Since its founding in 1989, the ZKM | Karlsruhe has published over 400 works – books, brochures, online publications, Apps, CDs and DVDs. The publications cover the thematic fields of contemporary art and architecture, media art and technology, music, photography and film, computer and net-art, performance and dance.
Born in Hungary, piano studies in Switzerland, composition studies with the German composers Detlev Müller-Siemens and Wolfgang Rihm – Márton Illés’ extremely self-willed intensity of expression is inspired by many different spheres of influence.
This intensity is reflected in his »Scene polidimensionali« in an exemplary way. To Illés, his tonal lines here symbolize individuals who must interact, run parallel and conflict with each other in imaginary theatrical realms. So the voices communicate on a higher level, sending and receiving infinitesimal signals as if along neural pathways.
Illés places different emphases in his »Torso« cycle. Typical of this cycle are motivic splinters and angular rhythmic particles that are subsumed in a rigorously constructed formal design permeated by lines of fracture.
Despite the highly abstract differentiation, Márton Illés views his music as a response to the world and as the consequence of an intuitive confrontation with its superfluity of enticements and hardships. But dialectically woven into this approach is a withdrawal into Illés’ own 'island of sound'. At root, it conceals a »romantic« approach whose acoustical forms remain fully beholden to the here and now.
Asia on the move, Asia agitated, Asia moving ... the many associations evoked by the title of the exhibition »Move on Asia. Video Art in Asia 2002 to 2012« allude to Asia's increasing significance in global contemporary art. From February 2013 onwards, fifty years alter the emergence-of video art, the exhibition »Move on Asia. Video Art in Asia 2002 to 2012« at ZKM | Karlsruhe will present more than 140 works from 13 Asian countries offering a unique insight into the latest trends in the use of this medium.
While in the course of global change and ever-recurring crises the West still attempts to preserve its economic and cultural dominance, throughout Asia there is a noticeable economic upturn, reflected in a new discourse in contemporary Asian art that cuts across all genres. Its focus is not on upholding and preserving past values, but on regaining, appropriating, reshaping and constantly creating – the guiding principles that have led new Asian art to free itself from its former role models in the West and achieve a new independence. The Asian artists' searching and positioning in a globally networked world transcends all local cultures and can be considered a new move in the interaction between these different cultures. It is Asia's move now, so another reading of the exhibition title would suggest.
Technically generated reflections of our desire for reality have triggered a whole raft of new realities, in Asia, as everywhere else. Hence, artists make experimental use of both self- and prefabricated images, ranging from street scenes shot spontaneously on mobile phones to appealing, high-gloss images from the respective state TV channel. In their works, they document, stage and process the omnipresent iconoclash. In a paradoxical world, their search is for a new position and certainty, combined with the playful or even desperate attempt to preserve traditions while creating their own opposition to the dominant system.
In most Asian countries government censorship has less prevented the production of critical pieces rather their presentation. Not only in communist Vietnam, but also in the new China with its capitalist thrust and in many other countries, exhibitions have to be approved by the authorities who also exert unchallenged censorship over public media. In all these countries the state version of history prevails over actual personal experience and interpretation. The omnipresent power of the authorities combines with pre-emptive self-censorship and multiple attempts to anticipate the works' reception in the Western hemisphere. A potential-way out of this dilemma: highly developed artistic skills that render undesired criticism visible, between the lines as well as in electronic networks, for all to see. This again meets with approval in the West.
Until the new millennium video as an artistic genre was always considered part of the Western world, despite having several Asian protagonists. But over the last two decades there has been a great deal of development in independent video cultures across Asia. While flourishing festivals, biennials and art fairs have made a few selected Asian artist-heroes familiar to a global audience, we must also explore local art scenes and find out about the artists who have not become household names. While the big names boost the fantasy of the global art market, and prices too, a critical creative discourse tends only to evolve underground in these countries.
The selection of works for »Move on Asia« is based on the major eponymous festival of moving digital images in Asia, which began in 2004 and is organized by a network of 20 curators and 40 video artists. The exhibition is a collaborative project with the Alternative Space LOOP in Seoul (Korea) and presents video art from China, Hang Kong, India, Indonesia, Japan, Republic of Korea, Pakistan, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.
In connection with the exhibition there will also be an interactive installation: »Global Fire« was created by Chinese artist Du Zhenjun who is now based in Paris. It features a huge inflated dome in which visitors can hold lighters to heat sensors setting the flags of 200 different nations on fire.
Moreover, the interactive video installation »40+4. Art is not enough! Not enough!« will be on show at the ZKM's Panorama-Labor. A joint venture by curator Davide Quadrio, filmmaker Lothar Spree and video artist Xiaowen Zhu, the work features interviews with 40 artists who live and work in Shanghai, highlighting the role of the artist in his/her immediate context, the social impact oft he artworks, and the effect an international market has on the traditional forms of artistic output. Furthermore Sascha Pohle reflects the conditions of production in the Chinese art copying industry with his work »Reframing the Artist«. The sound dome of ZKM | Institute for Music and Acoustics presents sound works of Shintaro Imai, Hiromi Ishii, Chikashi Miyama, Junya Oikawa, Pei-Yu Shih, Kotoka Suzuki, Kumiko Omura, and Yong-Joon Yang.
In 2007 ZKM | Karlsruhe hosted »New Asian Art. Thermocline of Art«, an exhibition which was curated by Wonil Rhee and dedicated to “discovering a new continent of art”. Six years after that panoramic show, which received great international acclaim, the field of audiovisual arts in Asia demands that we pause once again to recognize new trends and approach the topic in greater depth.
The elements which can be used to change the score and thus influence the music are widespread abstract forms – circles, points, lines, or moving colored patterns. In the 15 different graphic scores, the player can arrange the multiple parts to affect the music immediately. In 1999, »Small Fish« has been created at ZKM as a CD-ROM in the course of the series »digital_arts_edition«. It was produced in a cooperation between the ZKM | Institute for Music and Acoustics and the ZKM | Institute for Visual Media. »Small Fish« is available for iPhone, iPod Touch and iPad since 2011.
Mobile devices, such as iPhone or iPad are used as photographic apparatus. The viewer or user wanders through the real space, looking through his iPhone or iPad into real space. In addition to the real space he sees on the iPhone or iPad screen, there is a globe floating in the air. When revolving 360 degrees in real space, he discovers ten globes in the air. A text is issued from each globe. On top of each globe is a date. Ten globes symbolize the ten decades of the 20th century. The numbers of one hundred years appear on ten globes. The number of a year appears on top of a globe, and for each year the number of political murders by genocide, war, etc. become visible. A drop of blood issues at regular intervals from each of the globes. A voice (in French) accompanies the numbers and pronounces the names of the genocides, wars, etc. What the viewer sees is the real environment; but with the aid of the mobile device you see more. Reality is augmented (with virtual globes, text and numbers).
The viewer, who walks around in real space may wonder why he sees and hears a chronology of genocides, political murders and wars occurring so close to him, not in some remote place, and happening in his own space. The answer could be that he is part of the system he observes; that he is part of the system in which he lives; that the system of which he is part is also part of genocides and wars. His local world is part of the global world. Inseparability is the name of the game. Perhaps, he wonders why natural catastrophes have destroyed only an extremely small number of people, whereas man-made catastrophes have destroyed the lives of millions. What kind of social system is it in which we live that kills two million two hundred thousand people each year?
Concept: Peter Weibel
Programming: Jens Barth
Research: Adam Rafinski
APP GOES ART // ART GOES APP
With the international AppArtAward the ZKM | Center for Art and Media Karlsruhe and its partners award the best art works as an App. The ZKM | Center for Art and Media as cultural institution has been dealing with theory and practice of new media as well as its impact on contemporary art and society since its founding year 1989.
The AppArtAward 2011 took place on the 8th of July, 2011. More than 90 Apps had been submitted from 14 countries. A panel of well-known jury members selected the winners in the three categories „Technical Innovation“, „Artistic Innovation“ and „Junior Prize“.The International Competition awarded a total of EUR 25.000 prize money. The best Apps may be viewed at the ZKM | Media Museum from July 9th, 2011 to January 8th, 2012 as part of the exhibition „CAR CULTURE. Media of Mobility“.
The App for the AppArtAward 2011 which was designed and programmed by Ivo Wessel shows the artists along with the works they submitted, as well as information on the exhibition, the jury, the ZKM | Karlsruhe and its partners of the contest. The App lists evaluations and critical reviews users can write down and send directly from the App.
Concept, design and programming:
Ivo Wessel, Berlin
The ZKM App provides an overview on the ZKM program which is the perfect tool to plan your visit either for the current date or even weeks ahead. You will find extensive information about the current exhibitions and events as well as about the guided tours and workshops offered for all age groups.
The audio/video area offers additional first-hand-information: artists and curators talk about their work and allow a glimpse »behind the scenes«.
Please note: This app is no longer available in the Apple iTunes store
The exhibition »Frédéric Chaubin. CCCP – Cosmic Communist Constructions Photographed« comprises a set of ninety photographs by French publicist Frédéric Chaubin. Over the course of several journeys to Eastern Europe and Asia since 2003, Frédéric Chaubin has been searching for and photographing atypical examples of architecture dating from the late Soviet era. Largely located in regions on the periphery of the former USSR, such buildings are defined by a utopian formal language uncharacteristic of the standard paradigms of Soviet state architecture. According to Chaubin, this sudden flourish in the diversity of shapes during the late 1970s is an expression of the demise in Soviet totalitarian homogeneity. This was a far cry from the prevalent constraints typical of Soviet history – from the vanguards of the 1920s, to 1940s neo-classicism and plain modernism of the 1960s. Assembling his visual subjects according to deliberately subjective approaches, the photographer rigorously maintains the hypothesis of a unique late Soviet style. Based on the notion that a given aesthetics is reflective of a set of ideological assumptions, this language was intent on transforming the world through architecture. Frédéric Chaubin’s deliberate enhancement of the dramatic dimension to these buildings pays homage to the imagination of those non-conformist architects whose structures unite futuristic science fiction and monumentalism. In addition the photographs emphasize the wealth of influence that was cultivated during the period, from local historical legacies to rivalry with the USA. In showing these unique structures, designed at the threshold of two worlds existing beyond the norm, the photographer reveals unexpected signs of the collapse of the Soviet Union. However, in contrast to the prevailing trend in photographic work over the past twenty years, Chaubin’s work is not premised on the documentation of a post-Soviet world in decay, but rather unites those selected buildings in a distinctive visual system that exploits the historical void: a process which underscores the fictional dimension of history.