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 firstname.lastname@example.org.
From 12th to 14th October 2015, the »Architecture in the spotlight« exhibition will be taking place at the ZKM_Forecourt as part of the »Architecture Days 2015« architecture and building culture event.
Architects from Northern Switzerland, the Alsace region and Baden will be presenting various pieces of work on the theme of this year’s »Architecture Days«, which is »Architecture in the spotlight«. The travelling exhibition will be presented in Strasbourg, Wissembourg, Karlsruhe, Freiburg, Bühl, Mulhouse and Colmar.
Architecture is in the spotlight and means nothing without light: The great play of forms in light, to which Le Corbusier testified, as well as the visibility and effect of materials, structures and textures. And as Louis Kahn described like no other, the perception of spaces and proportions is completely impossible without light.
Facades can also be interactive media protagonists and not just portray and represent what is happening in buildings through their transparency. Through the development of LED lighting, it has also finally become possible to create light spectrums for artificial light, which comes closer to natural light than any other lighting to date - and we now have a huge range of lighting forms, which can overcome the »physiological glare« caused by strong differences in light – and as such the »slick building syndrome« as well, which was prevalent with earlier forms of artificial lighting. Light is not just a wonderful design element for space, form and material. It is also fundamentally important for everything that represents good spaces in buildings.
The opening address will be given by Claude Denu from the DenuParadon office in Strasbourg and Hinrich Reyelts from the European Architecture Centre Upper Rhine.
Knowledge is power. And power is possessed especially by whoever controls the flow of information. This applies particularly in digital culture, where all the information in the World Wide Web can be manipulated, uncontrolled. For a long time, a hope for new forms of democratic participation arose from the use of these digital instruments, but recently they have been misused as the ideal door opener for the surveillance of billions of people. Democratic states have long reserved the right to spy even on their »friends«, in all military, economic, and social aspects, and on all levels: governments, organizations, NGOs, and individual citizens are all under surveillance.
Besides mass analysis of communications metadata and massive access to personal data, there is increasingly open or clandestine censorship through manipulation or shutting down. Where the fear of this threat has no effect, the secrecy of important information is enforced, with methods ranging from hindering publication to kidnapping and assassinating journalists. Being at the mercy of overwhelmingly powerful authorities of control and censorship has become the conditio humana of our time. Today a large part of the public has already resigned in the face of a ubiquitous state and commercial surveillance.
This exhibition is based on the collaboration with a network of scientists, journalists, activists, and artists in some twenty countries around the world, and in cooperation with expert organizations such as the German PEN Center, the Chaos Computer Club, Reporters Without Borders, and such platforms as netzpolitik. org, digitalcourage.de, WikiLeaks, and others. The exhibition’s aim is to expand public debate about the ever-present surveillance and censorship methods, which is an urgent priority not only due to constant new reports in the media, but especially because of the extensive obstruction of the investigation of these practices.
Musicians and Sound Artists all over the world make themselves heard through Soundcloud, YouTube and Twitter. Their tracks, video clips and audio collages challenge known forms and ideals and propose Visions of a New World. They offer surprising, smart and provocative perspectives that are simultaneously reduced, salient and profound.
Norient highlights these contemporary artistic positions and argues about their potential and limits with journalists, bloggers, artists and scholars from different places and cultures of knowledge. The exhibition further introduces people behind the scenes in experimental audio podcasts. The exhibition counters pessimistic views that globalisation and digitalisation has led to cultural uniformity and the destruction of the world’s musical heritage.
The »Virtual Sound Gallery« is an invisible sound installation within the ZKM_Atrium 8 + 9. Visitors move with a Tablet and headphones through the exhibition spaces and, while doing so, orient themselves on a virtual sound card. They encounter pieces of music at various points throughout the building, each of which may be visited and considered acoustically.
Visitors are not only able in this way to explore the ZKM atria, but also navigate themselves through a gallery of matured musical works of art which perpetually changes throughout the course of the exhibition. Of particular importance is the metaphor of searching for the piece of music spatially and not temporally, as in a concert. The »Virtual Sound Gallery«, therefore, represents an experimental attempt to connect music with a spatial metaphor in a similar way to which it is done in museums and libraries, in cities and in landscapes. A series of alternating composers from the field of electro-acoustic music will accentuate the installation.
During the »Exo-Evolution« exhibition (till Feb 28, 2016), you can get a tablet at the loan station in ZKM_Atrium 8 + 9 (directly behind the museum entrance) upon presentation of your identity card.
During the festival »Tangible Sound« (24.–27.09.2015) the public got a first insight into the »Virtual Sound Gallery«.
The lights are going on throughout the entire city on the evening of September 19: Projectors, slide show and film projectors light up house walls, brick walls and garage doors. The idea behind »City lights« is for people to come together and get to know their neighbours better. Anyone can join in and form »light cells« together with their neighbours. There will be five so-called initial lights in total which show by way of example which kinds of neighbourhoods exist today.
One of the five initial light cells is located on ZKM’s forecourt: ZKM, the Hochschule für Gestaltung (HfG) [University of Art and Design] and the Städtische Galerie [Municipal Gallery] in the former ammunition factory at the IWKA plant, which are all geographically close to each other, are now one venue networked by art discourse from all over the world.
ZKM entertains the forecourt area on the City Lights evening and challenges its neighbours to have a »dialogue of images«. In the context of GLOBALE, the projections will refer to aspects of globalisation and digitalisation which are among the most influential factors of our age and massively influence people’s lives together. Against this backdrop, the ZKM_Forecourt is being given the name »Human Rights Square«.
You can find more information about »City Lights«, the idea behind it and how to join in at www.stadtleuchten-ka.de
The »Infosphere« exhibition presents an overview of art in the era of the digital revolution and its social consequences. In addition, it provides insights into the new data world – whose existence has been finally brought home to the general public, through the NSA affair.
Today, people live in a globally interconnected world in which the biosphere and the infosphere are interfused and interdependent. The Earth is surrounded by a layer of gases which we call the atmosphere. It is the product of photosynthesis, of algae working for millions of years, converting light energy from the sun into air. Evolution’s answer to the atmosphere was the lung. Thus the atmosphere is essential for most living organisms, including people. For around 150 years now, we have been surrounded by an infosphere, as well. With this neologism the technical network is meant, consisting of telegraphy, telephony, television, radio, radar, satellites, and the Internet, which covers the globe and enables global exchange of data as well as the organization of transport for people and goods. Without the global traffic in data, goods, and passengers it would be impossible to meet the biological and social needs and aspirations of over seven billion people.
In the nineteenth century, new transport routes and paths of communication were developed through machines operating on land, sea, and in the air. In the years 1886 to 1888, Heinrich Hertz conducted experiments proving the existence of electromagnetic waves and demonstrating that light consists of these electromagnetic waves. With this discovery, the age of wireless communication began, which enabled message and messenger to be separated: Henceforth data could travel through space without the body of a messenger. In the twentieth century, this resulted in a densely interconnected communication and information network of mobile media: the infosphere – an envelope of radio waves surrounding the Earth. Using artificial, technical organs human beings can, for the first time, use electromagnetic waves for the wireless transmission of words, images, and other data – waves for which humans do not actually possess a sensorium. The social media, which have changed our daily lives, are a part of these technological networks. Thus the formula for the nineteenth and twentieth centuries, “Machinery, Material, and Men” (Frank Lloyd Wright, 1930), must be modified for the twenty-first century: “Media, Data, and Men” (Peter Weibel, 2011). Now that the alphabetic code has been supplemented by the numeric code, algorithms constitute a fundamental element of our social order – from stock exchanges to airports. Against this backdrop, contemporary art operating in the thematic field of big data is especially significant.
The artworks on show in this exhibition present answers that artists, designers, architects, and scientists have found today to the acute challenges of the infosphere.
Part of the »Infosphere« exhibition is »The Appearance of That Which Cannot Be Seen« by Armin Linke. With his photographs, Linke takes a look at central themes of GLOBALE, such as smart technology, big data and Industry 4.0. Scientists such as Ariella Azou- lay, Bruno Latour or Jan Zalasiewicz have chosen different photos from Linke’s extensive picture library which now contains more than 500,000 photographs and commented on these in texts and interviews. The »Infosphere of the 19th century« exhibition, curated by Franz Pichler, examines in a presentation with historic telegraph equipment and maps of early intercontinental telegraph lines, the early forms of global networking. Furthermore, as part of the exhibition »Infosphere« as well, Fabrizio Tamburini is presenting in three installations his new model of light: light as a vortex, as a twisted electromagnetic wave.
Emma Charles as guest at the ZKM: Emma Charles, whose film »Fragments On Machines« is currently on display in the exhibition, will be at the ZKM on December 2, 2015, to talk about her work as artist.
Timo Arnall & Jack Schulze & Einar Sneve Martinussen · Amy Balkin · Aram Bartholl · Wafaa Bilal · Zach Blas · Blast Theory · Bonjour, interactive lab (Jean-Philippe Jacquot, Gustave Bernier & Alexandre Rivaux) · Natalie Bookchin · Dineo Seshee Bopape · David Bowen · James Bridle · Bureau d’Études · Emma Charles · Tyler Coburn · Sterling Crispin · Stéphane Degoutin and Gwenola Wagon · Dennis Del Favero with Elwira Titan, Peter Weibel · Aleksandra Domanović · Thomas Feuerstein · Fraunhofer-Institut für Optronik, Systemtechnik und Bildauswertung IOSB · Laurent Grasso · Yoon Chung Han & Byeong-Jun Han · Jonathan Harris · Mishka Henner · Femke Herregraven · Brian House · Scottie Chih-Chieh Huang · Jennifer Lyn Morone™ Inc · Jia · JODI · Matt Kenyon (SWAMP) · Erik Kessels · Jeong Han Kim, Hyun Jean Lee, Jung-Do Kim · Brian Knappenberger · Oliver Laric · Marc Lee in cooperation with the Chair for Intelligent Sensor-Actuator-Systems (ISAS), ZAK | Centre for Cultural and General Studies at Karlsruhe Institute of Technology (KIT) · George Legrady · Rafael Lozano-Hemmer ·!Mediengruppe Bitnik · Laurent Mignonneau & Christa Sommerer · Jonathan Minard & James George · Warren Neidich · The Office for Creative Research (Mark Hansen, Ben Rubin, Jer Thorp) · The Otolith Group · Julius Popp · Jon Rafman · REMOTEWORDS (Achim Mohné / Uta Kopp) · Stephanie Rothenberg · RYBN.ORG · Mario Santamaria · Philipp Schaerer · Semiconductor · Shinseungback & Kimyonghun · Adam Slowik · Smart Citizen Team in cooperation with IAAC | Fab Lab Barcelona, Media Interactive Design and Hangar · Karolina Sobecka, Christopher Baker · Werner Sobek, Stuttgart · Software Studies Initiative (Lev Manovich, Nadav Hochman, Jay Chow, Damon Crockett) · Superflux · Fabrizio Tamburini · Timo Toots · Suzanne Treister · Unknown Fields Division · Clement Valla · Alex Verhaest · Richard Vijgen · Christoph Wachter & Mathias Jud · Addie Wagenknecht · Gwenola Wagon · Where dogs run · Krissy Wilson · Manfred Wolff-Plottegg mit Peter Weibel und Verena Noack · Matthias Wölfel / Angelo Stitz / Tim Schlippe · Erweiterte Sinnesorgane
As part of the exhibition »Reset Modernity« the module is presented once again from Sat, April 16 till Sun, August 21, 2016.
For »The Appearance of That Which Cannot Be Seen«, scientists and theorists were invited to engage with Armin Linke’s photographic archive. In close cooperation with the artist, different images have been selected to be presented in the exhibition in various combinations.
At the interface between the physical and digital world, between exo-evolution and infosphere, Linke’s contribution focuses our attention on such pivotal GLOBALE topics as smart technology, big data, climate change, and Industry 4.0. For the GLOBALE, scientists, theoretists, and cultural anthropologists have separately selected pictures from Linke’s photo archive, now comprising more than twenty thousand images, and have commented on these in texts and interviews. By making their image-selection process transparent, the project thematizes both the readability of photographic archives and the subjective treatment of GLOBALE themes, considering the individual nature of research approaches and interests. The modules by Armin Linke are presented in the exhibitions Infosphere and Reset Modernity!, which is curated by Bruno Latour.
For more than twenty years now, Armin Linke’s photographs have documented the effects of globalization, the transformation of cities into megacities, and the interconnectedness of post-industrial society resulting from digital information and communication technology. In his pictures, Linke captures in an exemplary way the profound economic, ecological, and geological changes our highly technologized world is undergoing in the Anthropocene Age.
As with Armin Linke’s interactive installation »Phenotypes / Limited Forms«, which was exhibited at the ZKM in 2007 and invited visitors to independently arrange photographs into an online archive, in »The Appearance of That Which Cannot Be Seen« the legibility of photographic archives can be experienced spatially through display systems created specially for the exhibition.
As part of the exhibition »Infosphere«
- Venue: ZKM_Atrium 1 + 2
As part of the exhibition »Reset Modernity!«
- Venue: ZKM_Atrium 8 + 9
- Setting 1: 04.09.–11.10.2015
- Setting 2: 14.10.–15.11.2015
- Setting 3: 18.11.–13.12.2015
- Setting 4: 16.12.2015–31.1.2016
As part of the exhibtion »Infosphere«, Fabrizio Tamburini is presenting in three installations his new model of light: light as a vortex, as a twisted electromagnetic wave.
We obtain much of our knowledge of the universe through light. Electromagnetic waves become new tools to explore the universe and to interact with it. Human beings use the ethereal qualities of light as new and powerful tools. Distorted light and other conserved quantities of electromagnetic fields represent degrees of freedom that are to be used to interact with the world.
Electromagnetic Degrees of Freedom
This installation is an OAM-based MIMO (multiple-input-multiple-output) multiplex telecommunications system. Videos are shown on a monitor to explain spin, orbital angular momentum (OAM), and 84 other known conserved quantities. It revisits the San Marco experiment (2011), during which the multiple use of frequencies was attained by using a twisted wave that featured another degree of freedom, polarization, along with OAM. Polarization is related to an intrinsic quality of photons, their spin. OAM, by contrast, is an extrinsic quality of a field. Spin is like the earth’s daily rotation on its axis. OAM is rotation around a point, like the earth’s orbit around the sun. These two quantities remain interlinked in order to transport information while a wave travels through space. Spatial information is transported via the vortex of the twisted wave. Orientation, by contrast, is transmitted through polarization, opening up new possibilities for telecommunication.
Twisted MIMO (Uppsala experiment)
To give spatial information a twist requires actions. Multiple use of frequencies is attained by applying an electromagnetic vortex with phase rotation, and a single antenna. The new method of spatial information enables multiple use of frequencies similar to that available with the use of multiple antennae. Human beings (the experimenters) interact with the vortex and the spherical wave by moving two reception antennae, thus adjusting two video channels. When people move within the space, which has invisible waves running through it that change their state through reflection, absorption and refraction, this is made directly visible, through random changes and interference in the two channels.
This presents the mathematical space that made the San Marco experiment possible – a small step forward, into the light.
“Synthetic images as an answer to Auschwitz” (“We Shall Survive in the Memory of Others”)1 asserted Vilém Flusser (1920–1991) forcefully in an interview shortly before his death. Only by passing through radical abstraction could a new concretization, and thus a new and exciting life become imaginable: With this, post-history would begin. Flusser proactively took up the challenge of rethinking the arts, in the face of the fact that our existence is essentially determined by technology. To connect the methods of science with a new understanding of culture is the key concern of his special anthropology.
Flusser’s thought and texts were a continual experiment of living and surviving in the diaspora. When he was nineteen, he fled from his native Prague to England and then to Brazil, where he lived for thirty years. During the military dictatorship he returned to Europe, where he lived in the Italian provinces and Switzerland for a time, then in France for ten years. In the late 1980s, he became the star of media theory in Europe, with frequent appearances in the academic forums and arenas of Germany.
Wandering, without an academic discipline, and out of time in a twofold sense: Rather like a minimal obstacle course, the exhibition »Without Firm Ground – Flusser and the Arts« invites visitors to imagine the fugitive existence of Vilém Flusser as a model of the violent context we call the 20th century. Confronted with a past that had become unreal, Flusser met what characterized the beginning of the twenty-first century with heightened anticipation – through the arts and his writing.
1Vilém Flusser, DVD and booklet, 2014, p. 35
Photo: Fred Forest, »L'irruption du techno-imaginaire«, film still, 1977, © Fred Forest
In 2015 the AppArtAward has been awarded for the fifth 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. These days a Google search with the keyword »Art Apps« turns up more than 400,000,000 results. In only a very short period of time the app format has become a new, important form of distributing artistic productions. This year, around 115 apps from 20 countries were submitted for the AppArtAward. The winner apps of the AppArtAward 2015 as well as a selection of the best submissions can be tested at the ZKM.
The winner of the AppArtAward 2015
Prize for Artistic Innovation: EDMT
by Fader and Mandy Mozart
An audiovisual immersive trip app, which allows to »play« with your phone or tablet to generate mind-expanding graphics and EDM inspired sounds. The magic happens when the two senses – sight and sound – are synchronized to create a seamless performance.
Special Prize for Crowd Art: Radwende
by Michael Volkmer from Scholz & Volkmer
Scholz & Volker developed an app that makes cycling routes in Wiesbaden (Germany) visible. They documented the routes they traveled by bycicle, and generated a city map with the data. The map – a bold display of bicycle traffic in real time – shows where bike paths are needed, and can be used as a basis for planning Wiesbaden's cycling infrastructure. Thus, »Radwende« can influence the city's traffic design.
Special Prize for Sound Art: Borderlands Granular
by Chris Carlson
A futuristic musical instrument for exploring sound with granular synthesis, a technique that involves the superposition of small fragments of sound, or gains, to create complex, evolving timbres and textures.The user is envisioned as an organizer of sound, simultaneously assuming the roles of curaotr, performer, and listener. Gestural interaction and visual feedback are emphasized over knobes and sliders to encourage a sculptural and spatial approach to making music.
Special Prize for Game Art: Sometimes You Die
by Philipp Stollenmayer
At first glance, the app seems to be a simple jump-and-rund application. However, instead of a limited number of lives, players have unlimited lives. Colliding with obstacles or taking the wrong path results in death of the character; the gaming piece remains on the spot, and a new one is created. Some of the obstacles can only be overcome if the »dead« gaming pieces, which remain lying about, are stacked into steps, while in the background, a cynical text comments on the action. Death is accepted, as is the way to continue and progress in teh game – only the goal and exit remain uncertain.
More Highlights in the exhibition
by JeongHo Park
The app joins visual and sonic abstraction to form a single, overwhelming piece of technology. Take a picture with the built-in camera, and immediately an audio sequence with a maximum of six voices will be heard.
by Aaron Jablonski
»Faces« is an audiovisual, augmented reality installation and explores how the facial and emotional expressions of animated faces affect their real counterparts.
by Patrick Smith
A playful, interactive alphabet for all ages. Easy access and gaming are combined with gorgeous graphics and animations.
by David OReilly
An ambient procedural game, an experimental world in which each player generates a unique mountain based on several drawings he or she generates when first opening the app; each mountain has a unique character and shifting moods. It is designed to virutally exist and develop iin the background of people's lives over long periods of time, favoring mental interaction over physical input, and involving mediation on interactivity itself.
by Francis Lam
A mobil app to display time with more than 300 naked men. It has three modes for displaying time and date and users can also touch and draw their own patterns with the characters. »Numen Clock« is part of the series »The Nudemen Series« which is adapted the utopian approach to depict technology, culture, and reality in different forms and media.
by Hermutt Lobby
By having this app, people are able to discover electronic music interpretations. The uniqueness of this product is the intelligence behind each element.
by Romain Cazier
This app is a basic sampler wrapped as a visual sound toy, offering a minimalist, yet playful universe.
by Roland Sproll
An »audiozation tool« for rhythmically analyzing our world, which is saturated with patters, repetitions, and regularities. Equipped with this app, anyone can search for visual patterns, recognize them, transform them into acoustic »ryzmz«, and then share them on the Interent – the aim is to »rhythmacize« the entire world.
by Valtteri Wikström
An ambient ambient audio application that allows users to arrange their favorite, relaxing sounds and listen to them. Listeners can choose from existing templates or create their own mix by freely combining any of the 30 sounds of nature and environment that are included.
Sun, October 11, 2015: Family day with a diverse program and numerous events!
The exhibition »Global Games« shows recent developments in the area of computer games, including those known as impact games, newsgames, or serious games. The effects of globalization and other real-world reference points are clearly reflected in computer games.
Computer games now address the conflict in Syria, the use of drones in combat zones, the global economic interrelations of the globalized financial market, the situation of refugees at Europe’s borders, the social injustices of turbo-capitalism, and much more. In contrast to the escapism of mainstream computer games, serious games focus mostly on the challenges and issues of a globalized and digitized world.
The computer games with the paradoxical name serious games are capable of transforming players into interconnected citizen scientists. Some games, such as »Foldit« (since 2008), are even programmed by research institutions with the aim of using human perception to support complex research projects. Playfully presented virtual puzzles, for example, generate information that can yield important results.
The »Global Games« exhibition is designed interactively: The games in the exhibition can be played. As an accompaniment to each computer game, ZKM is presenting what is known as a »Let’s Play« video. These videos show how a given game works.
The exhibition of the Masterclass scholarship presents mainly works from their own creative work phase of the Master Class.
The contributions are complemented by insights into the results of previous workshops on media practice.
Artist duo Wermke/Leinkauf has acquired renown by its outlandish and subversive interventions in urban space. Wearing apparel of construction workers, they provoke onlookers by walking on bridge railings, cleaning the windshields of parking cars, or by showing themselves performing a handstand on a city hall tower.
In Karlsruhe the artists question the safety measures connected with the construction of the underground and the new traffic regulations. Installations with flags made of the material used for warning and security vests as well as colorful murals serve as a visual bracket for the duo’s performative interventions in the urban area. Installed behind platforms at the central station, the selfstitched flags thematize the role and function of barriers and prohibition signs used for the protection of the city inhabitants. An absurd seeming construction fence in an unusual place encourages passersby to newly discover familiar objects, to question the significance of conventions, und to sound out the boundary between art and everyday life.
- Main train station (Wall behind platform 1)
- Palace garden (pond), from week 29
- Kriegsstraße (Underpass Hirschstraße), from Sat, July 25, 2015
- City center
A cloud in the ZKM! As prelude to the exhibition »Exo-Evolution« Stuttgart-based Energietechnik GmbH Transsolar, together with Japanese architect Tetsuo Kondo plan to produce an artificial cloud in the ZKM spaces.
The project combines many years’ experience in the sphere of climate engineering with architectural knowledge: by applying cutting-edge technologies, not only is climate engineering made visible, but ways are also shown in which the human being will become capable of exercising greater influence on natural phenomena with increasing effectiveness in the future.
The »Infosphere« exhibition starts with a presentation by composer and artist Ryoji Ikeda in Atrium 1 + 2 of the ZKM. His large-scale projections relating to architecture and sound worlds, are a totally immersive experience for the visitors. With »the planck universe [micro]« and »the planck universe [macro]«, the ZKM presents a series of new works, inspired by the artist’s encounters with scientists at CERN, the European Organization for Nuclear Research. CERN has the world’s largest particle physics research institute. Ikeda’s new synesthetic works are based on principles of particle physics and cosmology. Inspired by supersymmetry, they visualize a theory of particle physics – the different scales and dimensions of the universe.
Digital synesthesias of sounds and moving images
Through their spectacular presentation, Ikeda’s spatial and audiovisual installations develop a powerfully hypnotic effect, enhanced by rhythmic loops and repetitive sequences of short notes or noise. In 2012, Ryoji Ikeda shared the ZKM Giga-Hertz-Prize for Sound Art with Carsten Nicolai, for their encyclopedic investigation of the visual forms of sound. The mathematical and physical qualities of sound are presented in the book and CD-ROM »cyclo. id«. It is an atlas of over a thousand waveforms and sinus curves, which are visualized and set to music. Music becomes physics.
Ikeda’s sound art is primarily concerned with noise, with the bits and bytes of sounds. As he mainly generates his sounds from digital sources, he can convert this digital data, synesthetically or correspondingly, into acoustic and visual forms (e.g., »test pattern«, 2008). Ikeda is one of the first data artists to present the digital data flows of the infosphere both visually and acoustically, as signaled by the work titles »dataplex« (2005), »dataphonics« (2010), und »data.tron« (2010). Penetrating this world like a hacker, Ikeda makes its hidden features visible – its code – as data flows and abstract computing processes unfold and immerse the spectators.
Please note: STROBE EFFECTS ON VIDEO AND HIGH SOUND LEVEL which could possibly trigger epileptic seizures will be used in the exhibition.
Air and water: two elements. Air pollution and water scarcity: two matters of burning importance to humankind.
As his contribution to the GLOBALE, from June 18 to August 7, 2015, HA Schult is driving an electric car from Paris to Beijing. Along the way, HA Schult will take samples from rivers and lakes – using microscope photos of the samples to create biokinetic images, according to the motto: “Nature paints itself!” The highlight of the tour is a world press conference at a waterhole in the Gobi desert.
For two months, starting June 18, in the Subspace of the ZKM_Cube, visitors can participate daily in the HA Schult Rally, via video.
As part of the official opening ceremony of GLOBALE at ZKM HA Schult will make a stop at ZKM_Forcourt on Sun, June 21, 2015 at about 3 pm!
One of the highlights of the Karlsruhe city birthday festivities will be the »Schlosslichtspiele«, a nightly series of light shows curated as part of the GLOBALE, which will illuminate the entire southern facade of the Karlsruhe Palace with lavish projections accompanied by sound installations. The »Schlosslichtspiele« are a cooperation of KA300 and the ZKM. The project is sponsored by Sparda-Bank Baden-Württemberg eG.
The castle is located at the center of the fan shape that underlies the Karlsruhe city plan. With its expansive grounds and the surrounding park, it represents one of the most important architectural attractions in Karlsruhe. The Schlosslichtspiele now place it center stage in a special way. Over a duration of four months, various renowned artists and artist groups will present their light projections after dark. Advanced video mappings allude to the facade, the building, and the city – creating surprising and overpowering visual forms and narratives. Special attention will be paid to the interaction between the audience and the play of lights. Games and movements will coordinate them in a choreography conceptualized by the artists.
Screening Dates of the Schlosslichtspiele
||June/July||August 1–14||August 15–Sept 4||Sept 5–17||Sept 18–26|
|Sun–Thurs||10 pm–12 midnight||9:30 pm–12 midnight||9 pm–12 midnight||8:30 pm–12 midnight||08:30 pm–12 midnight|
|Fri–Sat||10 pm–1 am||9:30 pm–1 am||9 pm–1 am||8:30 pm–1 am||08:30 pm–1 am|
|08:30 pm||Maxin10sity: »300 Fragments«|
|08:45 pm||KA300 presents: »300 Farben – Live-Painting on the Castle´s Façade«|
|09:10 pm||Playmodes Studio: »Dazz«|
|09:25 pm||KA300 presents: »300 Farben – Live-Painting on the Castle´s Façade«|
|09:50 pm||Xenorama: »Oneironaut«|
|10:05 pm||KA300 presents: »300 Farben – Live-Painting on the Castle´s Façade«|
|11:00 pm||Slide-Show: Pictures of the Festival Summer|
|18.–25.09.||BEST OF SCHLOSSLICHTSPIELE|
|8:30 pm||Maxin10sity:»300 Fragments«|
|8:55 pm||Jesper Wachtmeister / Solaris Filmproduktion: »Reflections«|
|9:10 pm||ruestungsschmie.de: »noise3«|
|9:25 pm||Holger Förterer: »Epilogue«|
|9:35 pm||Xenorama: »Oneironaut«|
|9:55 pm||László Zsolt Bordos / Bordos.ArtWorks: »REVERB«|
|10:05 pm||Peter Weibel and Matthias Gommel: »FLICK_KA«|
|10:10 pm||Playmodes Studio: »Dazz«|
|10:25 pm||PONG.LI: »Capture the Pyramide«|
|10:40 pm||Maxin10sity: »300 Fragments«|
|11:05 pm||Jesper Wachtmeister / Solaris Filmproduktion: »Reflections«|
|11:20 pm||ruestungsschmie.de: »noise3«|
|11:35 pm||Holger Förterer: »Epilogue«|
|11:45 pm||Xenorama: »Oneironaut«|
|00:05 am||László Zsolt Bordos / Bordos.ArtWorks: »REVERB«|
|00:10 am||Peter Weibel and Matthias Gommel: »FLICK_KA«|
|00:20 am||Playmodes Studio: »Dazz«|
|00:35 am||PONG.LI: »Capture the Pyramide«|
|– Subject to change –|
The key art work of »The City is the Star« presents the large-scale installation by Argentinian artist Leandro Erlich. A huge construction crane bearing an unusual payload is positioned directly on Karlsruhe Marktplatz: an entire house hovers in midair on steal ropes! Inspired by one of architect Friedrich Weinbrenner’s historical structures, the building, together with its massive root system, quite literally appears to be ripped out of a row of neighboring houses.
With this work, Erlich – well-known throughout the world for his hyperreal sculptures and installations – explicitly addresses global themes, such as uprooting, migration, or simulation. By drawing on the crane in the context of construction measures in Karlsruhe inner city, he utilizes a key civil engineering tool, thereby adding a provocative element which, in the first instance, makes one think that the crane driver has made a mistake.
»Everything is Architecture«, proclaimed Austrian architect, sculptor, and theorist Hans Hollein in one of his numerous publications. In the design of his two-part sculpture Car Building, for example, he thus replaces usual building materials by cars. Five differently colored VW Beetles stacked on top of one another on a polyaxial rotation, struggle to maintain balance.
The work, first shown at the exhibition »Car Culture. Media of Mobility« at the ZKM | Karlsruhe in 2011, is scheduled for presentation in front of the »K.« as part of the »The City is the Star«. In view of the construction work on the central traffic axis, it appears as if, for functional reasons, the VW Beetles have been shoved off the street and onto the sidewalk next to the Information Pavilion – an appropriate image for traffic rerouting. This work is also provocative and unsettling – a sort of surreal commentary on everyday life.
With its exhibition »Human Rights in the Digital Age« from June 19 to the 21, the Amnesty International Information Bus will be guest at the ZKM forecourt. Well-suited to the GLOBALE, the subjects of globalization and digitalization are directly related to current debates on human rights.
An increasing number of activities shift in the digital sphere. The exhibition investigates the possibilities for articulating one’s opinion in the digital world, of being able to draw on information from wherever in the world – but also the threat to human rights via the Internet, such as the collection and processing of person-related data or censorship.
With »Heaven’s Carousel«, a luminous Sound UFO seems to land in front of the Natural History Museum, which newly interprets the ancient music of the spheres according to twenty- first century astrophysics.
A carousel construction of 36 illuminated loudspeakers integrated into globe-shaped forms suspended to a crane by twelve strands hovers at an airy ten-meter height. In the evening, »Heaven’s Carousel« takes off: set in rotation, the loudspeakers, integrated into the illuminated spheres, hover above the visitors’ heads in a diameter of 16 meters. One is invited to move freely around under the installation to explore the continually changing universe of sound. Though »only« pure tones emanate from the single loudspeakers, they recombine in space into complex audio images. In the process, due to the Doppler effect, one tone sounds higher when the sound wave flies towards the visitor, and lower, when retracting.
The illumination of the loudspeakers completes this universal art work, which was commissioned by the European Space Agency (ESA) for the Hubble Space Telescope. The luminosity not only shows the activity of each sound sphere, the played pitches are also translated into spectral colors.
Austrian sculptor, video artist, and action artist Erwin Wurm delights in deforming everyday objects. With his inflated houses, twisted cars, and his participatory »One Minute Sculptures«, he ironically questions the visual appearance of status symbols and the significance of social conventions.
For the city’s anniversary, Wurm has a bright red truck reverse up a wall of the Weinbrennerhaus. Elegantly bent upwards at the center, the Truck appears to effortlessly overcome its own weight, and to adapt itself in conformity with the shape of the representative building. Owing to its physical distortion, this utility vehicle assumes a sculptural character, while its function now becomes of secondary importance to its artistic form. The façade of the house also loses its original meaning: becoming both parking space and street for the truck, the wall serves less as a shell for the interior but more as a stage for art.
Fascinating works of art are to be presented by the ZKM in Karlsruhe city center: impressive large-scale sculptures, performances and interventions by international artists. »The City is the Star« seeks to extend the aesthetics of the everyday and so-called poor materials – one of the innovations of modern art – to the construction sites and to thereby change their perception.
During the festival summer, the Karlsruhe inner city will come to resemble a monumental construction site. With their installations, sculptures and performances, the invited artists intervene in the dynamic process of the construction project. They process the construction site artistically. The machines and materials of construction work are reflected in the works of art. The question thus arises: are we dealing with an artistic installation or a construction site, with an artistic intervention or a construction project? Is it art or work? Are the people we see on the construction site artists or workers? A new genre emerges: not art at the building site, but in the process of building, construction site art.
Spectacular large-scale Installations
With his spectacular large-scale installation on the Marktplatz, Argentinian artist Leandro Erlich inspires wonder among passers-by and inhabitants. »Pulled by the Roots« is the title of the work, which gives a crane an unusually heavy payload: no building materials, container or machines hang on the »art crane’s« steel ropes – quite unlike the other cranes of the city. An entire house hovers in airy heights above the construction site. Architecturally inspired by a historic building by Friedrich Weinbrenner, the building appears to have been pulled up by the roots from one of the neighboring streets.
Many inhabitants experience construction sites as a strain, if not a catastrophe. The building process lasting a number of years is also made difficult by unforeseen disruptions and incidents. One frequently comes across images of an urban situation in which one is uncertain as to whether it emerged intentionally or unintentionally, whether it was the result of chance or accident. The »Truck« by Erwin Wurm, the loading area of which is bent, and whose back wheels are placed on the wall instead of on the ground – was it accidently squashed against the wall by a digger or a crane? Was it thrown against the wall during a storm? Or is it one of the cars of the future, which can be ramped-up in reverse against the wall?
Similar considerations also hold for the »Car Building«, by Hans Hollein, which can be located at the interface of public and individual traffic near to K-Point. These vertically stacked VW Beatles – are they the result of the explosion of a gas pipeline in which they were thrown up into the sky before then landing at this location? The stacked VW Beatles articulates a fitting image for the city, accounting for time and cost-intensive restructuring for an improved traffic network.
»Heaven's Carousel«, by Tim Otto Roth, which can be seen in the evening hours at Friedrichsplatz, provides welcome distraction from the noise of the construction site. Whoever lies beneath the crane with the rotating balls of sound and light, will have an audio-visual experience far from the everyday. The spherical sounds from the work of art are based exclusively on Sine tones and visualized through the color of the balls.
Performances and Installations in Dialog with Inhabitants and Visitors
The performance by Michael Elmgreen and Ingar Dragset appears to function as a kind of excuse for the construction site, which makes the life of the inhabitants and visitors throughout the entire city center somewhat difficult. In the case of »It’s Never too Late to Say Sorry«, a man walks towards a publically installed vitrine every day at precisely twelve noon, takes out the megaphone and calls out to the passers-by that it is never too late to say sorry.
With its multi-piece art project »Safe in the City« the artist-duo Wermke/Leinkauf takes the safety measures connected with the building regulations as starting point for its urban interventions. Yellow and red signal vests, as worn by construction workers provide the material for unusual Actions at the main train station.
By way of his daily, half-hour performance »Tarzan/Standbein«, performance artist Johan Lorbeer provokes wandering passers-by by hovering, bolt upright high above a normal construction container. City strollers have internalized the fact that construction containers and not army tents dominate the city and that some passers-by or construction worker may lose their way. Lorbeer appears to have experienced just such a destiny. Has he been forgotten? How did he get up there and how will he be able to get down?
In the same way construction sites wander with the development of construction work, thus also do several works of art change their location over the course of the exhibition period. With the »Aposematic Jacket«, a jacket equipped with numerous webcams, Korean artist duo Shinseungback Kimyonhung wonder through the city and thus capture the effects of the construction measures. Their observations can be viewed online. They thereby thematize the omnipresence of surveillance measures.
With their works »Hybride Zonen« [hybrid zones] and »A good reason is one that looks like one«, Chantal Michel and Christian Falsnaes intervene in everyday actions in the public space and animate the passers-by to transformations in their behavior.
The vocabulary of art in public space is extended through these performances. Public art mainly comprises sculptures, forms, objects which contain a memory or else aesthetically accentuate public spaces. However, since the performative turn we can assume that public art can also be a form of action. Thus, similarly, art in public space can be an action in public space: an ephemeral event, a demonstration, and intervention. This innovation entitled Performing Public Art is at the center of the project The City is the Star.
The project is realized by Stadtmarketing Karlsruhe GmbH together with the KASIG. Businesses from the Marketing council of Stadtmarketing Karlsruhe GmbH, FIDUCIA IT AG, Sparkasse Karlsruhe Ettlingen, Volksbank Karlsruhe, INIT AG, Ernst Wohlfeil GmbH as well as several other businesses could all be won as project partners. All art actions are a gift to the city: the city is the star along with its inhabitants and visitors!
The new polyphonic, multipolar art form, the GLOBALE, laboratory and academy at the same time, will begin with the 300th anniversary of the city of Karlsruhe in June 2015 and then continue for 300 days. It focuses on the cultural effects of globalization and digitalization, which both influence life on our planet. Exhibitions, concerts, performances, lectures, conferences and symposia show the crucial artistic, social and scientific trends of the 21st Century for the first time.
It is not about a new geopolitical cartography of culture, but the variety and richness of contemporary art beyond the market and the connection with technology and science. This art is performative and action-oriented and replaces representation by reality. In the mirror of globalization new tradition lines come into view, for example an extended Renaissance term to Asian and Arabic contributions. Globalization and digitalization cause a global synchronization of events, but also new forms of asynchrony, a "confluence of cultures" (Peter Weibel) and a "clash of civilizations" (Samuel Huntington).