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 ZKM | Media Museum presents interactive media art classic in an updated version: A mixed media environment, an interactive, kinetic sculpture (1990–1994) by Perry Hoberman.
In the installation »Faraday’s Garden«, by American artist Perry Hoberman, visitors find themselves amidst a collection of household appliances, office assistants, electronic tools, projectors, radios and other such recording devices and domestic electronics objects. Pressure-sensitive sensors are installed under the installation's carpet, which control the devices' power supply.
Once entering the installation, the machines spring to life, and greet each visitor in this unusual parcours with the corresponding noise and mechanical movements. The longer visitors linger in »Faraday's Garden«, the greater the volume of noise and power supply, such that the apparent independent life of the thing-world increases. Whereas the visitors trigger the electronics, the purposeful and intended method of control and steering finally escapes human influence.
For his work of art, Perry Hoberman collected the objects from department stores, from household trash and from flea markets. The entire history of electronics for private usage in the twentieth century can be read by way of these ready-mades, whereby entering the installation also represents a journey through time.
We are indebted to the Greeks for the knowledge that "Being" invariably means “present being”. In the Parmenidean search for "knowledge of Being", "Being" may also mean "being true".
This premise informs the works of Bern-based philosopher, Gerhard Johann Lischka in the field of culture, hence the title of the exhibition on his influencePresent Mind. He finds and creates interfaces or hubs from which unfolds a complex network of ideas, images, writings and people: the Lischka constellation that spans from Jean Baudrillard via Niklas Luhmann and Vilém Flusser to Paul Virilio, from James Lee Byars via Marina Abramović and Jürgen Klauke to Andy Warhol et al.
As author and editor, as lecturer and organizer of symposia, as artist and curator of exhibitions, as producer of television films and moderator, as editor of video DVDs etc., he is producer and witness, broadcaster and receiver, detective and archivist, administrator of the past and framer of the present −forever in the mode of thought and reflection.
In the exhibition project, organized on the occasion of the donation of his archive and library, Lischka reminds us that culture is not merely saving, but paraphrase, not only tradition but transgression.
The ZKM throws new light on 17th century landscape painting. Comparable to modern satellite surveying (GPS), true to scale landscape representation is also indebted to the interdisciplinary exchange of knowledge: the alliance of geodesists, mathematicians, instrument makers and painters. Artists had designed modern surveying systems long before new media drew on images from outer space.
The exhibition »Mapping Spaces« examines, for the first time ever on this scale, the influence of early modern guide books in geography, the science of surveying and the construction of fortification on Dutch painting around 1650. The prelude to the project, developed at the University of Trier, is Pieter Snayers‘ large-format depiction of historical battle scenes, in which maps and landscape paintings are projected over one another so as to document the most recent developments in modern engineering, ballistics and the fortification construction.
Over 220 exhibits, among them paintings, surveying instruments, graphics devices, books, maps and globes drawn from the most important collections of works, such as from the Prado (Madrid), the Louvre (Paris), the Rijksmuseum (Amsterdam) or the Kunsthistorischen Museum (Vienna) testify to these new theses in pictorial science. The new mapping of an early modern area of knowledge is accompanied by contemporary works of art that thematize the influence of technological developments on our present-day perception of space.
With over 50 key works of time based media art the renowned, in Düsseldorf based since 1996, JULIA STOSCHEK COLLECTION is scheduled to be on show at the ZKM. With large-format video works and films, as well as multichannel spatial installations, the exhibition demonstrates that as an artistic medium, video art, which first began fifty years ago, has lost nothing of its force.
Across 3500 square meters on the entire ground floor of the ZKM | Media Museum, the exhibition offers in-depth insight into the most recent developmental history of the JULIA STOSCHEK COLLECTION since 1996. In addition, a comprehensive compilation documents the most im-portant performances to have been on show at the Düsseldorf collec-tion building.
The exhibition will present above all most recent developments in video art on the subjects of »body and soul«, »public space«, »environment« as well as »virtual reality« including, among others, works by Doug Aitken, Francis Alÿs, Ed Atkins, Trisha Baga, John Bock, Monica Bonvicini, Robert Boyd, Matthew Buckingham, Paul Chan, Keren Cytter, Simon Denny, Cyprien Gaillard, Christian Jankowski, Jesper Just, Mike Kelley, Klara Lidén, Helen Marten, Tony Oursler, Mika Rottenberg, Mathilde ter Heijne, Ryan Trecartin, Clemens von Wedemeyer, Andro Wekua, Aaron Young, Tobias Zielony.
An over-sized metallic shining gold gramophone funnel is connected to an rotating platform which appears to be hovering above the ground. Two musical compositions, entitled »Vanity« and »High Fidelity« especially composed for the kinetic installation sound from the funnel.
“The spatial installation Vanity and High Fidelity, originally designed for the dome of the Tirol State Museum Ferdinandeum in Innsbruck, (2010/2011) is about the artist's relationship to the work of her grandfather (Rudolf Graf was conductor, pianist and composer from 1945−1959 at the Tirol State Museum Innsbruck), but also the perception of acoustic stimuli in space. Faithful high fidelity is about the ways in which we perceive sound, both those which we really experience, but also those which establish themselves in us, and those which, through the filter of memory persist within us.”
(Verena Konrad, in Studiohefte 06, Julia Bornefeld. Vanity and High Fidelity, Tiroler Landesmuseen, p.41)
Julia Bornefeld, born in Kiel, lives and works in Berlin (D) and Bruneck (I).
Please note: There are only five persons on the platform at the same time.
Special Opening Hours
|Sat, March 15, 2014 | Opening||12–8 pm|
|Fri, April 18, 2014 | Good Friday||1−6 pm|
|Sun, April 20, 2014 | Easter Sunday||11 am−6 pm|
|Mon, April 21, 2014 | Easter Monday||11−6 pm|
|Thurs, May 1, 2014 | Labor Day||closed|
|Thurs, May 29, 2014 | Ascension of Christ||2−6 pm|
|Thurs, June 19, 2014 | Corpus Christ||2−6 pm|
Zum zweiten Mal präsentiert sich das ZKM mit Werken aus der eigenen Sammlung in der Hauptstadt-Repräsentanz des langjährigen Partners EnBW. Die ausgewählten Werke geben einen kleinen, aber hervorragenden Einblick in eine der bedeutendsten Medienkunstsammlungen. Seit der Gründung des ZKM vor 25 Jahren wird diese Sammlung kontinuierlich aufgebaut und erweitert.
Im Allgemeinen versteht man unter „in medias res“ einen unmittelbaren Einstieg in eine Handlung oder in ein Thema oder − wie in diesem Fall − den Einblick in eine Sammlung. Eine solche gewisse Unmittelbarkeit wie auch poetische und melancholische Elemente weisen auch die für die Ausstellung ausgewählten Werke auf. So ist die Unmittelbarkeit durch leicht lesbare Motive oder einer direkten, emotionalen Ansprache des Betrachters gekennzeichnet. Andere Arbeiten weisen Aspekte auf, die im weitesten Sinne als poetisch beschrieben werden können: Werke wie etwa „Or-Phelia“ von Ulrike Rosenbach oder das schwankende Mondlicht im Video von Christoph Brech zeigen, dass poetische Elemente trotz Kritik gegenüber einem solchen, in der Gegenwartskunst oft als unzeitgemäß empfundenen Ausdruck, über Künstlergenerationen hinweg eine Rolle spielen.
Die ZKM-Schau beschließt die langjährige Ausstellungstätigkeit der EnBW am Schiffbauerdamm.
Kurator: Andreas Beitin, ZKM
The sculptures, photographs and drawings by Kata Legrady cause irritation among viewers: Her works of art confront them with objects of violence, which are at the same time objects of infantile desire. Whether the weapons are drawn, photographed or sculpturally formed, what they all share common is their appearance in the highest degree of contrast. The weapons are embellished with colorful chocolate drops, sumptuous furs or bank notes.
With such simple aesthetic means, Kata Legrady presents what has defined the course of the world over the millennia. Her fetish objects are a further development of surrealist object art in the age of high gloss aesthetics. The rejections and monstrosities of civilization appear in the sweet and charming apparel of consumption, and violence pairs with "Luxe, Calme et Volupté" (H. Matisse, 1904).
The exhibition »global aCtIVISm« is dedicated to the field of artistic form of expression as politically inspired by actions, demonstrations and performances in the public sphere, which draw attention to socio-political grievances and call for changes to existing conditions. By means of objects, photographic, cinematographic, videographic and mass medial documents, the exhibition presents global activism as the first novel art form of the 21st century.
global aCtIVISm serves as prelude to the exhibition marathon »GLOBALE«, scheduled to be held on the occasion of the 300-year anniversary of the founding of the city of Karlsruhe 2015.
Fórum Eugénio de Almeida presents, for the first time in Iberian Peninsula, a wide selection of works from the Collection ZKM | Center for Art and Media Karlsruhe, Germany - the world's most important center for art and technology.
The exhibition brings to Fórum Eugénio de Almeida some of the most relevant works by Nam June Paik, one of the pioneers of media art, and comprises 33 pieces by 39 internationally renowned artists such as Bruce Nauman, Marina Abramovic, Bill Viola, Christa Sommerer & Mignonneau Laurent, Paul Sermon, Tony Oursler, Peter Weibel, Masaki Fujihata, Valie Export, Pipilotti Rist, Paul Garrin, Robert Wilson, among others.
The selection includes works in formats such as video sculpture, video art, video performance, video installation, audiovisual installation, interactive installation, and interactive sound installation.
The exhibition’s central thematic focus falls on the two concepts present in its title: intervention and invention. We highlight the relation between the etymologies of both terms and the artistic genres shown: the prefix “inter” expresses an intermediate position, while “in” denotes an inward movement, an action with-in the work. Invention is the capacity to create and discover, but also the action of imagining “virtualities”, a characteristic common to many media art pieces. A widely used concept in the field of contemporary art, intervention usually stands for interference, manipulation and interaction between oeuvre and audience. With the show's emphasis on interactive art and through its inventions and interventions, the audience stops being a passive observer and becomes the main protagonist of the exhibition.
In the exhibition "Silent Piece" works of the French photographer Marion Kalter (*1951) are presented. Over the quarter of a century she has created portraits of musicians, music theorists, philosophers, among others, of Francis Bacon, Roland Barthes, Pierre Boulez, William S. Burroughs, John Cage, Jacques Derrida, Mauricio Kagel, Claude Levi-Strauss, Karlheinz Stockhausen, Susan Sontag, Wolfgang Rihm and Iannis Xenakis.
"To browse through the album of Marion Kalter is much more than to look at portraits of musicians, maybe still lifes (instruments or scores), it is to enter in deep contact with the impenetrable world of music and musicians."
The film "À la croisée des chemins de Pierre Boulez" (2013) directed by Sacha Goldman was produced to accompany the exhibition. It shows Boulez with the portraits by Marion Kalter, which evoke memories of Pierre Boulez on his companions and the development of New Music.
Through multiple digital possibilities, script can go beyond its function in the mediation of information and is increasingly gaining an autonomous, aesthetic status. Analog or digitally based films or film fragments are referred to as script films, whereby moving, animated, graphically designed and, above all, script set to sound play the main role.
The exhibition »TYPEMOTION« leads to places in which we encounter moving script: artistic productions, but also feature films, advertising, music videos or media facades in cities. The project »TYPEMOTION« represents an attempt to compile, typologize and publically present classical popular as well as lesser noticed and frequently difficult to access script films from twenty countries dating from 1895 to the present.
The exhibition enables visitors interactive access to script films: they can select the films and the kind of performance themselves. The exhibition is arranged as a mobile archive. The presentation at the ZKM provides insights into cultural and media developments, offers retrospectives and diagnosis of the present, but also outlooks into the media future, not least in the interactive media.
The project »TYPEMOTION« is collaborative project between the ZKM | Center for Art and Media Karlsruhe and the Experimental Media Lab (xm:lab) at the Saar Academy of Fine Arts, FACT Foundation for Art and Creative Technology Liverpool and Goethe Institutes worldwide. The project was sponsored by the Kulturstiftung des Bundes.
From October, 2013, the Institut für Auslandsbeziehungen (ifa) [The Institute for Foreign Relations] will present the exhibition TRAVELLING THE WORLD. Art from Germany at the ZKM⎥Center for Art and Media Karlsruhe. Around 400 works of art from the ifa touring exhibition, which represents six decades of art in Germany across all continents, are introduced with a new perspective on art history.
Until 1990, the Institut für Auslandsbeziehungen exhibited art from Germany on behalf of the then Federal Republic. After the fall of the Berlin Wall, the inventory of the Zentrums für Kunstausstellungen der DDR [Center for Art Exhibitions of the GDR] was transferred to ifa. In the exhibition at the ZKM, parallel art developments in the FRD and GDR often linked beyond politics encounter one another. The exhibition places particular attention on the development of what, today, has become the self-evident influential role of artists and the emancipation of photography as an independent genre in art.
Concealed behind Sasha Waltz’s fascinating choreography is more than just dance and music. Stage elements and spatial design contribute to lending expression to the choreographies of a unique, artistic form. On the occasion of her birthday, the ZKM brings back the internationally celebrated choreographer, Sasha Waltz, to her native city Karlsruhe. Furthermore, the twenty-year anniversary of the dance ensemble “Sasha Waltz & Guests” which Waltz founded, now provides excellent occasion to present her work in an entirely new context beyond the world’s renowned stages at the ZKM | Media Museum.
With the special exhibition, the ZKM honors Sasha Waltz’s fundamental role in the world of international dance and stage. For some time the choreographer has played with the idea to disengage stage design and multimedia elements from the context of the stage and to present them as independent installations. Now, with the exhibition at the ZKM, this idea is about to be realized. Embedded in the context of the museum, this exhibition offers visitors the unique opportunity to experience the visual-aesthetic dimension of the choreographic works by Sasha Waltz. At the same time, representational elements are captured otherwise reserved for the elusiveness of a performance.
During the entire duration of the exhibition there will be performances with dancers, who were selected by Sasha Waltz in a workshop at the ZKM:
10.10 a.m.−11.10 a.m.
11.30 a.m.−12.30 p.m.
3.10 p.m.−4.10 p.m.
4.30 p.m.−5.30 p.m.
3.10 p.m.−4.10 p.m.
4.30 p.m.−5.30 p.m.
11.10 a.m.−12.10 p.m.
12.30 p.m.−1.30 p.m.
3.10 p.m.−4.10 p.m.
4.30 p.m.−5.30 p.m.
The kulturnews magazine interviewed around thousand artists, opinion leaders, communicators, and the most important heads of theaters, publishing houses, record companies, film distributors, museums and galleries on this year's cultural highlights. We are very pleased to announce that the exhibition "Sasha Waltz. Installations Objects Performances" has been chosen to be the best exhibition of the year 2013.
At the beginning of the New Art Season 2013/2014, during a formel ceremony on September 15, 2013, the Thyssen-Bornemisza Art Contemporary Foundation (TBA21) will be permanently handing over the Sound Pavilion »The Morning Line« to the ZKM. Following locations such as Seville and Istanbul, the Sound Pavilion was until recently located on Schwarzenbergplatz in Vienna and since August it is accessible on the ZKM_Forecourt.
The Sound Pavilion consists of 46 loudspeakers and 12 subwoofers which are guided by a central control unit. »The Morning Line« by artist Matthew Ritchie, the architects Aranda Lasch and Arup AGU is thus especially suited for live, open-air performances. From mid-September, primarily contemporary electro-acoustic compositions by international artists will be audible and experienceable over the ZKM_Forecourt.
As an oversized sound body accessible to the visitors »The Morning Line« represents very new kinds of components in the ZKM’s interactive concept: The installation not only responds to the musician’s instructions; by means of a software extremely sensitive to changes to the flow of visitors are also registered, which, in turn, impact upon the form of sound. This unique, interactive sound system was designed by Tony Myatt, and the Music Research Centre of York University.
Under the direction of Peter Weibel, Chairman of the ZKM, additional interdisciplinary sound experiments and collaborative projects between the ZKM and Thyssen-Bornemisza Art Contemporary are being planned:
„The future of »The Morning Line« not only lies in its permanent construction in public space, but in ongoing sonic use as a site for advanced compositions." (Francesca von Habsburg, Chairwoman of the TBA21)
Operation Times of the Installation
Compositions can be heard from Monday−Sunday from 10 a.m.−10 p.m.!
About Thyssen-Bornemisza Art Contemporary
TBA21 was founded in 2002 by Francesca von Habsburg in Vienna. The foundation is committed to supporting the production of contemporary art and is actively engaged in commissioning and disseminating unconventional projects that defy traditional disciplinary categorizations. Furthermore, the foundation has an ongoing institutional commitment to the growing importance of art made in different parts of the world and explores modes of presentation that are intended to provoke and broaden the way viewers perceive and experience art. Projects initiated by the foundation promote artistic practices that are architectural, context- and site-specific, performative, and often informed by an interest in social aesthetics and sociopolitical concerns. Many of the projects reflect the shift away from disciplinary to transdisciplinary practices embracing architecture, sound and music, and forms of dialogic research.
In the four audio centers of the IDEAMA Music Archive, works in the field ofMusique Concrète, electronic music, computer music and music for loudspeakers, are staged and made available in a special way to the audience. On an U-formed beam which surrounds the entrance area of the ZKM_Media Library, four exemplary thematic fields from the IDEAMA data bank become visible.
Quadratic codes, which resemble QR codes, are installed on the floor − whereby, each work has a specific code as well as an illustration of each of the works in the form of an oscillation graph. The works are experienceable with the aid of an on-site iPad by becoming audible and visible in 3D simulation as augmented reality experience, once the iPad camera registers the code.
The Concept and Implementation of the Sound Path were development in 2012 in the context of the ZKM exhibition "Sound Art. Sound as Medium of Art" by the name soundARt, 7 Hearing Stations in Augmented Reality.
IDEAMA was initiated in 1988 by Max Mathews, Johannes Goebel, and Patte Wood, all of them at that time members of Stanford University’s Center for Computer Research in Music and Acoustics/CCRMA. The aim of IDEAMA’s collection was to preserve the most important and most endangered early works of electroacoustic music (up to about 1970) and to make these works publicly available. In 1990, CCRMA and the newly founded ZKM set IDEAMA up as a co-operative venture. At that time, the planned all–digital archive was considered as »not valid« by important grant institutions in the US… but finally the work at CCRMA was supported by the Andrew W. Mellon Foundation.
The IDEAMA committees consisted of the 'International Advisory Board', whose prominent members promoted the international reputation and policy of the archive, and the two 'Regional Selection Committees' – one at ZKM for Europe and one at CCRMA for the Americas and Asia. The European selection committeewas joined by many important composers of the genre. The Regional Committees drew up a list of 708 works to be included out of which 138 could not be tracked down any more. This target collection was completed in 1997.
The IDEAMA structure is composed of the two 'founding institutions' ZKM and CCRMA together with the 'partner institutions' who collect and produce material themselves. 'Affiliate institutions' will be able to open subscriptions enabling them to add the collection to their own archives. 1996 CCRMA had to withdraw from the project for financial reasons and ZKM has been responsible for the collection since then.
For the first time in Germany, the work of Hugo Gernsback, the "Father of Science Fiction" will be documented: Born in Luxemburg, Gernsback (1884–1967), whose family comes from Baden, Germany, and who received his technical training in Bingen, left for the United States in 1904. There he founded the modern genre of science fiction literature with the publication of such magazines as "Amazing Stories" (1926–1929) and "Wonder Stories" (1929–1936). As one of its most significant founders, Gernsback gave valuable impulses for technologically innovative and experimental works and influenced an interested youth to make new inventions.
The title "The Gernsback Prophecy" refers to his many prophecies of the future creation and use of solar energy plants, flat-screen televisions, and the wireless telegraph.
The "Hugo Award", which each year recognizes the works of science fiction literature, is named after Hugo Gernsback, who − as a visionary − made a decisive contribution to popularizing electronic culture in the U.S. As an editor and author of numerous science fiction magazines and a wealth of magazines and books, written for a general audience, on topics such as radio, television, (household-)electronics, biotechnology, the conquering of space, automation and telematics, Gernsback was able to communicate his excitement and knowledge to a broad readership.
To promote creative developments beyond economic structures and make the previously unthinkable thinkable − that is the goal of the AppArtAward, which was awarded on July 12, 2013 by the ZKM | Karlsruhe and its partners for the third time.
The prize awards the best work of art in App format that distinguished themselves as advanced artistic applications. In addition to the aesthetic aspects, focus is placed on the creative integration and use of technological possibilities. From over 100 submissions, the renowned jury selected the winners in the categories "Prize for Artistic Innovation", "Special Prize for Augmented Reality Art" and "Special Prize for Crowd Art", which were each connected to a sum of € 10,000.
At the accompanying exhibition, visitors may view and test the winner Apps themselves, as well as a selection of the best submissions of the AppArtAward 2013.
Prize for Artistic Innovation
JODI: ZYX, 2012
Application for iOS
ZYX is a performative app that guides users to carry out a series of movements, thus exposing them to a dissonant situation that is both virtual and physical: while it looks to outsiders merely as if the users are performing some kind of bizarre dance, the iDevice registers any correctly executed sequence of motions and rewards it with a signal tone. more
JODI is an artistic collective consisting of Joan Heemskerk and Dirk Paesmans who live and work in the Netherlands.
Special Prize for Augmented Reality Art
Kei Shiratoris, Takeshi Mukai, Younghyo Bak: ARART, 2013
Application for iOS
This app ARART blurs the boundaries between the real and the virtual world by having the iDevice superimpose a new dimension of reality on real art works. Historical background information is conveyed in a creative manner, enabling the viewer to develop new ways of seeing the original. morer
Kei Shiratoris lives and works as media artist in Tokio, Takeshi Mukai works at the intersection of fine arts and new technology and the media artist Younghyo Bak st PhD student at the Kyoto City University of Arts.
Special Prize for Crowd Art
Andrew Bluff: Mobile Phone Orchestra, 2012
Application for iOS
With the app Mobile Phone Orchestra, the user takes part in an automatized, collaborative sound experiment that combines the private music libraries of the various users to form a public sound space. Each iDevice becomes an individual "sound producer", creating unique acoustic art works in combination with other mobile devices. more
Andrew Bluff lives and works in Sydney and is a up-and-coming media artis, who has already produced several prizewinning works.
Further Apps in the Exhibition: CoreMites (2013), Dépli (2013), Fairgrounds Night (2012), Konstruct (2011), Man In A Box (2012), Once Touch (2012), Petting Zoo (2013), SoundyThingie (2010), Urban Rhythms (2011)
»Urban Blind Date« is the name of the joint project by ZKM | Museum Communication and the U2_Cultural Education at the Dortmunder U, which was created in collaboration with ninth-grade pupils of the Bismarck secondary school, Karlsruhe, and the Leibnitz secondary school, Dortmund.
The exhibition, scheduled to open on July 10, 2013, presents the results of the workshop of 35 pupils from the two cities. The common point of departure of the two works, were the favorite places of the pupils in their respective cities. They captured their own perceptions and identification with these places in the form of drawings, collages, texts and works of video. Through the interplay of the artistic reactions of an unknown counterpart from the other city, new surprising angles emerged of the unfamiliar and the familiar. In the workshop, this fascinating process is to be presented in the form of an exhibition showing the unexpected and interesting results of this mutual project.
The project is artistically accompanied by Fanny Kranz, Etta Gerdes and Alischa Leutner.
Holography, which already was discovered in 1948 and developed further in the 1960s, is a successful, comprehensive spatial representation of objects and structures, which in their potential application, extend far beyond classical photography. As an imaging technique, in the 1970s holography was considered as a technology of the future, but withdrew into the background with the emergence of digital technologies. The exhibition at the ZKM | Media Museum shows a selection of artistic works from the most important holographiccollection at the ZKM | Karlsruhe.
The title of TBA21's fourth exhibition at Vienna’s Augarten, The What If?... Scenario (after LG), is irritating and elliptical as most of Cerith Wyn Evans’s inscriptions tend to be. For one, even though it seems to lean toward an anticipated occurrence, it is a reprise. It embraces Liam Gillick’s eponymous London exhibition of 1996, which speculated about a notional and political sense of the future, outlined in Gillick’s now historic proposition: everything might become something else. And what is more, it contains a slightly disturbing oxymoron or at least a contradistinction. The speculative and unpredictable essence contained in the question of "what if?" is reversed by the assumption about what is forthcoming, its prescience, prophesy, or at least as a "story about what happens in the future."
In The What If?... Scenario (after LG), Wyn Evans literally sets the stage for a multitude of potentialities, contingencies, and uncertainties about given conditions and structures of what we see and what we know and how we come to know without ever solidifying his position into a positivist affirmation but rather remaining suspended in "weak connections". His luminous works, collected by TBA21 over 10 years and here shown together for the first time, unfold a spider web of artistic, literary, and referential signifiers, waiting to be glimpsed and grasped by a viewer who cannot but become an active performer in a play of multiple meanings and speculations. Wyn Evans’s artistic strategy interrupts our habitual access to the world of objects and meanings by disrupting our associative and (re-)cognitive patterns, locating gaps, hinting at subliminal associations, anecdotal slippages, contingencies, and errors in translation.
Cerith Wyn Evans, however, uses almost exclusively the "already written", stages it as event, "queers it", displaces it and makes it truly contingent. Working mostly with film, light, communication technologies such as Morse code, literature, and quotations, he complicates the materiality and structural aspects of coded communication and text at the threshold of installation. Exploring and exploiting the limits of vision, the reticence of the retina, and structural cinematic experiences, he plays with the viewers’ psychophysical condition, approaching his or her sensorium in multiple audiovisual languages that are waiting to be translated, decoded, and interpreted within an open horizon of meanings without ever fully losing control of the frame of interpretations.
In the tradition of TBA21’s first three shows at the Augarten, which operated in essentially monographic yet specifically dialogical form and understood as artistic encounters, the show presents the second iteration of Cerith Wyn Evans’s collaboration with the German artist Florian Hecker, No night No day (2009), first shown at the Teatro Goldoni on the occasion of the 53rd Venice Biennale. The work, a junction of two independently produced parts, can be seen as a materialization of the "third mind" as established by William S. Burroughs and Brion Gysin: a third space that is created through the encounter between two minds and that results in an unforeseeable and not simply additive but rather potentiated realm, an extrapolation of the two voices.No night No day will be presented for the first time in an installation version, adapted to the spatial configuration of the Augarten.
TBA21 began collecting Wyn Evans’s work very early in the foundation’s history, resulting in a unique assembly of the artist’s oeuvre and as such an array of pointers to questions and propositions that can be posed and poised together at TBA21–Augarten.
next_generation 5.0 − the largest, biennial meeting of the university studios for electronic music – enters the next stage: The festival at ZKM | Institute for Music and Acoustics offers emerging composers in the field of electronic music a platform in which to present their new compositions.
For five days and nights, ZKM | IMA offers a lively and concentrated program that informs about the latest positions on the topics of "fixed media", "spatial music" and "live electronics": new electro-acoustic works for the Sound Dome at the ZKM_Cube as well as live electronic compositions and numerous audiovisual installations will be seen and heard. Also the Akusmonium, the legendary loudspeaker orchestra by the Groupe de Recherches Musicals (GRM) of Paris is again ZKM’s guest performer. At the same time, students can enter a dialogue with those of similar interests and discuss their technological and artistic research in a symposium, in keynote addresses, presentations, and discussions.
Up to 27 higher learning institutions, and 150 students from Germany, Austria, Switzerland and the Netherlands are expected to attend. ZKM | IMA is particularly pleased that the Team from GRM will present, both at the opening and closing of the festival, its new works created at her institute in Paris, as well as classics of electro-acoustic music.
Peter Breitenbach (MH Trossingen): Synapsis
Henri de Saussure (HKB Bern): 13dCCTV (2013)
Daniel Dominguez (ZM4 Hamburg): Fünf kurze Videostudien (2013)
Daniel Dominguez (ZM4 Hamburg): Study_V (2013)
From Fri, June 28, 4 p.m.: Opening Performance)
Anouk Fürst (HKB Bern): open ears shut eyes (2013)
Maurice Könz (HKB Bern): Machafuko/Fomu (2012)
Daniel Kurth (HKB Bern): Souvenir der Eitelkeit (2012)
Martin Rumori (IEM Graz): inout
The exhibition »Eran Schaerf. FM-Scenario: Reality Race« opened at the ZKM, on June 21, 2013. The inter-media project uses the Internet as a production site for generating content for further media – more specifically: radio stations, exhibitions and publications. The project’s starting point comprises Eran Schaerf’s news radio plays from the years 1997 to 2011, as well as new texts.
»Die Stimme des Hörers« [The Listener’s Voice] (2002), a fictitious radio station, moderated by a computer program is exemplary of Eran Schaerf’s news radio plays. Here, Schaerf uses the newscast format in order to indicate the relativity of its objectivity claim: newscasts not only describe apparent facts, but allow such coverage to be one narrative account among many.
On the Website »www.fm-scenario.net«, Eran Schaerf set up an expanding archive of audio modules. This online studio is not an information website, but a production site open to all: “Things must be recyclable to be relevant. Welcome to fm-scenario.net, the online studio of Listener’s Voice. This is where you can create your own personal »Listener’s Voice« mix, which you can share with other users and possibly get on the air. You don’t need a password. You’ll be creating your mix from fragments of broadcasts by Listener’s Voice, a radio station where listeners‘ calls are taken by an automatic moderator. The calls are everyday stories that listeners have staged in the station’s reenactment studio, conferences organized by listeners on air, blog entries by characters that have forsaken their fictional environments, commentary by the automatic moderator and, last but not least, broadcasts from other stations; because if nobody phones in to Listener’s Voice, the automatic moderator switches to Station Search, where it borrows programs it finds in its reception area and re-broadcasts them. So make your selections, mix a minimum of two fragments, and your own personal compilation might get on the air!” (»www.fm-scenario.net«)
From this archive of audio modules ZKM curator, Margit Rosen, compiled the narrative »FM-Scenario: Reality Race«: a listener logs him or herself into the program »The Listener’s Voice«, yet hesitates with the required registration of gender. As in state regulations, the machine compels the listener to identify him or herself as an individual by way of gender – as a necessary basis for all further communication. Were the moderator not a computer program, it would, perhaps, understand that gender is not clearly defined, but is constructed in the enactment of roles.
This montage serves Eran Schaerf as a script for a performance, which takes place in the exhibition space in front of cameras, though not before an audience. The imagery thus produced, is one of several elements of the three scenic installations featured in the exhibition: In one installation, the audio-montage »FM-Scenario: Reality Race« created by Margit Rosen, will be heard – its scenography is a spatial reference to the television test card, which has long-since disappeared. The two other installations in the exhibition focus – just like close-ups – on two topics from »FM-Scenario – Realitätswettlauf« [Reality Race]: The comprehension of gender by the machine or rather the automatic moderator and the ambivalence of media imagery. The second installation »Geschlecht (Geschichte)« [history (gender)] therefore shows the stock footage produced prior to the exhibition as one possibility of turning a narration into images. Depending on the entrance chosen, the installation »Robin Hood of the West Bank« can be seen as the start or conclusion to the exhibition. The law court presented here may recall the event, as well as its possible restaging for the media.
The exhibition is the third of five planned exhibitions of the project »FM-Scenario – The Listener’s Voice«, by Eran Schaerf.
Margit Rosen’s audio-montage was broadcasted on June 21, 2013 at around 9.03 p.m. by the Bavarian Broadcasting Cooperation (Bayerischer Rundfunk) on Bayern2 as part of the program »hör!spiel!art.mix«. The program is available as podcast for downloading on »www.hoerspielpool.de«, where previous montages, as well as the background broadcasts can already be found.
Project curator: Joerg Franzbecker
Project management: Herbert Kapfer and Joerg Franzbecker
Exhibition curator: Margit Rosen
Project coordination ZKM: Annina Zwettler
Performance and image production: in cooperation with Kerstin Honeit, Karolin Meunier, Stefan Pente, Andrea Thal and William Wheeler
The project is supported by the Federal Cultural Foundation. »FM-Scenario – The Listener's Voice« (2012–2014) is a production by a production e. V., Berlin and the Bayerischen Rundfunk / Hörspiel und Medienkunst, in cooperation with Hartware MedienKunstVerein, Dortmund; Haus der Kulturen der Welt, Berlin; Les Complices, Zürich; Museum für Konkrete Kunst, Ingolstadt; and the ZKM | Center for Art and Media Karlsruhe.
From molecular chemistry to molecular biology we stand on the treshold of a material revolution. In the 1920s, new industrial materials, such as metals, aluminium and acrylic glass were used as raw materials. Today, the developments in nanotechnology and computer-based technology enable insight into matter far beyond existing conceptions, namely into the world of molecules, atoms and subatomic particles. The “molecular revolution” (Félix Guattari, 1977) has already begun.
The installation »Molecules that changed the World« makes elementary chemical molecules such as water and carbon dioxide as well as synthetic complex molecular structures, which have an essential influence on our lives visible in stereoscopic 3D and provides background information on the origin and significance of selected molecules.
Conception: Ljiljana Fruk, Bernd Lintermann
cooperation (KIT): Ishtiaq Ahmed, Dennis Bauer, Sinem Engin, Bianca Geiseler, Dania Kendziora, Marko Miljevic, Andre Petershans, Lukas Stolzer
Graphics: Christina Zartmann
Software: Bernd Lintermann
Technique: Manfred Hauffen
Production: ZKM | Institute for Visual Media
ZKM_Gameplay is the new permanent exhibition on the theme of video games and experimented forms of play. Since its opening in 1997, numerous computer games have been presented at the ZKM | Media Museum in Karlsruhe, since these reflect an essential part within modern society heavily influenced by digitalized realities of life. For centuries new artistic, experimental, media-reflective as well as »serious« games have evolved. The cultural and economic power of digital games and gameplay have experienced and continuous growth. This has made the games an important object of the ZKM.
ZKM_Gameplay extends across the entire 2nd floor of the Media Museum. A varied selection of exhibits is on display. A large area is dedicated to works of game art ranging both from art which has computer games as its subject, and computer games designed by artists. Added to this are computer and video games, which illustrate the entire range of the medium and make these experienceable in the Media Museum.
One main area of focus is taken up by independent games and serious games; approaches which have distinguished themselves, for example, by particularly innovative games ideas, an interesting experimental claim, a powerful cultural effect, or an unique consciousness of its own means and forms of expression. The exhibition’s special highlights are, among others, »The Night Journey« by media artist Bill Viola or »Long March: Restart« by Chinese Feng Mengbo. The artis Mary Flanagan is represented by her work »[giantJoystick]«: the three-meter high sculpture consists of a functioning joystick. Due to its size it has to be operated by at least two persons with unified forced. Further games are for example »Braid« by Jonathan Blows oder »Krautscape« by Mario von Rickenbach. Classics, such as »Pong«, »Pac-Man« or »Super Mario World« are presented at the new »World of Computer Games« as well.
The age ratings of the games range from 0 to 12 years old. Most of the games are suitable for children, but may also appeal to adults in the same way. Furthermore, there are a few games, which are recommended until the age of 16.