palace with its almost 3,000 square metres will be set in motion every evening from 7th August to 25th September.
Once again this year, the pieces create spectacular visual forms and narrations between the past, present and future: With the palace staged piece by Alexander Stublic, the facade of the palace will rotate like a revolving stage around an imaginary central axis. The Paperlife projection by Hauslaib Lichtwelten will create a new facade from paper: Like the pages of a book, it is folded, torn and creased. Artist collective Xenorama, which also took part last year, is working with the materiality of paper too: They are filming a true-to-scale model of the palace from paper and casting it onto the real, physical surface of the palace in a digitally manipulated manner. With his DSG animation + VFX studio, Dragos Stefan is organising a parade of iconic pieces from the classic avant-garde about the palace with their Defilee zum 100. Geburtstag der Avantgarde projection (Parade for the 100th anniversary of the avant-garde). Maxin10sity will also be looking back into the past with their new piece: They will be casting new light on exhibits of the Badisches Landesmuseum by using a time lapse to retell our cultural history from the prehistory and early history through to the cultures of the ancient world.
This year’s special: Everybody can let the castle shine! For the new edition of the Schlosslichtspiele, ZKM and Karlsruhe Event GmbH initiated a fundraiser campaign. The campaign donors each receive an inidividual certificate so they can become a part of the show itself, their portrait photos will be projected on the castle’s facade. Further, support for Schlosslichtspiele 2016 can be given by buying a button with the inscription »Ich lasse das Schloss leuchten!« (»I let the castle shine!«). The buttons are available at ZKM | Shop and can be purchased for 5 Euros each.
The light show was the highlight of last year’s 300th anniversary of the founding of the city of Karlsruhe: 400,000 visitors gathered in the evenings in front of the castle to watch the fascinating projections of renowned artists from all over the world.
Due to the great success of Schlosslichtspiele 2015, the city council of Karlsruhe decided to continue the project this summer.
||August 7–11||August 12–14||August 15–19||August 20 – Sept 1||Sept 2–25|
|8:00 pm||Maxin10sity: LEGACY|
|8:25 pm||Hauslaib Lichtwelten: PAPERLIFE|
|8:45 pm||DSG animation + VFX: DEFILEE|
|9:00 pm||Präsentation der Spender-Portraits|
|9:10 pm||Xenorama: TRANSKUTAN|
|9:30 pm||Alexander Stublic: PALACE STAGED|
|9:45 pm||Maxin10sity: LEGACY|
|10:10 pm||Hauslaib Lichtwelten: PAPERLIFE|
|10:30 pm||DSG animation + VFX: DEFILEE|
|10:45 pm||Präsentation der Spender-Portraits|
|10:50 pm||Xenorama: ONEIRONAUT|
|11:15 pm||Maxin10sity: 300 FRAGMENTS|
|10:00 pm||Maxin10sity: LEGACY|
|10:20 pm||Hauslaib Lichtwelten: PAPERLIFE|
|10:35 pm||DSG animation + VFX: DEFILEE|
|10:50 pm||Präsentation der Spender-Portraits|
|10:55 pm||Xenorama: ONEIRONAUT|
|11:15 pm||Maxin10sity: 300 FRAGMENTS|
|8:00 pm||Maxin10sity: LEGACY|
|8:25 pm||Hauslaib Lichtwelten: PAPERLIFE|
|8:45 pm||DSG animation + VFX: DEFILEE|
|9:00 pm||Präsentation der Spender-Portraits|
|9:15 pm||Xenorama: TRANSKUTAN|
|9:30 pm||Maxin10sity: LEGACY|
|9:55 pm||Hauslaib Lichtwelten: PAPERLIFE|
|10:15 pm||DSG animation + VFX: DEFILEE|
|10:40 pm||Xenorama: ONEIRONAUT|
|Präsentation der Spender-Portraits|
|Maxin10sity: 300 FRAGMENTS|
|11:30 pm||Alexander Stublic: PALACE STAGED|
|11:50 pm||DSG animation + VFX: DEFILEE|
|12:15 am||Maxin10sity: LEGACY|
Einen übersichtlichten Spielplan mit allen Projektionen und deren Aufführungszeiten, können Sie sich hier als PDF herunterladen.
Weitere Informationen unter www.schlosslichtspiele.info
In 2016 the AppArtAward has been awarded for the sixth time. When it was inaugurated, back in 2011, only a few art apps existed in the universe of mobile computing, with its various app platforms. Now the app format has become a new, important form of distributing artistic productions. This year, around 92 apps from 17 countries were submitted for the AppArtAward. The winner apps of the AppArtAward 2016 as well as a selection of the best submissions can be tested at the ZKM.
The winner of the AppArtAward 2016
Special Prize for Connected Art: sacrificium
by Joanna Dauner
»sacrificium« is an interactive installation which takes up the ritual of lighting votive candles and connects to them with a smartphone or tablet via an app. Candles or other lights are lit in many religions as act of offering prayers and as a symbol of contemplation. After the ritual the lights are left behind as substitutes for the persons who offered them, symbolizing their entreaties and prayers. sacrificium carries this ritual into the realm of the digital networks. For many people, taking a conscious decision not to use their device for a period of time is severely challenging. With this app, the ritual sacrifice consists in the users not using the applications on their smartphones for two hours. Instead, one can light a real votive candle in the chapel of St. James the Great in Fischbachau, Bavaria. This candle will burn for two hours if during this time the device is only used to look at the sacrificium livestream. However, if the running app is closed or pushed in the background, the candle in the chapel will be extinguished.
Special Prize for Sharing: thangs
by Sammy Schuckert
The app thangs provides a platform whereby one can share useful objects within one’s own network of contacts. The special feature of this app is that it allows direct access to the users’ phone book. When friends and acquaintances have also installed thangs, the app displays their loan requests for lawnmowers, drills, or butterfly nets. Via a linked website these requests can also be sent by free SMS to contacts who have not installed the app. thangs is a user-friendly app which facilitates communication and supports a more sustainable use of resources by encouraging people to lend rather than to buy.
Special Prize for Art+Experience: Mimics
by Fabian Schaub and Thomas Krüber
Mimics is a multiplayer game, which is based on the human capability for subliminal communication via facial gestures. We are experts in recognizing feelings that are expressed by the slightest changes in facial muscles and we constantly scan our environment for these changes. This talent, which every one of us trains our entire lives, constitutes the central mechanism of Mimics. The app offers a single player or a team a variety of images of facial expressions to be imitated. One side playing the game has to guess which of the images of facial expressions is being imitated by the other. Making faces and watching the facial gymnastics of the others is hilarious, but also challenging. For it is not simple to determine which of the images on offer is being imitated as most of them are quite similar.
Special Prize for Virtual Reality: Raum
by Sascha Haus
The virtual reality app Raum [space, room] confronts users with critical thoughts about the limitations and possibilities of simulation in virtual space. The first sequence takes users – equipped with smartphone and VR headset – to an office. A desk with a computer and a coffee mug suggests it is an authentic office environment. An off-screen voice asks the user to use the keyboard or move the mug – interactions which obviously don’t work. Eventually, after loud protests by the speaker, the space opens out. Guided by eye-tracking, the narrow confines of the office disintegrate, brick by brick, until the user is in a seemingly endless virtual world through which he or she begins to fly. The speaker is silent and the users can control the direction of their flight and encounter the virtual space afresh. The potential of VR is opened up not so much by merely simulating reality but by exploring technical possibilities creatively which enable new realms of experience.
More Highlights in the exhibition
by Takemi Watanuki
A/D Clock is an app that focuses on the interface of the digital world (inside the computer) with analog reality. In this sense a clock has two faces: a digital display and an analog clockface. A/D Clock displays the time in digital format, that is, six numbers giving the hours, minutes, and seconds. However, these numbers are made up of 144 analog clocks, where the hands of the minutes and hours build the outlines of the six numbers showing the time.
by Giulia Bowinkel
Daemons is about the fact that today, humankind lives in a world, which it largely created itself with the help of computers, and which it also controls. A coffee cup, cars, stock market prices, communications, research: in all these areas computer-aided models are used to simulate the various scenarios. Only in a next step these simulations are implemented in our real world – put into practice – and thus become the environment in which we live every day. Daemons plays with the connection between virtual simulations and actual reality: the app animates certain, predetermined images as soon as the camera of the device captures them. Here, the term Daemons is a double reference. For one, it refers to the computer processes also known as “Daemons,” which run in the background and are therefore beyond our cognitive reach. On the other hand it references the daimones, beings from Greek mythology, which embody the individual’s fate.
by Romain Cazier
The application Rec All references the genre of the geometrical puzzle. The goal of the game is to teach a minimalistic, amoeba-like creature in every level a certain pattern of behavior, so that it can independently reproduce it and can pick up the desired objects, the “collectibles,” and negotiate obstacles. To begin with, the creature is controlled via the fingers so that it can perform the requisite movements for the first time and the first object can be collected. After this, the creature completes the track on its own by utilizing the “learned” skills. The more objects are collected, the more demanding the game gets, and the more dexterity is required.
by Agoston Nagy
SoundBow is a drawing-based music instrument with a clean and simple visual interface. Users can create music by drawing curves or lines on the screen and also forms through their physical movements. The graphic elements on the display can be moved around, which alters the sounds produced. The app also enables you to record your own sounds via the microphone. These can be used as samples, as a basis for creating melodies or soundscapes. You can also export your composition as an audio file.
by Daniel Helbig
The design of Twisted Lines is minimalist; it is a tactile puzzle which is impressive because of its unique playing technique. Although the game is simple it offers lots of scope for extensive and interesting moves in a new and mind-twisting game experience. Colored squares are dragged with the finger across the screen. Two parallel trails in different colors mark the way the square was moved. In the main, users have to follow just two rules: First, the players have to collect game points, “pickups,” which can only be collected if these have the same color as the square that was moved. Second, when the player drags a pickup across trails, its color changes to that of the trail crossed first. While players try to find the right route to solve the puzzle, their moves make the music and colors change, creating fascinating patterns in the process that can be saved and shared with friends, for example, via social networks.
by Joshue Ott and Kenneth Kirschner
variant:flare is an audiovisual artwork that creates beautiful music and imagery. The app combines user input and built-in randomness to create images and music that continually change, grow, and evolve, offering a new and different experience every time. For users of all ages, variant:flare is a chance to explore and experience a unique work of generative art. The visuals, in turn, are controlled by the sound, so by changing the music, you influence the development of the visuals. The user’s compositions can be saved to the photo gallery of their device and thus can be retrieved again at any time.
For the first time, the exhibition will present the unique works by Milan Grygar outside of the Czech Republic consisting of visual and acoustic elements, and will document performances based on his musical scores.
Since the 1960s, the artist Milan Grygar from Prague has been engaged with the mutual relationship of image and sound. In 1965 he started recording the sounds created whilst drawing, that from then on became an integral part of his works. He calls these works that comprise acoustic and visual elements »Akustická kresba« [acoustic drawings]. He repeatedly conducts performances, for example in 1986 on invitation by Jan Hoet at the SMAK in Gent, during which he produces drawings with various objects that put out sounds or musically interprets his drawings in collaboration with musicians. In addition, he created drawings and pictures, that he considers as basis for musical performances such as the »Prstová partitura« [finger score] of 1972, that was conceived for percussion instruments.
Between 1970 and 1981, Grygar cooperated with the German musician Erhard Karkoschka and professional musicians in various performances, such as the »Partitura směru zvuku« [score for sound direction] of 1970, the »Archtektonická partitura« [architectonic score] of 1971 as well as the »Partitura krajiny« [landscape score] of 1973. They were performed in Stuttgart, Gent, Saarbrücken, Warsaw, Paris, Lodz, New York, Stockholm and Prague. In 1976, Karkoschka realized a recording based on the 1971 »Partitura krajiny pro E. Karkoschka« [landscape score for E. Karkoschka] in the studio for electronic music in Santa Clara. In 1981, Karkoschka recorded Grygar’s 1973 »Partitura pro trvající zvuk« [score for sustained sound] in the BMS studio of computer music in Stockholm.
At the opening of the exhibition on Friday, July 22, 2016, the »Architektonická partitura« [architectonic score] from the year of 1971 was re-performed by professional musicians.
Each year, during the hot summer months, cityscapes are transformed by fountains and jets of water. This year, two such artistic settings have been created as Digital Water Games in Karlsruhe: »RainDance« and the »3D WATER MATRIX« combine various creative approaches with modern technology. Together, they create a living water feature scene for the modern city, where recreation, amazement at the possibilities of water and pleasure in one’s own experiences are all condensed together.
In addition the ZKM shows the interactive installation »Liquid Views – Narcissus’ Virtual Mirror (1992)«, in which digital effects deform a videoprojection of the viewer like a water mirror.
»RainDance« is an interactive sound installation by American artist Paul DeMarinis, where water is experienced as the transmitter of sound vibrations. A series of patented computer-controlled modulation nozzles fastened to a scaffold shoot out streams of water as rain. The installation will be in place at the Karlsruhe Marketplace until 24 September.
The monumental »3D WATER MATRIX« in the ZKM_Foyer alternately shows »waterworks« by Shiro Takatani (Japan) and Christian Partos (Sweden). It heralds the beginning of a new generation of digital water technology. As you enter the black cube of the installation, a theatrical atmosphere unfolds before the spectator’s eyes: Accompanied by mechanical sounds, as if drawn in the air by a ghostly hand, figures and patterns appear in the middle of the darkened room and linger for a moment before evolving to be replaced by surprising new shapes. The »3D WATER MATRIX« will be shown in the ZKM_Foyer until 4 September.
Liquid Views, by Monika Fleischmann & Wolfgang Strauss, is a simulation of water in which the viewer’s reflection is portrayed as in real water. A finger tip on the touch-sensitive screen releases waves and causes the self-portrait to dissolve. The interactive installation translates the parable of Narcissus in a visual and intellectual reflection of the relation of image and effigy. A horizontal screen shows the simulation of a blue shimmering water surface on which the viewers see their own reflection. The artificial nature is steered by artificial intelligence. Accompanied by dripping and gurgling sounds the realistic appearance of simulated water draws the observer to touch the screen so that the image blurs. The more demanding the touch, the more the reflexion disappears. If the waves calm down, the virtual reflexion seems untouched.
Water Games and new media
The history of fountain architecture ranges from simple water wells to mediaeval allegorical waterspouts, or from technically elaborate Renaissance and Baroque water productions (e.g. the water theatre and cascade installation at Bergpark Wilhelmshöhe in Kassel) to the thermal springs enjoyed in the 19th century spa culture. Now, digital technology is the natural progression in the artistic use of water. From a computer, every water drop is controlled individually, allowing the creation of pictures and sounds. Programmed water drops become pixels, fountains become real 3D video and water games become a new art form: Ephemeral water films, water writing, water music, water paintings, walk-through and interactive water sculptures, and water architectures produce entirely new kinds of experiences.
In the current digital culture, more than ever, water fascinates us as an aesthetic material and medium: Both voluminous and surface-forming, as fine microscopic droplets, viscous and shimmering, it encodes a plurality of symbols. Its symbolism of change, re-creation, motion, variability and cleansing has been artistically expressed for centuries. A technical, innovative control of water can in turn be discerned as a thread throughout cultural history, as a narrative of progress from the aqueducts of the Roman culture to water-saving innovations in sanitation. This summer, following the huge success of the campaign The City is the Star 2015 – Art at the Construction Site in Karlsruhe, artistic director of the Digital Water Games, Peter Weibel, wants to make art once again accessible to the public for free. In two temporary technically and artistically advanced walk-through water installations, citizens and visitors of Karlsruhe can experience the possibilities of international water art. His curatorial idea, realised in cooperation with the Marketing Council of the City of Karlsruhe, combines new trends in digital art with the living urban water culture of the city: Karlsruhe has not only 204 fountains, of which 46 offer fresh drinking water, but also a Museum of Water and Fountains, dedicated to the cultural history of wells and fountains. Also based in Karlsruhe is the European Well and Fountain Society, whose members are dedicated to the preservation of wells and fountains in the city.
3D WATER MATRIX
- ST\LL – Shiro Takatani (J)
- The Sorcerer's Apprentice – Christian Partos (SE)
- Original idea: Shiro Takatani, Richard Castelli
- Concept: Richard Castelli
- Project Director: Juan Carretero
- Technical Manager: Francis Carretero (Lumiartechnia)
- 3D Water Matrix software developers: Joan Chaumont & Pierre Laborde
- ST\LL software developer: Ken Furudate
- Light Consultant: Ulf Langheinrich
- Production: Epidemic
- Commissioned by Cité des sciences et de l'industrie, Paris
For twenty years, various forms of artistic, experimental, media-reflective as well as ‘serious’ types of computer games have been developed. New strategies in gaming are based on artistic research in the growing fields of audio-visual media. Computer games reflect and analyze the function and structure of our societies...
The exhibition »New Gameplay« comprises six sections, presenting works of game art ranging from art that has computer games as its subject to computer games designed by artists. Classic media art and video games will also be a part of this engaging dialog.
The six sections are:
- Homage à Nam June Paik
- Hacking/Modifying Technology
- Media Art in the Context of Games
- Society and Games
- Urban Play
- Games and Apps
Devices that work in a similar way to modern computers have a long history. One of the prominent founders of logical machines in the European Middle Ages was Catalan monk, missionary and philosopher Ramon Llull (Latinised as Raimundus Lullus). He died 700 years ago in Mallorca. In honour of Llull, the CCCB – the Centre for Culture and Communication of Barcelona – organises a great event, where not only is the “Great Art” shown, the “Ars Magna” of combining, which Llull composed in magnificent books. From Athanasius Kircher to Gottfried Wilhelm Leibniz and contemporary art, the Catalan has inspired and influenced many intellectuals and artists in their thoughts and poetic acts. Llullism has become a proper movement that can be followed across the centuries, from the Middle Ages to the present day.
The co-initiators of the exhibition include the director of the ZKM (Centre for Art and Media Technology), Peter Weibel, and the rector of the HfG Karlsruhe, Siegfried Zielinski. Together with Catalan professor for aesthetics and philosophy, Amador Vega, they opened the event on Wednesday 13 July in Barcelona.
In the Catalan capital, the llullist network that is presented in the exhibition has a strong Spanish emphasis. At the end of 2017, the project will be presented in a significantly extended form in Karlsruhe at the ZKM and prepared via seminars at the HfG. One special treasure plays an important role, to be preserved in a new context for the public. The Baden state library in Karlsruhe houses one of the most important and splendid written works of the llullism movement, the “Electorum parvum seu Breviculum” from the 14th century.