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.
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.
Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.
Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
Frédéric Chaubin’s »Cosmic Communist Constructions Photographed« was elected best book on architecture of the year 2010 by the International Artbook and Film Festival in Perpignan/France (Festival International du Livre d’Art & du Film Perpignan).
An acht Wochenenden wurden im ZKM I Zentrum für Kunst und Medientechnologie in Karlsruhe im Rahmen der Ausstellung »Konversationskunst« von Kurd Alsleben und Antje Eske insgesamt 15 offiziöse Konversationen unter Besuchern, Freundinnen, und Freunden gehalten. Konversationskunst ist das gemeinsame künstlerische Gestalten gemeinsamen gesamtsensorischen Umgangs. Fälle alter Konversationskunst gehen bis in die Antike (»ars sermonis«) zurück. Offiziös meint ein Consort mit interessanter Mischung aus konversen und harmonischen Momenten und einem Umfang persönlichen Kontaktes. Die Beteiligten sind wohl von Antwortnot getragen, aber es werden keine Erkenntnisse oder Problemlösungen gesucht. In diesen Kunstaffairen wurden deshalb auch keine Themenpläne abgehandelt, sondern thematische Anregungen und Spiele eingebracht. Der Austausch führt nicht zu konkreten Ergebnissen, sondern erzeugt durch regelmäßige Wiederholung kulturellen Humus. Solch ein methodisches Vorgehen fördert eine neue Kulturtechnik. Die indoktrinierende Herrschaft der Semantik des Jahrzehnte währenden Human-Computer-lnteraction-Paradigmas (HCI) wurde durch das explosionsartig aufgetretene Social Web aufgehoben. Anders als im Zeitalter der Massenmedien kommen durch das Internet Menschen miteinander ins Gespräch. Das bedeutet für die Künste, wegen ihrer essenziellen kommunikativen Mensch-Mensch-Beziehung, eine entscheidende Befreiung des Denkens und Fühlens. Im Konservatorium in Karlsruhe wurde nach bestehenden oder vorgestellten Beziehungen zwischen Künsten und Social Web gefragt. Das Buch nennt Befunde, Reflexionen und Konsequenzen.
In 1981/1982 the French composer Luc Ferrari produced the radio play »Jetzt – oder wahrscheinlich ist dies mein Alltag, in der Verwirrung der Orte und der Augenblicke« [»NOW – or Probably This Is My Everyday Life in the Confusion of Places and Moments«] with the Hessischer Rundfunk.
Like other earlier radio plays of Ferrari, »JETZT« as »radio play on the radio play« is a special case between music, radiophonic art and narrative radio play. The dialogues between Luc Ferrari and his wife Brunhild Ferrari, between German and French, between the places of origin of the used recordings as well as the different process stages of the radio play are unique and characteristic. Ferrari recorded everything live on tape – his arrival at the airport of Frankfurt, the setting up of the microphone, the conversations about how to proceed and about the content of the radio play – and interwove everything with recordings of the musical quartet Vivant Quartet de Narbonne. The autobiographical traces are artistically, playfully and cleverly interspersed with profound philosophical questions.
In the series ZKM milestones, Ferrari’s radio play »JETZT« is presented unabridged on CD for the first time. The accompanying CD of materials includes audio documents that shed light on his artistic work in very different ways: The excerpts from a lecture by Luc Ferrari on his view of the radio play constitute a presentation resembling a radio play. “Ferrari (r)écouté”, a competition organized by the ZKM in cooperation with hr2-kultur, presents new works based on the »JETZT« materials by Tiziana Bertoncini, Antje Vowinckel, Frank Niehusmann, David Fenech, and Neele Hülcker.
“An innovative survey of moments of life which invites the listener to stay: Life is »now«, we are living now.” (Declaration of the jury for the German Record Critics' Award – Quaterly List of Best Recordings 2/2012: Nikolaus Gatter / Heinz Zietsch)
PART I (77 min)
Gespräche zwischen Ost und West 3 min
Der Dämon in Berlin 28 min
Either / Or in Chinatown 37 min
De occulta philosophia 3 min
Dancing Eurynome 3 min
Novalis: Walzer 3 min
PART II (61 min)
Die Geisel 22 min
Die Geschwister 27 min
Theory of Cosmetics 12 min
Between 1980 and 1997, artists presented a panoply of exhibitions, Installations, performances, and concerts, and engaged in lively debate on art theory, at Het Apollohuis in Eindhoven, the Netherlands. Under the direction of founders Paul and Hélène Panhuysen, the building became an important center for an avant-garde that bridged the v1sual arts and mus1c. Since 2009, the archives of Het Apollohuis have been located at ZKM in Karlsruhe, where scholars are examining, documenting, and preserving this valuable store of sound, text, and pictorial materials.
This edition presents excerpts from previously unpublished concert and performance recordings of important artists who appeared during the lifespan of Het Apollohuis.
Das intermediale Werk, das nicht aus Einzelbildern, sondern aus Bild-Sequenzen, Feldern und Räumen besteht, ist das sichtbare, hörbare und lesbare Ergebnis von ästhetischen Feldforschungen und kreativen Interventionen, die Michael Weisser ab seinem Studium der Kunst im Jahr 1968 bis zum Jahr 2011 realisiert hat.
Im Jahr 2008 übernahm das ZKM | Zentrum für Kunst und Medientechnologie in Karlsruhe das künstlerische Gesamtwerk von Michael Weisser als Beispiel für die Verbindung der Medien Bild, Klang und Wort auf der Grenze von analog zu digital.
Ausgewählte Aussagen von Fachleuten aus Kunst, Kultur, Forschung, Lehre und Politik geben am Ende dieses sorgsam komponierten und in sich vielfach vernetzten, poetischen und zugleich informativen Bild-Text-Buches den gewollt fragmentarischen Eindruck über den Künstler und dessen komplexes Oeuvre, das als „Hyper:Inventar” professionell aufbereitet und als Web-Archiv www.MikeWeisser.de global präsent ist.
„Seit vier Jahrzehnten ist Michael Weisser einer der vielseitigsten Kreativen unserer Zeit; sein Werk changiert zwischen Kunst und Design, Computer generierten Images und Fotografie, Computer generierten Sounds und weltweit aufgenommenen Klängen, zwischen schnell geäußerten Statements und gedruckten Romanen, kurzfristigen Emanationen und unverrückbar fixierter Kunst am Bau. Schon früh stellten Zeitgenossen fest, dass für diese komplexe Arbeitsweise ein klassischer Begriff des Künstlers und der Schaffung von Kunstwerken nicht mehr zutrifft.”
– Prof. Dr. Rolf Sachsse, Medientheoretiker und Kurator, Bonn 2011.
This monograph is the first to be dedicated tot he radical sculptural oeuvre by the almost forgotten American artist Bill Bollinger (1939 - 1988).
Essays by Christiane Meyer-Stoll, Saul Ostrow, Harris Rosenstein and Peter Schjeldahl complement the artist´s own writings, as well as thoughts and recollections of him by Deedee Agee, Carl Andre, Siah Armajani, Brit Bunkley, Ernst Caramelle, David Chittick, Fran Cohen, Dale Culleton, Ellen Ellison, Rafael Ferrer, Robert Grosvenor, Robert Huot, Klaus Kertess, Gary Kuehn, Dorothy Lichtenstein, Egidio Marzona, Robert Mattson, Olaf Metzel, Paul Mogensen, David Novros, Rolf Ricke, Dorothea Rockburne, Wade Saunders, Roman Signer, Keith Sonnier, Barbara Toll, Marcia Tucker, and George Knight Wilson. The publication contains a detailed and lavishly illustrated history of Bollinger´s exhibitions, including photographs published here for the first time, along with a wealth of contemporary documents. Color reproductions of selected drawings and images of the exhibition provide additional insight into this virtually unknown oeuvre.
In the late 1960s, Bill Bollinger ranked among the most important sculptors of his day, on a par with Bruce Nauman, Robert Smithson, Eva Hesse, and Richard Serra. After graduating from Rhode Island´s renowned Brown University with a degree in aeronautics, Bollinger moved to New York in 1961 to study painting. He participated in now legendary exhibitions and produced a compact, wide-ranging body of work that ist purist, ephemeral and full of energy; these works still deliver an astonishing impact. In the mid-1970s, he disappeared from the radar screen of the art world.
"I just do what´s sufficient … there´s no reason to color or polish or bend or weld, if it isn´t necessary." Bill Bollinger, 1968