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 fifth part of the exhibition series »Sensor. Time for Young Approaches« presents works by Stefano Cagol and Leonida De Filippi from the VAF Foundation Collection.
The point of departure for Leonida De Filippi’s paintings (*1969, Milan) is international socio-political events. Since the 1990s, his works testify to the artist’s endeavor to assimilate and come to terms with war scenes in Iraq, Afghanistan and, more recently, the events of the Arab Spring, for which he has recourse to media sources. As already suggested by the title of his works, in »History« those events are subjected to pictorial analysis that are destined to at some point become part of history. »Keep Shooting« is a sobering narrative on the war that infiltrates our lives through the media. Combat scenes, helicopters, soldiers executing orders are to be seen in his pictures.
At a first glance, Leonida De Filippi’s works appear like photographs and initially prompt visual irritation within the viewer. Indeed, this involves images in the classical medium of painting. De Filippi begins by enlarging his pictorial template with the aid of reproduction techniques such that he receives a very course resolution of the picture either in pixels, dot matrix or horizontal lines, which he then transfers to his paintings. Half-tones are excluded already at this stage of the process where a stronger contrast, graphic precision and visual tension is achieved. Through this process, semi-abstract pictures begin to emerge. At the same time, De Filippi exposes missing pixels and lines and thus points to the picture’s blank spaces – to a loss of information, which is already present in the pictorial template, but that would otherwise go unnoticed.
By transferring photographs or television images to painting, and thereby, as a rule, making visible concealed medial traces, De Filippi facilitates reflection on these media which, in spite of the knowledge of their manipulability, never lost their documentary character and their validity. By crossing two medias, the artist presents for discussion the genres of photography and painting which continue to be considered authentic and, in doing so, also the real as such. The pictures thus generate a surreal impression of the blending of the real and the virtual.
In the video installation »Vampa«,by Stefano Cagol (*1969, Trient), the viewer encounters the same sense of irritation. The artist takes the North American flag as the basis of his work. Hardly any other national symbol in the Western World is as ubiquitous and linked to such different meanings. For the one, the flag continues to represent the American dream of freedom, democracy and the struggle against fundamentalist terror, while for the other it signifies the acts of belligerence and capitalist imperialism over recent decades.
In his video, Cagol mirrors the virtually manipulated image of the waving flag, which thus assumes ever new iconic, occasionally anthropomorphic forms. Associations with vampires, masks, flowers, bats, emblems, and fighter jets are evoked. Here, as in the Rorschach test, imagination and mind-games take the place of the unswerving belief in state symbology. Cagol thus demonstrates the way in which, in a different context, a symbol of freedom may otherwise stand for violence and war. He also pursues this ambiguity of signs in the play on the word »Vampa«, which means flame and is reminiscent of vampire, and vamp, which alludes to the transformation of signs and images. It is no mere coincidence that the title one of the first versions of the video is »Lies«.
The exhibition series »Sensor. Time for Young Approaches« shows works at short intervals by young artists from collections cooperating with the ZKM | Museum of Contemporary Art.
The exhibition »Inter-Facing the Archive« is Monika Fleischmann’s and Wolfgang Strauss’s artistic and scientific contribution to the Digital Archive. Using the example of the media-art platform netzspannung.org, »Knowledge Discovery Tools« are presented which develop the Digital Media Art Archive by way of semantic knowledge maps and audio-visual data-streams.
“Netzspannung.org and its groundbreaking interfaces create cognitive and data structures. What has been created here is a model for an international educational infrastructure that deserves imitation.” (Peter Weibel)
In most cases, that which has been concealed in digital archives is represented in lists and other index-card-like digital archives. As much as this form may be expedient for scientists, it has far less inspiring effects through the Internet, and on exhibition visitors.
Netzspannung.org has been online since 2001, and offers multiple accesses to valuable sources of knowledge. One interface here comprises the rubric »Tele-Lectures« by scientists and artists. Up to 150.000 international visitors access over 200 hours of Tele-Lectures and experimental study and teaching modules per month. Over 2.500 descriptions of works, texts, pictures and videos drawn from art design, music and computer science are available in the area »Archives«, and the e-Teaching platform. With current affairs, the rubric »Media Art Research« shows, among others, the extent to which artistic work is a research activity.
At the same time, Monika Fleischmann and Wolfgang Strauss develop not only new processes of data acquisition, but also scenographically orchestrate the archive for the exhibition space. Thus, the »Media-stream Browser« transforms the passive archive into an interactive flow of information containing pictures and texts. The »Semantic Map« facilitates a visual navigation, and, with the aid of the semantic map, makes possible an individual discovery of interrelations and connections.
In his publication »100 Products of the Future«, physicist and Nobel Laureate Theodor W. Hänsch counts the “Semantic Map” among the pioneering ideas destined to transform our lives.
Bernhard Sandfort (*1936, Cologne) has since the early 1960s – in contrast to art informel and Tachism – realized a strict painterly concept based both on minimalist construction as well as a random process. The large-format and color-rich pictures, which generally have multiple parts, show lines and bars, the order of which is subject, on the one hand, to strict compositional concepts, but on the other hand depends on random principles. In this context, Sandfort formulated the term of the »metastatic« or »dialogic« painting.<br />
With the opening of the »Galerie für kollektive Kunst« in 1969 in Berlin – the first producer gallery in Germany – the artist’s socio-political engagement began along with his activities as an artist. As a critique of the system of the art market, which was establishing itself then, Sandfort sought a possibility of bringing art to the customer directly and immediately. As a result of this direct marketing attempt, he established in 1970 his producer gallery »Augenladen« in Mannheim. Here, Sandfort organizes – still today – along with exhibitions, also events on socio-political topics. With publicist and public actions such as the 1978 action »Woran merken Sie, dass Sie in der Bundesrepublik in einer Demokratie leben?« [What evidence do you have that you live in a democracy in the Federal Republic?], the artists puts the political status quo up for discussion.<br />
One of the projects that draws on this and has continued into the present is Sandfort’s virtual »Museum of Questions«. Despite the immense growth in knowledge today, the number of questions – whether on the level of science, politics, or the personal – has not decreased. In the form of a performative questioning, Sandfort has established in Karlsruhe his »Museum of Questions« in the frame of the exhibition at ZKM | Museum of Contemporary Art to showcase the current »thirst« for knowledge among the people of Karlsruhe.<br />
The exhibition, using the three-part presentation, showcases the work of the artist between abstract painting and explicit engagement.
Engaging in dialog with other artists while at the same time rendering this visible in and through art has been one of the key aspects in Józef Robakowski’s (*1939, Posen) oeuvre from the 1960s. With this as its point of departure, the exhibition covers, above all, the wealth of Robakowski’s ideas and methods in his collaboration with other artists. The political dimension of Robakowski’s art is revealed with pieces that were produced during the period of martial law in Poland (1981–1983). Robakowski is shown as a creator of experimental work responding to the specificities of context, working outside the official museum and gallery system to present politically critical works. Important issues of trust, collective expressions, and shared experiences are shown through activities and actions initiated by the Exchange Gallery established by the artist in his own apartment in Lodz in 1978.
The exhibition brings together films and video works such as »Market«, 1970 (in collaboration with Ryszard Meissner and Tadeusz Junak); »Attention Light!«, 1981–2004 (collaboration with Paul Sharits and Wieslaw Michalak); »Art is Power«, 1985 (music by Slovenian avant-garde group Laibach) and »Oratorio for Katarzyna Kobro«, 2011. Robakowski’s curatorial models are represented through documents and photographs showing the activities of the »Workshop of the Film Form« and photographic documentation from the exhibition »Lochy Manhattanu« (Lodz, 1989). The exhibition also presents a selection of books, catalogs, and ephemera produced by and drawn from the collection of the Exchange Gallery, Lodz.
The exhibition of the Croatian artist Ivan Faktor (*1953, Crnac) presents for the first time in Germany an overview of his comprehensive oeuvre. Along with experimental films of the 1970s, such as »First Program« (1978), »Little Sugar Vaults« (1978) and »Balance on the Garret of OZ« (1979), which are shaped by the new art influences of those years, the artist worked in subsequent years on analytic art that stood in relation to his experiences with video and photography of the »photo graphos«.<br />
In the exhibition at ZKM | Museum of Contemporary Art, especially the piece »15 minutes for Nada Lang« from the year 2000 shows Faktor’s unique artistic expression – a synthesis of performance, installation, and film sequences, which treat the topics of »evil« and death in an indirect way.<br />
Using montage techniques, the artist creates multi-layered worlds, in which early works become the actors of subsequent works and are thereby tied into the plot. In this context, the film »Das Lied ist aus« (2002) and the complex multimedia project »Kangaroo Court« (2005/2007) have a basis in the film »M – Eine Stadt sucht einen Mörder« (1931), the first of Fritz Lang’s sound films and at the same time, his last film to be filmed in Germany. Faktor makes use of analysis, alienation, and restaging, to combine elements of film history, personal experience, and political themes into fascinating films, objects, and installations.
Digital art conservation is an initiative born out of the wish to valorise the expertise that has been accrued in the Upper Rhine Valley in the field of digital art conservation over the past two decades. The three-year project, co-financed by European Union’s INTERREG IV Upper Rhine programme, aims firstly to foster greater cooperation between the regional actors in the curating and conservation of digital art and secondly to contribute to the theoretical discussion around digital art conservation at an international level.
Counting such institutions as the ZKM | Center for Art and Media Karlsruhe, Haus für Elektronische Künste in Basel and the Espace Multimedia Gantner in Bourogne, Franche-Comté, specialised in the field of digital art, as well as important public and private contemporary art collections, the Upper Rhine Region possesses a unique wealth of digital art. Moreover, generous artist residence programmes at the ZKM | Center for Art and Media Karlsruhe and important festivals such as Ososphère in Strasbourg and Shift in Basel contribute to making the region an unparalleled breeding ground for the production of digital art.
In an attempt to strengthen the links between the various regional actors involved in the production, curating and conservation of digital art, the first phase of the project will consist in an effort to catalogue the region’s digital art collections. In the second phase, drawing on this important body of works, and on the day-to-day engagement of the above-named institutions with the conservation and presentation of digital art, digital art conservation aims to contribute to the theoretical discourse on this issue.
Recent efforts (see the Variable Media Network, IMAP, DOCAM, PACKED and mediaartbase.de among others) have resulted in the articulation of a new theoretical framework and new methods for digital art conservation. The prevailing thesis that new media art is defined by its conceptual content and physical effects to a greater extent than it is by its original materiality will provide the backdrop of the debate. By way of conservation case studies, two international symposia, an itinerant exhibition and a compendium, and with an emphasis on ethical questions, digital art conservation will aim to take the discussion further.
The participation of the Ecole supérieure des arts décoratifs de Strasbourg and the Hochschule der Künste Bern will provide the teaching arm of the project, with workshops discussing the case studies and with the parallel development of a blueprint for a European master’s programme in digital art conservation.
Franz Erhard Walther is unquestionably one of the most influential artists of recent decades. Scarcely any other artist has been able to change the definition of what sculpture can be, with such foresight and consequence as Walther has done. Through his participative objects and textile sculptures, he has subjected the understanding of art and the relationship between art and the observer to a fundamental re-evaluation and amplification. Not least, also through his teaching engagement over many years, he has inspired many contemporary artists. The ZKM | Museum of Contemporary Art is now showing for the first time, in the framework of this year’s central exhibition theme of performativity, a large part of Franz Erhard Walther's »Stride Plinths« accompanied by the complete series of »Stand Pieces« that are presented for the first time along with a selection of early photographs, as well as large-format drawings.
Already in his early photographic works at the end of the 1950s, Franz Erhard Walther began to further the discourse on the definition of sculpture set forth by Marcel Duchamp. The relationship between art, artist, and observer shifted into the focus of artistic creation and the role of the art consumer was questioned by inviting their interaction. Long before artists such as Bruce Nauman, among others, used their own bodies as a sculptural medium, Walther has already put himself and the audience into the work as sculptural »material«.
After completing his studies with K. O. Götz, Franz Erhard Walther set out in 1967 for New York. Just two years later, at an exhibition in New York’s MoMA, he showed his legendary »1. Werksatz« – a 58-part work, that today belongs to the museum’s collection. Fundamentally new in his works of the 1960s was the involvement of the observer, formerly condemned to contemplation only, into the sculptural process. The exhibition visitor was given the possibility of using the works, which were made of textile materials. The artist presented the works in the exhibition as »offers«, which could be unfolded, newly arranged, or stretched in between several visitors. According to this basic concept, the first publication by Franz Erhard Walther was titled »OBJEKTE, benutzen« [OBJECTS, use] (1968). The book, long out of print, will be republished in a new edition on the occasion of the exhibition at ZKM | Museum of Contemporary Art.
The active engagement with an artistic offer, experiencing haptics of fabrics and materials, the responsiveness of one’s own physicality and the resulting action in the room are some of the reasons that Franz Erhard Walther’s work is still today an extraordinary contribution to contemporary art. His work can be seen as a synthesis of Process art, Minimal art, and Conceptual art and stands in dialogue with numerous prominent positions within contemporary art.
The fourth part of the exhibition series »Sensor. Time for Young Approaches« presents Asta Gröting’s work in sculpture, drawing and video art from the Sammlung Landesbank Baden-Württemberg and the Sammlung Grässlin. Since the 1990s, Asta Gröting (*in Herford) is counted among the most outstanding contemporary artists in Germany. Gröting studied at the Academy of Arts Düsseldorf under Klaus Rinke during which period she was also influenced by, among others, Joseph Beuys’ conception of art.
A central motif of Asta Gröting’s work is her “search for pictures that render concealed processes visible”. Since the beginning of the 1990s, following sessions as an observer during postmortem examinations she turned her attention to the inner organic body, before going on to develop sculptures of digestive systems. The combined materials of glass, silicon and wood wool she utilizes in this connection frequently bring forth a relationship of tension with the objects on display. The black silicone of the »Verdauungswege« (1990) is more reminiscent of industrial than biological processes, and on the manufacture of silicone implants, whereas wood wool is also used for stuffing »real« animals and corpses. With its beauty and purity, glass, which is a material Gröting made use of for »Taube« (1997), contrasts with intestines, something commonly perceived as nauseating and repulsive.
In her fragile, transparent sculptures, Asta Gröting orchestrates the relation between inner and outer as a form of dialectic. On extraction from the body, or withdrawal from the organism’s circulation, the intestines become lifeless. They freeze, as it were, not unlike glass at the moment in which it assumes a form.
In Asta Gröting’s work, the representation of the invisible consistently turns on the preoccupation with fundamental social processes. The negative form »Gehäufter Mangel« (1992), a stack of plates without bases, not only pursues a thematic treatment of the functionality of the object in so far as the essential components is missing, but is no less descriptive of the paradox inherent in any attempt to make visible the invisible, and in so doing points to the dual sociological issue surrounding hunger and wastage.
Furthermore, Asta Gröting’s drawings such as »Weinen« (1993) and »Tränen« (1995) evince internal processes, »Der Pawlow’sche Hund« (1995) serving as evidence of classical conditioning.
It was in the video works and performances of the series »The Inner-Voice« produced from 1992 onwards that Gröting was to treat the question of the unconscious aspects of the human psyche. With its inner voice, a ventriloquists dummy holds discussions about all central questions of human life, such as friendship, love, self-knowledge, self-confidence, aging, sickness and death. Gröting points out that when conducting an autopsy during the medieval period physicians would search for the place of soul since it was believed that the soul possessed its own organ. It was the use of ventriloquy that was to transform this search.
Here, Gröting operates as a sculptor of the ventriloquist’s dummy, as director and as scriptwriter. She engages internationally known ventriloquists, and commissions texts to be written by such authors as Tim Etchells and Deborah Levy. The protagonists of her videos originate from various countries and thus lend to the ventriloquist’s dummy no fewer personalities and cultural idiosyncrasies. By including ventriloquism Gröting transgresses the border to cabaret, thus commenting on the ongoing virulent distinction between high and low art. In the dummy’s dialogs with its inner voice, in the comic, embarrassing, at times absurd and revealing situations, Gröting demonstrates the construction of all identities. Influenced by education and cultural convention, the inner voice is the mouthpiece for that which forbids open expression. Much like the digestive organs, what is shown is not something, »per se«, invisible, but has been exiled into a concealed place by the pressure of cultural and social convention.
The ZKM | Media Museum presents the work of Dieter Meier, the multi-talented artist from Zurich, as well as his activity as director of film and video-clips.
Meier’s artistic origins are characterized by radical and absurd-humorous situations, which have inspired him time and time again to direct confrontations with passers-by in public squares: In the Lucerne Art Museum, visitors recorded on a time stamp clock how much time they spent in an empty space. The idea was “(...) that they dedicate one or two minutes of their lives to me”, said Meier. For a photographic project in 1976, Meier fashioned figures out of powder sugar and plasticine, before destroying them shortly afterwards. In the same year, he exhibited 48 imaginary biographies in the Zurich Kunsthaus.
Dieter Meier’s works were characterized by the phenomenon of time; his actions were mostly announced and terminated with bureaucratic precision. The seeming banality and irrationality of many of his actions contrasted with the enhanced attitude of anticipation among the public. And yet Meier consciously created the insignificant, contrasting the desperate search for significance and artistic patterns of meaning with a frenzied and radical »non-meaning«.
By the end of the 1970s, Meier had his fill of »art racing« and, together with Boris Blank, founded the duo YELLO. With pieces such as »The Race« or »Oh Yeah«, he celebrated the succuess of YELLO in the international charts; many of the duo’s pieces were used during the 1980s for TV programs and feature films. In the music videos of YELLO, Dieter Meier’s influence from the early works can be clearly seen: thus, the Plasticine figures Meier refers to as »Lost sculptures« reappear in the video »Pinball Cha Cha« (1982).
One year ago Dieter Meier opened his artistic archive for the first time for the exhibition »en passant« in the Berlin project gallery space Grieder Contemporary. The findings, thought to be partly lost, are now presented at the ZKM in the exhibition »Dieter Meier. Works 1969–2011 and the YELLO Years«, which could be viewed in the Falckenberg Collection in the Deichtorhallen Hamburg in 2011.
Such works as »Naked Lunch« or »The Soft Machine« are what made William S. Burroughs (1914-1997) world famous as an author. Far less known, by contrast, is that Burroughs, as a cross-media artist, also produced a comprehensive, varied body of work that no less experiments with audio tape, film and photography as it does with painting and collages. The comprehensive exhibition »the name is BURROUGHS − Expanded Media« presents the author's artistic output in Germany for the first time. It examines the multiple affiliations between literary and experimental image production, further augmenting the image by way of the representation of »collaborations« Burroughs produced in association with other artists. The exhibition gains additional appeal thanks to a series of works by contemporary international artists who each make unambiguous reference to Burroughs' writings and his method of »expanded media«, and thus, from a present-day perspective, sound out the individual pictorial potential.
The exhibition's goal is to make tangible, in review and for the first time within Europe on such a scale, the visionary volatility of William S. Burroughs' literary output while at the same time showing the impact of his ideas and philosophy on a wider network of authors, musicians, composers, painters, photographers, video artists and filmmakers. Now, at the beginning of the 21st century, Burroughs is more than ever considered – especially owing to the experiments he carried out in the 1960s together with painter, author, inventor Brion Gysin, with mathematician Ian Sommerville and filmmaker Antony Balch − as a pioneer of media art. In this respect, with the exhibition »the name is BURROUGHS − Expanded Media«, the ZKM also reflects the institution's unique mandate and its own history − that it was, indeed, Burroughs, who was awarded the first »Siemens Media Prize« in Karlsruhe, in 1993.
The exhibition »Sound Art. Sound as a Medium of Art« presents for the first time the development of sound art in the 21th century at the ZKM | Media Museum and in a public space. From Futurism to Fluxus, through to Twitter sonifications, the ZKM charts the history of Sound Art during the 20th century. However, focus is placed on contemporary practices: with works from 90 artists from which approximately 30 new productions from recent years will be represented, the visitor gains insights into the unique sound cosmos of contemporary art. The sound world visualizes its own exhibition architecture, and the exhibition visitor himself becomes the generator of sounds.
Visual experience dominates in numerous exhibitions. »Sound Art. Sound as a Medium of Art« emphasizes auditory experience and transforms the visual experience. The visitor is thus provided with the opportunity to become acquainted with an entirely new sound cosmos, which neither radio, film nor the music industry has been able to establish to such an extent.
The Futurist painter and composer Luigi Russolo published the musical manifesto »L'arte dei rumori« in 1913 elevating urban noises to the level of an art. In the 1950s and 1960s representatives of musique concrète and the artists of the Happening and Fluxus movement (from Yoko Ono through to La Monte Young) extended the performative aspect of music; hence, in place of composition there could be randomness, in place of music, silence, in place of an orchestra, the sea and in place of the musician, a horse. In the 1970s and 1980s Industrial Noise influenced even pop music, as well as punk music.
At the same time, loudspeakers became the building blocks of monumental sculptures, light and sound were compressed into mobile immaterial environments, inaudible realities were rendered audible in a synthesis of arts and hearing was gauged again by means of psychoanalytical experiments. Sonifications of information and medial communication, sound environments as well as telematic or medial constellations exert an influence on the present-day multiplicity of creative output. In this connection, those political questions in sound art that lead to critical examination of sound and listening, occupy a central place.
The exhibition »Sound Art. Sound as a Medium of Art« makes new sound perceptions not only experienceable in the museum: passers-by may encounter sounds in the three installations located in the forecourt of the ZKM and five installations in public areas around the city of Karlsruhe. In addition, a selected concert program with outstanding performative projects enriches the exhibition: LaMonte Young, Xenakis, Cage and Ryoji Ikeda are representative of the program’s broad spectrum. The exhibition’s wealth of sounds has also been facilitated by the richness of the archives made accessible to the Karlsruhe public for the first time to this extent. Included are the »unheard avant-garde« from Scandinavia, the Broken Music Archiv from Berlin and curated audiopoints from european archive inventories.
The exhibition series »Sensor. Time for Young Approaches« shows works at short intervals by young artists from collections cooperating with the ZKM | Museum of Contemporary Art. The spatial installation »A-frame« by Michael Beutler, from the Grässlin Collection, St. Georgen, will be on show in the third part of the exhibition series.
In his process-oriented works, Michael Beutler sounds out the relation from within and without as well as the spatial transformation by way of architectonic interventions. He usually works on site starting with each of the respective exhibition situations. With »A-frame« he transforms the exhibition space at the ZKM | Museum of Contemporary Art into an illuminated, coloured tent with walls of hand-crafted paper honeycomb. During the design phase of his work, he often finds inspiration in the situations and architectures that have impressed him when travelling. Thus, »A-frame« is in fact a simple, triangular load bearing construction as applied in house construction. Like its prototype, the spatial construction unfolds a social effect. On the one hand, the tent serves as a site of chance encounters among the exhibition visitors, while on the other, the tables developed for the production of the paper walls are reminiscent of the creation process in which the assistants and colleagues collaborated at Michael Beutler's Berlin gallery.
Dance and performance are fleeting forms of artistic expression. They are situated in the moment of their performance emerging as perceptible to the audience and the participants at the moment of their execution. Through the recording of the moving pictures of film and video, dance and performance are given a performance-independent form, which make the live experience amenable to documentation and conservation, while at the same ideally transferring it into another, new art form.
To supplement the exhibition »Moments. A History of Performance in 10 Acts« at the ZKM | Museum of Contemporary Art running concurrently, the show at the ZKM_Medialounge seeks to present the intention and highly expressive medium of video, which makes the pioneer of performance art and dance visible.
List of works:
- Marina Abramovic / Ulay, »Imponderabilia«, 1977,
00:09:52 min., s/w, mono, Galleria Comunale d’Art Moderna,
- Marina Abramovic, »Freeing the Body«, D, 1976,
00:09:08, s/w, mono
- Marina Abramovic, »Freeing the Memory«, D, 1976,
- Marina Abramovic, »Freeing the Voice«, YU, 1976,
00:14:00, s/w, mono
- Lynn Hershman Leeson, »Bonwit Windows«, USA, 1976,
00:16:00, col, mono
- Lynn Hershman Leeson, »Commercials for New York Hotel Rooms
(Plaza, Chelsea and Y.W.C.A.)«, USA, 00:02:00, s/w, mono
- Lynn Hershman Leeson, »Dante Hotel«, USA, 1972–1973,
00:10:00, s/w, mono
- Lynn Hershman Leeson, »First Person Plural«, USA, 1995,
01:15:00, col, stereo
- Lynn Hershman Leeson, »The Making of 'Conceiving Ada'«, USA, 1997,
00:03:30, col, stereo
- Simone Forti, »An Evening of Dance Constructions«
- Sherrie Ransom, »Take Note – episode #9: Simone Forti«
- Anna Halprin, Ruedi Gerber, »Breath Made Visible. Revolution in
Dance: Anna Halprin«, USA, 2009, 1:40:00, engl. UT, deutsch
- Stefan Römer, »Conceptual Paradise: There is a place for
sophistication«, D, 2005–2007, 1:48:20 (Adrian Piper,
- Trisha Brown, »Early Works 1966–1979«, 1:26:00
- Robert Whitman, »Performances from the 1960s«, 1:13:00
- Robert Rauschenberg, »Open Score: 9 Evenings: Theatre 6
Engineering«,USA, 1966/2007, 00:32:00 (Lucinda Childs,
Deborah Hay,Yvonne Rainer, Robert Rauschenberg, Simone Forti)
- Lynn Hershman Leeson, »WAR! Woman Art Revolution«, 1:21:44
»Moments. A History of Performance in 10 Acts« is an international live exhibition on the history of art performance in dance and fine art. As an exhibition »in progress«, the project shows and develops new formats of museal presentation of live acts. The exhibition begins in an empty exhibition space. During the eight week duration of the exhibition project a scenic act of around ten central stages of dance and performance history unfolded − as witnessed by a group of students invited to accompany and observe for the entire period − before a public. One of the key focal points is the performances and works by women who have consciously been thematizing, transgressing and critiquing the genre boundaries between dance, performance, and visual media since the 1960s. Here, they likewise reflect on the implicit male constructions of the gaze and the gestural logic of their colleagues.
Among others, the artists represented in the exhibition will be Marina Abramović, Graciela Carnevale, Simone Forti, Anna Halprin, Reinhild Hoffmann, Channa Horwitz, Lynn Hershman Leeson, Sanja Iveković, Adrian Piper and Yvonne Rainer. The artists themselves partly document their historical performances in exhibition spaces. Boris Charmatz, in collaboration with colleagues from art and theory, approaches the documented works scenically and develops on-site a live act in a laboratory situation around this central moment of performance history. The artists Ruti Sela will be documenting this artistic approach to the work of their predecessors by way of film documentaries and will produce a film in the actual exhibition context itself. Furthermore new performative methods and actions of art education regarding historical performances will be developed.
The starting point is the interest in the processes of coming to terms with history in so-called enactments of historic performances, but which also comes to expression in the recently erupted controversy surrounding the museal presentability of performances by Joseph Beuys in photographic documentation. This is also reflected in the practice of a younger generation of performers and choreographs, such as in numerous historical appropriations and re-enactments. At the center of this is the ”heroic“ period of the 1960s to the 1980s in which a radical (new) definition of the genres took place in the more intimate dialog between performance movements of fine art and dance.
The exhibition »Moments. A History of Performance in 10 Acts« is composed of four phases, in each of which other actors occupy the exhibition space.
1. Act − Stage and Display (March 8−March 17, 2012)
»Moments. A History of Performance in 10 Acts« breaks with the routines of museal institutions.The exhibition begins with an empty display of ten artistic approaches. The artists of the »heroic« performance generation of the 1960s and 1970s will themselves be installing the exhibition before the public. Public discussions, panel discussions and reenactments will be held alongside the installation. The first phase closes with the actual opening of the exhibition on March 17. The performance »Practice Makes a Master« by Sanja Iveković is reenacted by Sonja Pregrad as part of the opening events and on March 18, at 4 p.m.
2. Re-Act − Interpretative Acquisition in the Art Laboratory (March 18−March 30, 2012)
In a two-week art laboratory of French choreographer Boris Charmatz and some of his selected colleagues of art and science, set up within the exhibition space, they will discuss and develop the strategies and methods of acquisition, and re-interpret the historical performances documented in the exhibition. At the Open Lab on March 30 the results will be presented. The performance evening »Moments« will be given in the theater's studio as part of the cooperation with the Baden Staatstheater on March 31.
workshop with Adrian Piper »The connection between Truth and Goodness: exploring Kant’s Metaethics«, Wed−Fri March 28−30, 2012, 3−4 p.m., ZKM | Museum of Contemporary Art
3. Post-Production − Film Editing (March 31−April 14, 2012)
The artist Ruti Sela will produce a documentary on the Art Laboratory. During the third phase of the exhibition, the display will become the production studio of a performance art film. The film venue is the exhibition itself; its theme is the multiple interaction of the performance history within it. The visitors can follow the film production within the exhibition as it develops. The end of this project phase marks the premiere of the film on April 14.
4. Remembering the Act − Performative Mediation of the Exhibition Process by Artistic Witnesses (April 15−April 29, 2012)
The so-called »witnesses« (students from various international universities) will accompany the exhibition from the beginning. They represent the active mediators of the total process, and themselves become the main actors of the exhibition during the last phase. Their presence weaves and consolidates the chain of presences in this exhibition, which follows a dramaturgy of act, trace, recollection, interpretation, re-act, trace, memory, interpretation, re-re-act. The finnisage on April 28, concludes the fourth phase and also the exhibition itself.
As a cult object and symbol of individual freedom, the car is, par excellence, the medium of mobility that enjoys an exceptional position due to its being available at all times. In the exhibition, the ground floor of the ZKM | Media Museum is transformed into a parking lot for immobile cars as sculptures. From Hans Hollein’s idea of a building constituted of automobiles realized for the first time at the ZKM, via the car as the origin and mirror of processes of general social transformation, for instance, in »Aktion 20.000 km« by HA Schult, through to the reinterpretation of the automobile simply as a mode of transportation to an apparently sentient object such as Olaf Mooij’s »Brain Car« – artistic approaches show in a unique manner the social consequences of the development of the automobile. The first phase in the industrialization of our society was marked by physical mobility, namely, by the material overcoming of spatial and temporal distance. This individual and collective means of transportation was primarily concerned with the conveyance of goods and persons.<br />
The birth of virtual mobility likewise dates back to the industrial age, albeit that it first reached its temporary peak as late as the postindustrial era. The decisive turning point in the transition from physical to virtual mobility was the separation between messenger (body) and message (sign). Traveling signs, bodiless messages, are the insignia of virtual mobility. In this respect, virtual mobility is not only a continuation and extension of physical mobility: ideally, the former should make the latter superfluous.<br />
For this reason, in conjunction with the artistic interpretations of the automobile the exhibition »Car Culture. Media of Mobility« presents, the technical developments which first made possible the mobility of information will also be presented. The technical history of radio technology »from Hertz to Mobile« can be viewed − until January 8th − on the first floor. Until today, the successful radio experiments for the transfer of electromagnetic waves as carried out by Heinrich Hertz at the Technical University of Karlsruhe, in 1886 are considered the nascence of this development. The road, originating in these experiments, through to the installments of cellular mobile radio networks and mobile telephones of the present-day has been long. Both developments are intimately connected with one another, and both originated here in Baden. In Baden-Württemberg, one of the world’s largest automobile manufacturing bases, the ZKM will be using the opportunity of the Automobile Summer to present the worldwide social, artistic and economic ramifications of »Car Culture« from a new perspective and in a large-scale exhibition.
Das ZKM | Zentrum für Kunst und Medientechnologie in Karlsruhe ist eine weltweit einmalige Kulturinstitution, die sich innerhalb der gut zwei Jahrzehnte ihres Bestehens einen internationalen Ruf als Kraftwerk für innovative Ausstellungen, künstlerische Produktionen und transdisziplinäre wissenschaftliche Publikationen erarbeitet hat. 1989 als ein »Museum aller Gattungen und Medien« gegründet, ist es Bürgerforum und internationaler Leuchtturm gleichermaßen und vereint Sammlung, Präsentation, Produktion, Forschung und Entwicklung unter einem Dach. Unter der Leitung von Peter Weibel setzt sich das ZKM in Theorie und Praxis mit den neuen Medien auseinander, erprobt mit Eigenentwicklungen ihr Potential, stellt mögliche Nutzungen exemplarisch vor und setzt sich kritisch mit der Gestaltung der Informationsgesellschaft auseinander.
Neben der weltweit größten Sammlung an interaktiver Medienkunst besitzt das ZKM entsprechend seiner programmatischen Ausrichtung von bedeutenden Künstlerinnen und Künstlern zahlreiche Werke der in der Gründungszeit als »Neue Medien« benannten Gattungen Video und Fotografie. Aber auch die traditionellen künstlerischen Ausdruckformen wie Malerei, Skulptur und Zeichnung von namhaften Kunstschaffenden sind in der ZKM_Sammlung zu finden.
Die Ausstellung »Kraftwerk ZKM« in der Berliner EnBW-Repräsentanz zeigt eine exemplarische Auswahl an Werken aus der Sammlung des ZKM, denen ein spezifischer Impetus an Energie, Dynamik, Kraft und Konzentration zu Eigen ist, der sie mit der Stätte ihrer Präsentation verbindet und deren wichtigstes Charakteristikum sie zugleich symbolisieren. Entsprechend der Bandbreite der innovativen Aktivitäten des ZKM sind neben Werken der bildenden Kunst auch Arbeiten des ZKM | Institut für Musik und Akustik sowie des ZKM | Institut für Bildmedien zu sehen bzw. zu hören. Eine repräsentative Auswahl an Publikationen des ZKM aus den letzten Jahren sowie eine Internetstation runden den Einblick ab und geben die Möglichkeit zur vertiefenden Beschäftigung mit den Aktivitäten des »digitalen Bauhauses« (Heinrich Klotz).
With Zbigniew Rybczyński (*1949) and Gábor Bódy (1946-1985), the exhibition entitled »The State of Image. The Media Pioneers Zbigniew Rybczyński and Gábor Bódy« presents two media pioneers from Poland and Hungary who developed their work in the tradition of the first European avant-garde. Although both of them fully adopted the media technologies of the early 1970s, their gestures are very different.
Zbigniew Rybczyński is the constructivist painter, draftsman and designer: engineer of the new image-time-spaces which he creates. He discovers and developes film, as well as video, as a possibility for producing entirely new space and time experiences. Gábor Bódy by contrast, is the poet, linguist and semiotician – the dramatist. Inspired by French thought, he early on discovered the potential of a poetry of deconstruction which was opened to him by the new media. Like no other of his contemporaries, he explored the quality of a new, private and intimate public, which, for him, is connected with the medium, its way of distribution and perception. As pioneer of experimental film and film language, today Body is considered one of the most important figures of Hungarian cinema. He began working on the first international video journal, the first ten editions of which he was the chief editor, in 1980. »INFERMENTAL« collected the work of over 1500 artists from 36 countries and remained in publication until 1991. It is currently part of the video collection of the ZKM | Karlsruhe.
Taken together, the former editor of the »INFERMENTAL« journal Gábor Bódy and the Oscar Prize Winner of 1983 (»Tango«, 1980), Zbigniew Rybczyński, represent a radical artistic attitude. Both use technology to produce something that, hitherto, had been neither visible nor audible.
“Last century we became accustomed to the idea that the first techno-avant-garde in the arts originated in West Europe and North America. This idea is false. Almost all foundations for the development of electronic image and sound worlds were discovered and invented in the East.” (Siegfried Zielinski)
The exhibition series »Sensor. Time for Young Approaches« shows works at short intervals by young artists from collections cooperating with the ZKM | Museum of Contemporary Art. The second part of the exhibition series features works of art by Isabell Heimerdinger and Markus Sixay from the FER COLLECTION in a dialog.
In her photography and installations, Isabell Heimerdinger (*1963 in Stuttgart) plumbs the borders between authenticity and simulation, fiction and reality, the artificial and the genuine. At the center of her artistic work stand the world of cinema and the medium of film. For some years Heimerdinger has been more intensely occupied with the figure of the actor and the medial staging thereof. Here, she thematizes the dialectic of the pose and »real« expression, of role and identity, emotion and imitation.
In Isabell Heimerdinger’s photographic, filmic, and installative studies, there are often moments of irritation, through which we are – subtly – made aware of our habits of seeing, and we begin to question them. What appears to be real or authentic at first glance proves at closer examination to be a construct, or even a deception. The lamp, for example, in the work »Eclipse« (2001) appears to alight itself; only at a second glance does it become noticeable that the lamp is illuminated by a spotlight. Heimerdinger uses here the technology of film and theater to refer to the optical construction of the projection, which is also the basis of the film and photography media.
The series »Interiors« (1997–2000) shows sets of popular films from the 1950s through the 1980s. The rooms, void of people, evoke the uncanny atmosphere of the film set and thus showcase the staging of the filmic space through the light direction and viewing angle. This allows Heimerdinger to analyze the psychological manipulation through the means of film. With this ambivalence between the fascination for cinema and the exposure of its mechanisms, Isabell Heimerdinger’s works challenge observers to reflect on the medium of film and the ever-present Hollywood culture.
Artist Markus Sixay (*1974 in Langen) explores with his work the possibilities and limits of sculpture through the creation of a frictional and ironic relationship with reality. He borrows from art genres such as concept and context art and leads these approaches ad absurdum through a Dadaist gesture. Irony and verbal-visual play are consistent components of his work. The comprehensive title of a series of video works, »Creating nothing by creating something without creating anything«, could also serve as a motto for his oeuvre.
Although his work appeals more directly to our cognitive abilities than our sensory perception, Sixay affords an important role to the material itself by allowing the medium to transport meaning in his art. The abstract structures and concepts from the areas of economy, philosophy, and sociology often become visible in his works and are thus given »good form«. The materials are taken, at a first glance, from the everyday, »profane« world: plastic straws, TV test images, polyurethane foam, plastic foil, bracing wire, etc. Through the subtle forming of these materials and their refined arrangement, Sixay takes on fundamental philosophical questions and sociological ideas in the form of an artistic paradox.
The exhibition »Sensor« presents works from Markus Sixay created between 2002 and 2005. The apparent »objets trouvés« lay open the structures and processes of reality and thus create a commentary on phenomena of our time. Through their readymade character, the objects display a performative aspect. The conscious and active-productive participation of the observer is required in the creative act of deciphering, quite in the sense of Marcel Duchamp, who thought that the artwork is first completed through the observer. It is, ultimately, up to us to be receptive to the artist’s ideas and to realize the works.
Symbiosis is an art project that deals with the worldwide problem of small arms, which is defined differently – either repressed or fetishized – by individual groups in civil society, but seldom is the problem ultimately analyzed in detail and resolved. The Symbiosis project builds on this idea and aspires to encourage discourse in the private and public sectors in the context of the problem of small arms.
Depending on the respective exhibition site, Symbiosis consists of up to 150 exhibits that at first sight seem to have the characteristics of multiples. Upon closer examination, this impression proves to be a conscious irritation; the objects are revealed as disabled small arms from the Burundi civil war, which have been repurposed as exhibits. From a distance, the serial character of the objects makes visible the industrial dimension of weapons production. Seen close up, however, a completely different picture is created: with small differences, for example, individualizations made by the user, each exhibit shown from behind a white, innocent camouflage tells its own "story," the threads of which run together from various wars, most recently the civil war in Burundi, and from their use as tools of death.
At the close of the exhibition series, the exhibition objects can be purchased for a minimum of 2,500 euros. The revenue from the sales will be donated directly to Caritas projects in Burundi involving care for victims of, and those affected by, the civil war.
Symbiosis is an art project by Peter Zizka and Matthias Rettner.
The exhibition series »Sensor. Time for Young Approaches« shows works at short intervals by young artists from collections cooperating with the ZKM | Museum of Contemporary Art – either as single presentations or in dialog. The exhibition is to be opened with a solo exhibition by Alicja Kwade from the Christian Boros Collection.
In her sculptures, installations and photographs, the sculptress Alicja Kwade (born in Katowice, in 1979) takes up art historical traditions, theories of natural sciences and sociological questions in an entirely fascinating way. Consequently she touches both contemporary cul-tural as well as political and economic themes.
Kwade changes and manipulates the physical properties of materials, thereby evoking the surprise effects which disconcert the value we place on experience, our attitudes and our viewing habits.
The transformation of the simplest everyday objects by way of an elaborate procedure into apparently luxurious artifacts shows our understanding of materials, objects and ideas.
Our ascriptions and perceptions, frequently irrational, are based on cultural patterns, conventions and codes which Kwade undertakes to question with her »counteractions«. “What interests me are those things and phenomena about which one is not in a position to comprehend [...] these concern the abstract, the absurd, the inexplicable and the not-experienceable, but the nevertheless constantly present [...].” (Alicja Kwade)
With the materials she uses, the found pieces and design objects, she also draws on the wealth of forms and ideas of art history: she touches the cosmos of a Marcel Duchamp with his idea of the Readymade. Merging objects and the cancellation of physical attributes are reminiscent of Salvador Dalí and René Magritte. But when viewing Alicja Kwade's clear and minimalist sculptures one may also observe an affinity to Donald Judd and Robert Morris. For this process-oriented further development, Kwade counteracts the aspects of the museal and of conservation, here addressing a fundamental question in the contemporary art world and institutions.
Just as Kwade characterizes all art-historical references as derived more from the unconscious, neither does she wish her work to be reduced to an exclusively natural scientific or philosophic approach. It is rather that she draws on these as building blocks so as to exam-ine the identity of things and their relative significance.
For this »Kohle (Rekord)« (2006) offers a wonderfully complex example: Kwade takes normal commercial coal and produces a bronze mold from it, covers the single briquettes with gold leaf and positions these 'gold bar' blocks on a base. In this case, too, it is the distorted mate-rial codex which points to the immanent values – both on a monetary as well as ideal level. To this are added the (value) transformations that go along with the artistic creative proc-esses, frequently through the incomprehensible attribution of economic values.
All cultural production, whether in art, literature, music or philosophy emerges from within the context of a tradition – even if they finally break with it. In their art, artists make reference to their own works, but far more to that of other artists. The art of last century was frequently oriented towards the worldly connoisseur who would have recognized the artistic references contained in a work. Thanks to his education, he would have grasped the significance of the quotations employed, and thereby have his own knowledge confirmed in the work. During the 20th century, the canon of »quotable« models was extended favoring a multiplicity of model quotes drawn from the full spectrum of the human life world. The quote may be seen as the most important form of appropriation in the artistic creative process.<br />
By way of a selection of characteristic works, the exhibition »The Hirsch–Index. The Art of Quotation« investigates the ways in which artistic creativity and strategies of artists have evolved over the foregoing decades. The question as to models of style, form and motif is shifted to the foreground. As part of the discourse on the claim to originality of works of art and the role of the author, numerous exhibitions took place during the 1970s that dealt with such topics as the original, the after-image, the quote and the copy. In view of a flood of images and the simultaneous intensification of the use of quotation in contemporary art, a new look into this theme seems essential and reasonable.<br />
“A picture is a tapestry of quotations from countless corners of culture.”<br />
(Sherrie Levine)<br />
Here, the concept of the Hirsch-Index in the title of the exhibition derives from science and research: Named after American physicist, Jorge Hirsch, the index is calculated from the intersection of the total number of a scholar's publications and the sum of the quotes from them. The Hirsch-Index thus reproduces the scholar's »value«.<br />
However, in contrast to this method of scientific ranking, the aim of the exhibition is not concerned with investigating how often, for example, Kasimir Malevich's Black Square has been cited in art. The focus of the presentation is far more a presentation of the different modes of artistic appropriation of styles: forms of motifs, the use of materials, of models drawn from popular culture, from the world of commodities, from politics, etc.<br />
Here, the quote as a strategic device is to be understood as part of a critical examination in the historical reception of certain, often stylistically influential situations. What happens to earlier artistic, social or political ideas and objectives which connoted or still connote the work of art? The one of the other icon of modernity runs through several media until finally returning, once again, to the art context both in and with a new work. Here, irony and humor often accompany artists' new, discursive orientations.<br />
The exhibition is organized according to the sources of the quotations drawn from art, design, politics, religion, advertising and consumption, whereby, true to the nature of modern art, there are overlaps. So as to evade one-dimensional readings, the organizers have refrained from designating the various aspects comprising the exhibition. With »The Hirsch–Index. The Art of Quotation«, the visitor is given the opportunity to make new discoveries as well as to revisit familiar works among a fascinating spectrum of pictorial findings.
What happens to media art when the Internet environment for which it was conceived, changes? Can works that were once developed for the PC now be shown on an iPad? The exhibition »Digital Art Works. The Challenges of Conservation« at the ZKM | Media Museum fundamentally explores questions related to collecting, exhibiting, and maintaining computer–based art works and makes the work concerning digital conservation visible.
For a few decades now, digitalization has enabled and simplified the processing and distribution of data; digital data are available on the Internet for all users at all times. Basically, however, the conservation of digital content has been subject to an increasingly rapid adaptation to new technical systems. This circumstance creates uncertainty concerning the sustainability of our cultural memory.
Using ten case studies, within the context of the EU research project »digital art conservation« concepts were developed for the long-term conservation of the type of art works, which have become fragile due to rapidly changing technology. Together with other works from the ZKM collection these ten case studies form the core of »Digital Art Works. The Challenges of Conservation«. The works open up the broad spectrum of problems in the conservation of digital art and point to the necessity of preservation.
Embedded in the didactic supporting program, the art works themselves will stand at the center: classics such as Nam June Paik's Internet Dream or Jeffrey Shaw's The Legible City will be available to visitors of the exhibition as will be the latest computer hackings by the Dutch artist duo Jodi, or the diagram poetry by the French Antoine Schmitt. »Digital Art Works«, then, stays abreast of an art genre that is representative of our age and art form's life of its own both inside and outside of the museum.
The Japanese philosopher, Hiroshi Kawano (*1925), is one of the most important pioneers in the conquest of computer technology for the arts. The ZKM is dedicating a first retrospective to his work. The exhibition comprises numerous works and documents which have never before been presented outside Japan, and draws on the rich Hiroshi Kawano Archive located at the ZKM since 2010. The retrospective emphasizes Kawano's special role in the circle of pioneers in »computer art«: he was neither artist, who discovered the computer as a new production medium and theme, nor engineer who came to art via the new machine, but a philosopher, who left his desk for the computer center to experiment with theoretical models.
As early as September 1964, Kawano published the first Designs he had calculated with the aid of the »OKITAC 5090A computer« at the University of Tokyo in »IBM Review«, a Japanese professional journal. The young philosopher, who was teaching aesthetics at the Metropolitan College of Air Technology at the time, arrived at the information processing machine, the computer, by way of his critical investigations with neo-Kantianism, symbolism, semiotics and, finally, information theory. With the help of this technology, he began exploring the logic of artistic creation through the experimental generation of pictures, poetry, sculptures and music.
Hiroshi Kawano's decision to give his archive to the ZKM was, in part, thanks to a German philosopher who gave him the decisive impulse to bring together aesthetics and computer technology, namely, Max Bense who taught in Stuttgart.
Globalization as a phase in the geo-political transformation of the world is at once a transformation of art – of the conditions of its production, and possibilities of its diffusion and dissemination and presence. At the same time, artists, and above all the institutions of art – large-scale exhibitions, museums, the art market – are faced with questions as to the extent to which the concept »global« can and must be thought – and how this reflects back on its own methods of working. By means of documentary materials and artistic approaches, the exhibition »The Global Contemporary. Art Worlds after 1989« will examine the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception.
This critical analysis of the key institutions and dispositives of the art world seeks to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally creates and reviews its own conditions and parameters. With »The Global Contemporary. Art Worlds after 1989« the ZKM | Karlsruhe, as a utopian »factory« and work place in the best sense of the meaning, itself plans to thematize these conditions, which also influence everyday life beyond the art world: to make the museum itself a site of contemporaneity – a place in which local experiences of time subvert the unity of the new »universal time«.
The conception and design of the exhibition forms part of the research project »Global Art and the Museum (GAM)«, co-initiated by Hans Belting and Peter Weibel at the ZKM in 2006. Over the past two years, a network of protagonists and key institutions within the global art scene was established, which was then consolidated and extended by way of several seminars and conferences in both Karlsruhe and abroad. The ensuing discourse, captured in two publications and an extensive Website, thus constitutes the thematic framework of the exhibition, and through experimental implementation in »The Global Contemporary. Art Worlds after 1989« is then reflected back into the »GAM« project. This academic, experimental examination of the art system, also remains decisive for the exhibition itself. Thus, the exhibition’s self-reflective dimension becomes one of its fundamental features, as underscored by a specially organized residency program and the work on art mediation. To this end, more than twelve international artists have been invited to discuss the issues surrounding »The Global Contemporary. Art Worlds after 1989«, and to help throw critical light on the exhibition’s concepts. This critical discussion will take place in a particular place within the exhibition by the setting up of a »studio« in which visitors, mediators and artists realize artistic-educative projects, workshops and temporary presentations, and thus together help shape and co-author »The Global Contemporary«. Lastly, the critical, scholarly discourse initiated at the inception of the »GAM« project will be pursued throughout the course of the exhibition before being published in a comprehensive catalog.