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.
A darkened room.
Interaction with intelligent machines.
»Scenario« is a world first: an artificially intelligent, 360-degree, 3-D cinematic installation foreshadowing the way we will experience cinema in decades to come.
In this eerie yet beautiful work, the audience encounters five humanoids imprisoned in a concealed labyrinth. They collaborate with the audience to explore possible ways of escape, blocked at every turn by dark sentinels.
This book from respected writer Edward Scheer, with an introduction by pre-eminent theorist, artist and curator Peter Weibel, sheds light on a ground-breaking work directed by new media artist Dennis Del Favero. Scenario was created in collaboration with writer Stephen Sewell, computer scientist Maurice Pagnucco and a multidisciplinary team at the iCinema Centre for Interactive Cinema Research at the University of New South Wales.
Throughout their career, Elmgreen & Dragset have redefined the ways in which art is presented and experienced. In 2006, their »Welfare Show« at the Serpentine Gallery invited viewers to consider societal power structures, including economic disparity, health care, immigration, the increased use of surveillance in public space and the role art plays in society. The duo were awarded a Special Mention at the 2009 Venice Biennale, for »The Collectors«, their highly elaborate and widely acclaimed exhibition for the Danish and Nordic Pavilions, while their 2010 work »Celebrity- The One & the Many« addresses society’s obsession with celebrity culture and its effect on the individual and communities alike.
These projects are documented here in scores of color illustrations, showing how the artists' sculptures and installations reconfigure the familiar with characteristic wit and subversive humor. The book also includes interviews by Elmgreen & Dragset, and with French philosopher Paul Virilio.
Illustrated in color and black and white throughout.
The three outstanding exhibitions featured in this publication form a trilogy: The »Welfare Show« (Bergen Kunsthall, Norway; BAWAG Foundation, Vienna; Serpentine Gallery, London; The Power Plant, Toronto), »The Collectors« (presented at the Danish and Nordic Pavilions at the 53rd Venice Biennale), and »Celebrity – The One & The Many« (ZKM | Museum of Contemporary Art, Karlsruhe). These exhibitions had a significant impact on the culture industry and consequently enjoyed an astounding presence in the media and in the art world. The artists Elmgreen & Dragset are well-known for their critical stance; this finds expression in subtle and shocking artworks full of acuity and wit. While each of the three exhibitions was independently conceived and separately presented, when considered together they form a complex depiction of present-day Western society as seen from a personal perspective. The decline of the welfare state, the accumulation of extreme wealth and growing class distinctions, together with the phenomenon of an increasingly dominant celebrity culture are among the many issues that Elmgreen & Dragset explore in this ‘Trilogy’.
Peter Weibel is an artist, curator, theoretician and CEO of the ZKM | Karlsruhe.
Andreas F. Beitin is Curator and Head of ZKM | Museum of Contemporary Art.
With Global Studies: Mapping Contemporary Art and Culture, the proiect »GAM-Global Art and the Museum« seeks to provide an overview of the institutional and ideological landscape of contemporary art and culture in a global context. In the last decades, the increasing complexity of political, economic, and social relationships worldwide has been shaping the worlds of art and culture, whose institutions often have yet to adapt to new local and global conditions.
Museums, biennials, and diverging art markets take on different roles in different places, while they themselves become the subject matter of a steadily diversifying range of academic disciplines. In this book, case studies on individual artists, regional scenes, and their relations to the global demonstrate the diversity and conflicts within the art worlds and provide an opportunity for interdisciplinary discussion of these issues by historians, cultural studies scholars, and social scientists.
The unusual musical and spatial arrangement of Valerio Sannicandros composition »Ius Lucis« for two ensembles playing in separate rooms sets a double perspective at the centre of its construction.
Two chamber ensembles with different instruments simultaneously perform the palindromic (mirror-like) total score in two separate rooms, and the audience switches from one room to the other after the piece has been played in each. In addition to the playing of the live instrumentalists, the live-electronically processed result of their performance is also made audible.
In both »perspectives« achieved by the spatially separate performances, the music produces a completely different effect, though the loudspeakers repeatedly emit familiar snatches, which then disappear again. This recording of ZKM | Institute for Music and Acoustics represents the distinct spatial arrangement of the musicians and the live-electronic processes through a differentiated stereo and 5.1 panorama.
Die Ausstellung »Car Culture. Medien der Mobilität« und das vorliegende Buch zeigen erstmals die Parallelentwicklung der physischen und virtuellen Mobilität, beziehungsweise Kommunikation, von Hertz bis zum Handy, vom Automobil bis zum Mobilfunk, durch die die Menschen grenzenlos mobil geworden sind.
Mit mehr als 400 Abbildungen und Essays und Textbeiträgen von Thomas Girst, Jürgen Jähnert, Marshall McLuhan, Matthias Penzel, Franz Pichler, Florian Rötzer, Bernhard Schäfers, Peter Sloterdijk, Paul Virilio und Peter Weibel.
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
The original media used by religions were scriptures and books. Today´s religions movements operate predominantly with images that can be produced and distributed by means of electronic picture media, such as video and television, for example, as religious propaganda. The so-called “return of religions” does not necessarily mean that more people having become religious. Instead, religions have moved from the private sphere of personal belief to the public sphere of visual communication. They function as machines for the repetition and mass media distribution of mechanically produced images.
The publication »Medium Religion. Faith. Geopolitics. Art.« provides insight into the medial reproduction and significance of religion, in particular, its manifestations in geopolitical hot spots like the Middle East, Asia, Russia, the U.S., and South America. It comprises scientific contributions by renowned theorists and a documentation of the exhibition.
This book documents a short but intense artistic experiment which took place in Yugoslavia fifty years ago, but whose impact has been felt far beyond that time and place. Ostensibly, the “little-known story” concerns the advent of computers in art and a movement which began in 1961 in Zagreb, Yugoslavia. It was through the activities of that movement, known as New Tendencies and its supporting institution the Galerija suvremene umjetnosti, that the “thinking machine” was adopted as an artistic tool and medium. Pursuing the idea of “art as visual research,” the New Tendencies movement proceeded along a path which led from Concrete and Constructivist art, Op art, and Kinetic art with its dynamic apparatuses to computer-generated graphics, film, and sculpture – from »programmed art« without computers to art generated or controlled by computers.
With their exhibitions and conferences on the theme of computers and visual research and the launch of the multilingual, groundbreaking magazine bit international in 1968, the New Tendencies transformed Zagreb, already one of the most vibrant artistic centers in Yugoslavia, into an international meeting place where artists, engineers, and scientists from both sides of the Iron Curtain gathered around the then-new technology. For a brief moment in time, Zagreb was the epicenter for exploring the aesthetic, scientific, and political potential of the computer.
This volume, edited by Margit Rosen, includes new essays by Jerko Denegri, Darko Fritz, Margit Rosen, and Peter Weibel; a great number of essays and texts that were first published in New Tendencies exhibition catalogs and bit international magazine; and historic documents. Over 650 black-and-white and color illustrations testify to the wide and diverse panorama of artworks that were presented in the exhibitions, and introduce the movement’s protagonists. Many of the historic photographs, translations, and documents are presented here for the first time. The book presents the long overdue history of the New Tendencies experiment and its impact on the art of the twentieth century.
The work of American dancer and choreographer Richard Siegal (*1968 in Laurenburg, North Carolina) combines art, dance theory, and media technology. For years, Siegal was a soloist with William Forsythe at the Frankfurt Ballet, and in 2004 he founded The Bakery, an interdisciplinary platform for research and production. In his performances, he consistently appropriates new combinations of video, electronic music, dance, and interactive compositional techniques. Based on the IF/THEN formula, Siegal’s system of choreography involves the dancers in the creative process in highly ambitious ways.
This DVD uses video and text excerpts to examine his approach to dance. It is unusual in the way that it interweaves experimental movement with online choreography for educational purposes. In this way, new, interdisciplinary, multimedia forms of collaboration are explored in depth.
Availability: Out of print.
Stephan von Huene (1932–2000) gained international acclaim primarily with his sound sculptures. From these beginnings in the sixties, however, he developed a rich, multilayered body of drawings until well into the late nineties. This publication provides a detailed examination of the artist’s sketches, autonomous drawings, prints, collages, and mind maps, and interprets the various functions and contexts of the works on paper. It explains the influences of European and North American art and culture on von Huene’s work, and demonstrates how essential his works on paper were for the conception and design of his sound sculptures. The texts assembled here reflect the lines of thought and working methods of an artist who, as far as his work was concerned, was also a scientist.
„Ästhetische Zustände sind, wenigstens im Prinzip, im gleichen Sinne kosmologischer Natur wie physikalische Zustände. Kunst kann dementsprechend als Eingriff intelligenter Wesen in die physikalischen Zustände kosmologischer Wirklichkeit definiert werden, um ästhetische Zustände zu gewinnen.“
This production with works for viola. Both with and without electronics, created by foremost composers and interpreted by one of the most outstanding contemporary viola players, forms in combination with the brilliant video material a unique conjunction of sound, space and image.
The DVD Study Edition »Record > Again! 40yearsvideoart.de — Part 2« presents 60 outstanding video works by 58 artists and artist groups spanning the years between 1968 and 2008, thus continuing work begun by »40yearsvideoart.de - Part 1« in 2006.
The second edition focuses on the early years of video. Many of the tapes have survived a 25-year period in storage, and thanks to the means of presentation that have meanwhile become available, are now presented here for the first time: since the old equipment has long since become obsolete, the bulk of the video collection was likewise unserviceable.
However, the ZKM | Laboratory for Antiquated Video Systems has devised special equipment for the project, consequently making it possible to digitize over 50 of the different video formats dating from the mid-1960s to the mid-1980s, and to thereby preserve them for posterity.
The resulting footage has a running time of more than 25 hours, and encompasses both old and new works ranging from early art-video recordings of performances, interviews or documentaries on the art scene, to politically motivated works, all of which are presented in this anthology.
The present volume is the second part of the restoration project »40yearsvideoart.de«. The goal was to save video material threatened with disappearance and to rescue forgotten material. The project succeeded in retrieving a large number of videos from the 1960s and 1970s, believed lost, from artists, estates, and museum storerooms; restoring them, and, in many cases, presenting them again for the first time in over thirty years.
This volume presents over fifty early and largely unknown videos, it offers an illustrated history of video techniques, and features discussions on modern restoration practices. In addition, texts by artists, curators, art theorists, and media scholars provide profound insight into one of the most influential genres in twentieth- and twenty-first-century art.