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.
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.
»Cryptography« is the science of encoding information. It has decided wars, secured atomic rockets during the Cold War and, in more recent times, made online shopping possible. Whereas in past decades and centuries it has been understood as complicated secret coding, today, »cryptography« is the technology of information security for protecting secret data from unauthorized readers or unwanted changes.
With increasing digitalization, calls for a more advanced method for data encryption became louder. With the use of »cryptography«, it was possible to prevent an infringement of sensitive data. However, in that the use of a cryptographic principle is – naturally – based on extremely complicated algorithms, a high degree of expertise continues to be required for its application.
With the exhibition »Kryptologicum«, the Kompetenzzentrum für angewandte Sicherheitstechnologie [Competence Center for Applied Security Technology] (KASTEL) of the Karlsruhe Institute of Technology (KIT) seeks to make this theme comprehensible. In collaboration with the ZKM | Karlsruhe, the cryptographic method should be made playfully tangible and experienceable to visitors. With interactive stations the public is invited to come and try out, and be shown, by way of the station »Coin Toss via Telephone«, for example, how »Cryptography« makes possible the apparently impossible. Alongside this, a unique collection has been collated, which provides a historical overview of the theme, and, among others, an »Enigma« machine dating from the Second World War can be seen. With the further development of such historical methods, and the possibility of modern cryptography, the exhibition initiates a critical investigation into present-day IT security.
Until today, poet, performer and antimilitarist, Allen Ginsberg (1926–1997), is seen as one of the founders and most influential figures of the Beat Generation. As thematic sequel to the exhibition »the name is BURROUGHS – Expanded Media«, on show at the ZKM in 2012, »Beat Generation. Allen Ginsberg« is a multimedia, interactive presentation. The exhibition, concurrently on show in Metz, Rennes and Tourcoing, near Lille, presents the life and works of Allen Ginsberg, as well as his influence on other personalities of the Beat Generation.
In the context of the exhibition a comprehensive program will take place
Welcoming Speech by the Exhibition Creator:
This is not, in a classic sense, an exhibition, where works are hung on walls, but far more a visual and acoustic anthology; a sensuous experience, a fantastic world full of projected images and a virtual stroll through a major multicultural movement that emerged during the Second World War in New York, and which spread throughout the world from 1955 onwards. The poet Allen Ginsberg, founding father and influential figure of the Beat Generation, will serve us as cartographer and guide. He will introduce us to our friends – who he photographed at different times – and, above all, their works; in so doing, he throws light on the unique personalities of each of them.
Known and unknown films, public readings, recordings, reportage never seen before, texts, fine art, discussions, photographs and documents of all kinds... This compilation, until now, unpublished and shown here for the first time, offers an international, labyrinthine and multimedia perspective transcending the constraints of linear and didactic museum presentation.
Here, visitors are invited – without further delay – to step into the hallucinatory universe of the poets of the Beat Generation and to relive this collective and subjective adventure. Also entirely new is the simultaneous opening of four versions of the same exhibition in four European institutions of differing backgrounds: at the Centre Pompidou Metz, at the Studio National des Arts Contemporains, Le Fresnoy (Tourcoing), in the Champs Libres (Rennes) and at the ZKM | Center for Art and Media Karlsruhe. A perfect example of synergy and partnership.
Thanks to Allen Ginsberg, we can follow step for step, the literary, cultural, political, existential and intellectual controversies in which the Beat Generation were involved. It is through him that we become acquainted with and are able to newly interpret a series of masterpieces of modern literature: works by Jack Kerouac, William Burroughs, Gregory Corso, Michael McClure, Gary Snyder, Peter Orlovsky and, naturally, Allen Ginsberg. One sees or hears them; one discovers their manuscripts, their drawings, their way of life, but also their commitment to the freedom of expression, and liberation from bourgeois morality; their struggle against ethnocentricity; homophobia and racial paranoia; for ecology. One may consider the pioneering role they played as writers and cosmopolitans at the center of a major international movement, which, in the 1960s, rebelled against the Vietnam War, Wall Street, the Pentagon, the atom bomb, the nuclear industry, and generally against all forms of cultural and political imperialism.
Incidentally, in his famous manifesto/poem, Howl, Ginsberg once again took up the biblical monster Moloch, which continued to cost more and more human victims. Karl Marx had already denounced Moloch as a symbol of the prevailing and aggressive capitalism. It is no mere chance that Ginsberg, Burroughs and their mutual friend Jean Genet took part in the demonstrations in Chicago, in 1968, and that a number of their young close friends used the opportunity to present a real, pink-colored and screeching pig as candidate for the American presidential elections. The spirit of Dada was, indeed, present, though all distinctions between political and artistic action had dissolved.
Furthermore, the films presented here, the discussions, the coverage, the photographs and texts especially highlight the way in which poets make reference to their predecessors and contemporaries, in particular, to the Asiatic and European: they have a close affinity with William Blake, Arthur Rimbaud, Guillaume Apollinaire, and Antonin Artaud. Throughout the course of their numerous long and productive stays in Paris, Ginsberg, Burroughs, Gysin and Corso became acquainted with Henri Michaux, Gherasim Luca, Jean Genet, Marcel Duchamp, Man Ray, Tristan Tzara, Bernard Hiedsieck, Félix Guattari and many others. In Café Sélect, on Montparnasse, Ginsberg began his major cathartic poem Kaddish and wrote Sur la Tombe d’Apollinaire and Europe! Europe! In Paris Burroughs completed and published Le Festin Nu, Nova Express, and Corso, his poem Bomb.
It was with the Beat Generation, that the enormous worldwide movement of the counter culture emerged, for which the ‘indignant’ stands today, and from which future visionaries and utopians may draw their inspiration.”
(Jean-Jacques Lebel, April 2013)
In the 1960s, numerous artists turned away from painting with brush on canvas: They sought alternatives to the spontaneous, emotional expressive forms of the 1950s, such as Tachism, abstract Expressionism and Informel. The various paths let to Op Art, Kinetic Art, Minimal Art and conceptual art. In a certain sense, Manfred Mohr is one of the most radical painters of the period: in 1969 he had already opted for the use of the computer as an artistic medium. The machine fulfilled the yearning for rationality, precision and conceptualization of artistic work opened up the horizon for formal experiments of hitherto unknown complexity. On the occasion of his 75th birthday, the ZKM is dedicating a retrospective to the Pforzheim-born, New York-based artist in the form of a representative selection of works and numerous documents from his archive.
Mohr discovered the use of electronic calculating machines for the production of artistic works by way of the French pioneer of computer-generated music, Pierre Barbaud, with whom he became acquainted in Paris, in 1967. For Mohr, then not only a fine artist, but also a jazz musician, computer art represented an answer to the question as to how in art the principle of systematic, musical notation can be realized. The idea of a rational art had already fascinated Mohr in the early the 1960s, when first encountering the ideas of the philosopher Max Bense. He then learned programming autodidactically, managing to gain access to a computer and plotter at the Météorologie Nationale, the French national institute for meteorology. In 1971, a solo-exhibition of his work was held at the Musée d’Art Moderne de la Ville de Paris. This was the first museum solo-exhibition of works by an artist whose works were produced and drawn exclusively by means of a fully automatic digital computer. Over the forty years that followed, Mohr went on to create a comprehensive formal vocabulary which he realized not only in drawings, but also in films, paintings, sculptures, art books, reliefs and computer animation.
The exhibition title makes reference to the decisive moment in the artistic process of the work with a computer: the design of the algorithm, namely, the sets of rules which are systematically processed by the computer. In a text dating from 1971, Manfred Mohr poses the provocative question as to whether it is possible to fully describe an artist’s style by an algorithm. The multiplicity of works presented in the exhibition documents the utopian element of the enterprise.
About the artist:
Manfred Mohr (*1938 in Pforzheim): after a training at the Kunst- und Werkschule Pforzheim the artist studied at the École des Beaux Arts, Paris. He has been living and working in New York since 1981. His works are represented in numerous collections, among others, the Centre Pompidou, Paris, the Museum Ludwig, Cologne, and Stedelijk Museum, Amsterdam. His works have been on show in numerous solo- and group exhibitions, such as at the Kunsthalle Bremen, the Museum of Modern Art, New York, the Centre Pompidou, the Museo Nacional Centro de Reina Sofia, Madrid and the PS1, New York. His art has been awarded with numerous prizes, among others, with the »Goldenen Nica of the Ars Electronica« (1990), the »d.velop digital art award [ddaa]« (2006) as well as the »Distinguished Artist Award for Lifetime Achievement in Digital Art« of ACM Siggraph (2013).
Matthew Day Jackson (born in Panorama City, California/USA, 1974) is considered one of the most inventive artists of his generation. The work of the New York-based artist is characterized by an interdisciplinary choice of themes that draw on aspects of technology and popular culture, but also of science, philosophy and sport, from the pool of which both fascinating and, at times irritating works emerge. All his work questions firmly established perspectives and negates linear modes of historical explanation.
Through his approach, which combines the relics of artifacts with high-tech materials by means of bricolage methods and reconstructs historical references in relief-like collages, objects begin to emerge which unify both the utopian as well as dystopian elements of a technologized world. At times ironic, the works also render a practice of disclosing the past. Jackson makes his appearance as a trickster and artist-archaeologist who, in his wide-ranging work combines historical events with a fictional search for traces, thus also making his work no less a media-critical reflection. The mythologizing of his self as artist invariably comprises the focus of his work, and sets physicality and the destructive results of human invention in relation to one another.
Jackson’s current interests center on the question of the cultural impact of the atom bomb, the material afterlife of which he weaves together in his works with an artistic debate on the essence and future of the American dream. The exhibition title aptly cites from Paul Virilio’s »The Information Bomb« (»La bombe informatique«, Galilée, Paris, 1998), in which the French philosopher decodes the consequences of scientific achievements against the backdrop of information technology. The exhibition brings together installations, pictures, sculptures and videos, the majority of which were especially produced for the exhibition at the ZKM | Museum of Contemporary Art. Thus, the artist’s new pictorial work presents the myths of the universe and its research alongside events related to the history of nuclear testing, and connects this filmically with the new production of the TV series »In Search of...«, a 1970s American production that sought answers to historical inconsistencies and paranormal phenomena.
»Matthew Day Jackson. Total Accomplishment« is the artist’s first solo exhibition in Germany. With American cultural history as his point of departure, Jackson approaches the question of the technological occupation of our world from a multiplicity of angles; he critically investigates its influence on individuals and the collective and, by drawing on a diversity of media, thematizes the complexity of Western civilization through dissolving its myths by way of creating new enigmas.
Over the course of the »Arab Spring« the region to the south of the Mediterranean is undergoing a state of transformation, the events of which are followed in Europe with great interest, but also with hope and skepticism. With respect to content, the focus of the exhibition »Cross-border« is on artist’s critical investigation of various thematic aspects of the concept of borders, the attitudes and approaches to borders and strategies of overcoming them. Questions emerge within the context of the exhibition, which adopt a clear position to this issue and elaborate a range of solutions, which treat regionally specific, political or cultural aspects.
The eighteen artists whose works are represented in the exhibition are globally networked. Several of them have spent many years abroad, a number of them currently in foreign countries or else commute between different countries. The exhibition offers a differentiated perspective on the region through the works of the artists, which invite viewers to reevaluate biased perspectives and misinterpretations.
The exhibition “Generosity. Donations and Loans from the ZKM Collection”, honors the act of giving and donating though which, in recent years, the collection of the ZKM | Center for Art and Media Karlsruhe has been enriched with significant works of art by internationally known artists. Following the exhibitions “Architektur und Identität”, 2010/11 and “PRESENTation”, 2012, which provided insights into the ZKM collection for the first time, the exhibition “Generosity” emphasizes those works which were handed over to the house as donations and permanent loans. Works of art by over forty international artists will be shown which, in various media, straddle a period ranging from the 1060s to the present.
Since the founding of the ZKM in 1989, the collection, initially directed by Heinrich Klotz and presently chaired by Peter Weibel, has grown to around 1500 positions; in addition to a large number of works of media art it also contains paintings, photographs, installations, videos and works on paper. Civic participation, which expresses itself in the transfer of works of art by single persons – among which are often artists themselves–, families and companies to public institutions, guarantees free access to art to a broad public and thus represents an invaluable value for the generality.
Artists: Hans Peter Alvermann, John Armleder, Sieglinde Bölz, Christoph Brech, Jimmie Durham, Günther Förg, Andreas Gursky, Karl-Horst Hödicke, Edward Kienholz und Nancy Reddin-Kienholz, Jürgen Klauke, Barbara Klemm, Imi Knoebel, Mischa Kuball, Urs Lüthi, Heinz Mack, Michel Majerus, Gordon Matta-Clark, Olaf Metzel, Michael Najjar, Dennis Oppenheim, Fabrizio Plessi, Otto Piene, Elke Sommer, Hans-Peter Reuter, Thomas Struth, Günther Uecker, Timm Ulrichs, Jürgen Waller, Franz Erhard Walther, Hermann Weber, Erwin Wurm, Herbert Zangs
Curators: Nina Fernandez, Idis Hartmann, Daria Mille, Philipp Ziegler
With the retrospective »Werner Büttner. Gemeine Wahrheiten« the ZKM holds – in cooperation with the Museum Weserbug | Museum of Contemporary Art – the most comprehensive exhibition to date of works by the Hamburg artist.
Together with Martin Kippenberger and Albert Oehlen, he has exerted a sustained influence on the European art scene since the early 1980s. Paintings, drawings, collages and sculptures testify to Büttner’s ingenuity, his sense of irony, but also his biting derision of social realities. With around 300 works, the retrospective underscores Büttner’s significance with respect to the development of German painting at the close of the 20th century, characterizing him as one of the central figures and pioneers. The focus of the exhibition is Werner Büttner the painter, who, following the reinvigoration of figurative painting in the 1960s and 1970s, began to break with its illusionism and to finally strip it of all bourgeois elements.
»JHQ. Blaffert & Wamhof« shows the photographic documentary of the withdrawal of British troops from Rheindahlen (NRW). The closing of the headquarters of Allied Rapid Reaction Corps (ARRC) of NATO, and the Headquarters of the British Army of the Rhine (BAOR) is here symptomatic of a development increasingly gaining in actuality. The presentation focuses on the people who lived here, and influenced the developments on the surroundings. Deserted sites, which emerged in the process of dissolution, testify to a past era and its history. The acquired photographs here show themselves as documentary of the history of both sides – the headquarters, as well as the surroundings, which have accompanied the situation over 50 years.
The photographers’ intentions are to sensitize viewers to the events. Here, the social transformations should not be interpreted as archaeological retrospective of a »ghost-town-like« historical environment: they should far rather be pursued with artistic insight. Here, the photographs of Blaffert & Wamhof are linked to the tradition or political documentaries.
»You&Me-isms Part 2« is an installation and an artistic-experimental media system in the age of high-tech communication machines. The installation, composed of over 500 illuminated signals appears as a kind of idiosyncratic cyberpunk communication machine.
Visitors may enter their text messages of up to 60 signs via an input terminal. Controlled by means of a computer program, the message is played back letter for letter, word for word. The messages may be notifications, news and short pieces of prose, aphorisms, wishes or questions. Thus, for the visitors, the illuminated sign matrix is a playable communications or information sculpture on which they may »inscribe« their own messages. With playful-ironic and subversive-rebellious gestures, the visitors are called upon to rebel against commercial signs and information monopoles. But the installation contains, above all, the invitation to take a scrutinizing view of the world of objects and things, which surround us in the way we perceive them and, hence, the way they determine us.
Today, the “Spaceship Earth” (Buckminster Fuller) is equipped with myriad sensors – whether in the form of satellites in space or in the sonar measurement devices in the oceans. Only a few of these are classic »camera eyes«, as one knows them in analog photography. They do, however, produce images: the measurement data gained through these sensors are visualized so as to be rendered amenable to interpretation by the human being.
Such measurements and visualizations take up a momentous role in the processes of control and decision in science, politics and the military, in medicine and in the police. The new practices of the two and three-dimensional cartography produce maps in the form of pixels and voxels that can be freely transformed and called up worldwide. They thus change not only the scope of knowledge and surveillance of the world, but open up a new, worldwide sphere of action.
Through video essays and photography, the exhibition »Maschinensehen« [Machinevision] documents the practice of picture production: its devices and technologies, the laboratories, as well as the sites where the new processes are applied. In addition, it shows a selection of current objects of research: from self-experiments in a brain scanner, the reconstruction of crime scenes through 3D photography, the remeasurement of the continental shelf and the fight for raw material resources, the automation of dairy farming, measurement flight in the atmosphere, up to the evaluation of satellite imagery.
The project »Maschinensehen« is based on the field research of an interdisciplinary seminar at the Karlsruhe University of Arts and Design (HfG), directed by Prof. Armin Linke and curated by Anselm Franke.
The artistic work of Henry Flynt is considered one of the most well-preserved secrets of recent history. The artist was the first to coin the term »Concept Art« and is considered among experts of the North American avant-garde scene as one of the central figures. However, a broad reception of the artist, philosopher, mathematician, economic scientist, composer and musician’s artistic work, produced only sporadically since 1959, has been rarely shown in public.
The exhibition »Henry Flynt. Activities 1959–« at the ZKM | Media Museum – which could be previously viewed in the Kunstverein for Rhineland and Westfalia, Düsseldorf – provides an overview of the artistic works of the artist born in 1940. Together with numerous publications, documents and other archival material, the significant selection of his works facilitates an understanding of the historical genesis of Flynt’s work, and classification of it into the contemporary historical context.
The exhibition, designed and presented for the first time in Düsseldorf, was produced in close collaboration with Henry Flynt.
Conceptual video art is marked by a search for the essential boundaries of the moving image. It explores the boundaries of perception and of the human being in its interaction with the world. The exhibition “body in abstraction” presents four works from the European tradition of conceptual art. The artists share a minimalist commitment to the concentrated form of installation video. Refraining from the narrative and representational strategies of shock and provocation, they all manifest a certain stylistic austerity.
The works by Elisabetta Di Sopra, Hofstetter Kurt and Barbara Doser concern essential and archetypal forms of the human body, the way in which we identify others and ourselves. Anna Jermolaewa and Peter Weibel are trying to explore the boundaries of society and of human interaction with the medium of video.
Artists: Anna Jermolaewa (Russia), Elisabetta Di Sopra (Italy), Peter Weibel (Austria), Hofstetter Kurt und Barbara Doser (Austria)
Curator: Laura Carlotta Gottlob
Art History Advisor: Reidar Due
Accompanying Program: ARTIST RESEARCH LECTURES
UNIVERSITY OF OXFORD
Fri, February 15, 4 p.m.
Peter Weibel: »RENAISSANCE 2.0«
at the Ruskin School of Art – Old Master’s Studio, 74 High Street
Mon, February 19, 4.30 p.m.
Hofstetter Kurt: »On the Event Horizon of Order«
at the Department Computer Science – Wolfson Building, Parks Road
The exhibition is organized by St John’s College Oxford and ZKM | Center for Art and Media Karlsruhe. In collaboration with MAO – Modern Art Oxford, University of Oxford – Ruskin School of Art & Department of Computer Science and with support of the Austrian Cultural Forum London.
The “Discovery of a new continent of art” (Peter Weibel) was already an object of the exhibition at the ZKM | Karlsruhe in 2007 curated by Wonil Rhee entitled »Thermocline of Art. New Asian Waves«. The large-scale show on the newest tendencies in the Asian art scene prompted huge international attention. The rapid development in the sphere of the Asiatic »moving image« required a continuation and presentation of this theme already after six years. Under the multi-layered title »Move on Asia. Video Art in Asia 2002 to 2012«, the ZKM shows the development of precisely this genre, and points to the increasing significance of Asia in global contemporary art.
An atmosphere of upheaval is perceptible throughout present-day Asia, which finds expression in a new discourse on contemporary Asiatic art that transgresses all genres. It is not the adherence and conservation of past values, but the recovery, creation, integration and transformation which constitute the guidelines under which the new Asiatic art liberates itself from the western models and achieves an increasingly greater independence. Until the turn of the century, as an art genre the video continued to be attributed to the western hemisphere – and in spite of the fact that its most important representatives were from Asia; over the last two decades, however, independent video cultures have evolved that have found a global public last but not least at flourishing biennales and art exhibitions throughout the Asian continent. The selection of works that make up “Move on Asia” draws on the large-scale festival of moving digital pictures in Asia of the same name organized by a network of 20 curators and 40 video artists since 2004. The exhibition which cooperates with Alternative Space LOOP in Seoul (Korea) presents video art from China, Hong Kong, India, Indonesia, Japan, Korea, Pakistan, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand and Vietnam. In addition to recognized artists, recent works by the young generation are also on show.
An interactive installation entitled »Global Fire« by the Paris-based artist Du Zhenjun may also be viewed in connection with the exhibition: a huge inflatable dome in which the visitors may ignite the flags of 200 countries with lighters on heat censors. Also on show in the »ZKM_PanoramaLab« the interactive video installation »40+4. Art is Not Enough! Not Enough«, resulted from the collaboration between the curator Davide Quadrio, the filmmaker Lothar Spree as well as the video artist Xiaowen Zhu.
Since the beginning of the 1990s the Shanghai-born and Paris-based artist Du Zhenjun has drawn attention, by way of his interactive works, to the individual as well as social conditions of a world influenced by turbo capitalism and globalization. In the exhibition »Du Zhenjun. Babel-world« at the ZKM⎥Karlsruhe, his large-scale work series BABEL, composed of photographic work, demonstrates that turning the world into new Towers of Babel, he presents a contemporary version of the apokalypse: barely having the new tower-symbols of newly gained wealth and superpower been built, than they are already on fire and the earth is flooded. "The majestic Towers of Babel as originating in Du Zhenjun's imagination arise, as it were, like an annoucement of the events to come: horror in all its beauty". (Sacha Goldman)
The geopolitical change that took place in 1989 ushered in an era of worldwide biennales, whose geography bid farewell to Western Art, with its old contradiction between the center and the periphery. The exhibition project »Nothing to Declare?« now documents these global developments. The heart of this exhibition is a panorama room as a media installation, which illustrates the passage of time and the geographical expansion of the global practice of art using a wide range of data.
In so doing, a development becomes recognizable, which is no longer to be interpreted only as pure art history, but rather requiring multiple forms of re-narration – geopolitical, social, economic and cultural. The creation of a new critical practice in the arts also corresponds to these structural changes. The research project »Global Art and the Museum (GAM)« at the ZKM | Zentrum für Kunst und Medientechnologie (Centre for Art and Media) in Karlsruhe has dedicated itself to this theme since 2006. An initial interim review was presented in the exhibition »The Global Contemporary« at the ZKM. This project is now continued in cooperation with the Academy. It places Berlin, in particular, as an art center within the context of a development that begins in 1989. The theme of the exhibition also will be discussed in a symposium by Goethe-Institut Lissabon on 2nd and 3rd of February 2013 under the title »Rethinking cosmopolitism«.
On the occasion of Otto Piene’s upcoming 85th birthday, the ZKM l Museum of Contemporary Art presents the exhibition »Energy fields«, which, with a selection of approximately fifty works, provides insight into his work. Born in 1928, Otto Piene is considered one of the most important pioneers of a kinetic, technology-based, multi-media art.
For Piene art is not so much a conceptual phenomenon, than an energetic one. Recourse to natural scientific knowledge, as well as to the strong connection between art, technology and nature constitute the bedrock of all his works. Piene, furthermore, is among the founders of Environmental Art. Starting out from his smoke and fire paintings dating from the 1960s, the show at the ZKM exhibits »Inflatables« (inflatable sculptures), light installations, gouaches, hitherto not exhibited drawings, new ceramics and reliefs. Here, the multiplicity of media, with which the artist has worked throughout the course of his career comprises the focus of the exhibition. In addition to early paintings, which he illuminates with a stroboscope, the key work shown in the exhibition is the multi-piece air sculpture »Fleurs du Mal«.
Following his studies at the art academies of Munich and Düsseldorf, as well as a course of studies in philosophy in Cologne, towards the end of the 1950s, Otto Piene, together with Heinz Mack and Günther Uecker, was one of the founders of the ZERO movement in Düsseldorf. In 1974 he took over the Center for Advanced Visual Studies (CAVS), at the MIT in Boston, from György Kepes and, through to 1994, converted it into one of the most important centers for art and technology. As member of the board of trustees, in 1990 Piene contributed decisively to the foundation of the ZKM | Center for Art and Media Karlsruhe. Today, he lives and works in Boston, Berlin and Düsseldorf.
Just like the design of a subway connects places in a city in an ideal way, there is an ideal way for neurons in the brain to connect to each other. The computer generated neurons in the panoramic movie reproduce such ideal connections and are indistinguishable from the neurons found in the real biological brain. This is strong evidence that the brain actually implements such a design.
In March this year, artists, graduates from art schools and autodidacts with their own artistic styles could apply for a unique project produced by the television company ARTE: under the guidance of mentors, the ARTE »TV Master Class« offered participants the opportunity to pursue a detailed enquiry into the question of art in general and the development of their own exhibition.
From over 2000 submissions, an internationally renowned jury (including, among others, lawyer and art enthusiast Peter Raue, and media businesswoman and art collector Christiane zu Salm) selected seven participants who were then given the opportunity to be observed and advised in a master class while at work by well-known artists Dieter Meier and Angel Vergara among others as mentors.
Produced this summer, the six-part ARTE series turned on the question »what is modern art?«. The jury accompanied the work of the artists with lively as well as controversial discussions. Although over the course of the project, the number of participants fell from seven to four, fascinating works were produced and then shown in the ZKM | Media Museum in the exhibition ARTE and the ZKM present »Everything for Art«. Managing Director of the ZKM Christiane Riedel accompanied the project and supported the young artists in the design of their presentations.