We, The Enemy
The festival’s exhibition explores the debate about the topic of »big data«. What is striking, however, is the plethora and scope of the artistic positions that explore mass digital surveillance, which knows no boundaries, and that, for a long time now, have scrutinised the relationships between power, business, art, the individual and social life.
The Exhibition at Kunsthalle Osnabrück will be displayed until 25 May, 2014.
Opening hours of the Kunsthalle:
Tue: 13 - 18 h
Wed - Fri: 11 - 18 h
Sat & Sun: 10 - 18 h
Just two video images represent the movement of a police helicopter hovering in the air. The concurrence of movement and stasis of the helicopter crew, which controls itself with flying eyes, can hardly be represented in a more elegant yet captivating manner.
Under surveillance | under the radar
Christoph Wachter & Mathias Jud
Installations and wall drawings shed light on how control and surveillance by the police and secret services, culminating in censorship, function. These are juxtaposed against campaigns that take place “under the radar”, as in their project qaul.net: a comprehensible, independent, decentralised and open communication principle also employed by activists.
The Shy Camera
The Shy Camera is an interactive installation: a surveillance camera is mounted to the ceiling. It moves around its axis and constantly tries to avoid people. If someone manages to enter into its field of sight the video signal, which is transmitted to a screen nearby, is automatically interrupted.
The Situation Room
Franz Reimer exhibits a walk-in, backdrop-like replica of the White House Situation Room that went round the world in the press image as an icon of the killing of Osama Bin Laden. Whilst the US government was able to watch Bin Laden’s death on the screen, visitors to the installation can now recognise themselves as viewers of the supposed, but not visible, killing. The installation broaches the issue of bearing witness and the complicity thus transferred to it.
I Thought I Was Seeing Convicts
Images from the maximum-security prison in Corcoran, California. The surveillance camera shows a pie-shaped segment: a concrete-paved yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend a half an hour a day. A convict attacks another, upon which those uninvolved lay themselves flat on the ground, their arms over their heads. They know what comes now: the guard will call out a warning and then fire rubber bullets. If the convicts do not stop fighting now, the guard will shoot for real. The picures are silent, the trail of gun smoke drifts across the picture. The camera and the gun are right next to each other. The field of vision and the gun viewfinder fall together.
#1 City TV
untitled (NSA Field Station, Berlin, Teufelsberg #05)
In a very sober manner and without any appearance of sentimentality, Frank Thiel’s photographs capture the technical infrastructure of control devices and their transitory nature within the urban landscape of Berlin. He explores the ever-changing dialectic relationships between power, ideology and aesthetics, without surrendering to the attraction of the morbid.
Repp visualises the branching of tweets containing the word “killed” in a short time frame following the attacks on the Boston Marathon. Many Twitter users considered a message supposedly posted by one of the assassins to be authentic (“I will kill all of you, you killed my brother”), they reposted it and drew up a profile of the offender that was created against a completely fake background. “Big” media disseminated it across the country nonetheless.
Goldbach condenses the appearance of global, faceless but effective power systems: ten cloned men in uniform outfits perform the rituals of worldwide business in the sterile surroundings of absolutely identical luxury hotels: meetings, waiting time, self-optimisation, power games. With a punched-out appearance, the de-individualised elite live in the iconography of comprehensively designed reality.
black hole / first light
For several years now, Kuball has concerned himself with Plato in a series of installations. Plato’s Allegory of the Cave is the point of origin of his spaces of experience created by light and projection, which he elegantly combines with perceptual and epistemological considerations. To these considerations he adds the debate about cosmic black holes, the “event horizon” of which raises crucial questions, based on quantum theory and the theory of relativity, about our understanding of the world. The copies/images of a reality, multiply distorted by moving foils, reflections, and the creation of light and shadow, are investigated in terms of content and reality itself. Does the term ‘reality’ continue to serve as the imagined place of the subject, as a setting, or is everything sidestepped for the media? Has the light, as a metaphor for elucidation, already been swallowed up by the event horizon, or does it emanate from it?
In Light of the Arc
The two-channel installation depicts the new stock exchange building in the booming Special Economic Zone of Shenzhen, the city with the highest per capita income in China. He contrasts the aesthetics of the outer façade of the building and the interior fittings being installed with thoughts of the high-flown terminology and technical language of stock exchange trading. Detached from the material conditions for producing goods traded on the stock exchange, food, raw materials or company shares, abstract terms such as liquidity and risk are completely unable to capture the reality of business.
At the self-check of his artist role, Walenzyk makes use of mascarade, overstating, transformation. Line by line with plaster and brush, with black and white, reduced to the essential means of expression, in this performance the natural countenance slowly emerges.
5000 Feet is the Best
The re-enacted interview in which a drone pilot describes his day-to-day work in his Nevada control centre and the psychological problems resulting from the deployments is interrupted by bizarre, meandering scenes. An ambiguous combination of memory and fiction, fact and imagination gambols around the fluid cross-over between documentation and staging.
HOW NOT TO BE SEEN: A Fucking Didactic Educational .Mov File
Hito Steyerl is concerned with the aesthetics of resistance and the linking of documentary forms and socio-political power structures. She asks whether it is still possible not to be seen or how to protect oneself from satellite tracking and data tracking, and puts forward absurdly comical proposals on how to develop subversive strategies of concealment through camouflage, by misleading the flying cameras or by achieving digital invisibility.
Low Definition Control - Malfunctions #0
In his film, Michael Palm thinks intensely about the implications of the increasing technical mechanisation of perception in public space. This he does by piecing together a theory from fragments of everyday scenes alienated again and again by exaggeration. “Low Definition Control” is science fiction in the literal sense – a visionary anticipation of biopolitical processes that began long ago in which technology engraves itself in human behaviour to such an extent that a disciplinarian and control society is able at some point to give way to a society of disembodied, predictable interface subjects.
Arash T. Riahi & Arman T. Riahi
The web blog “Everyday Rebellion” continuously documents the diversity and inventiveness of all kinds of international protest movements. Across the world, activists think up creative tactics of non-violent resistance, witty campaigns, effective swarm events and headline-grabbing protest marches. “Everyday Rebellion” collects the activities of the civil, peaceful campaign against dictators, tyranny and corruption, for democracy, transparency and economic self-determination. It also gives cross-media tips on how to gain more widespread support.
While dipping his face into liquid wax, Markus Walenzyk is building up a mask, layer by layer. The wax layering on his face changes his appearance and makes it more and more difficult for him to breath. Gradually, a portrait of a man arises that is reminiscent of a death mask as well as a timeless marble image of a classic ancient figure.
Sissel Marie Tonn
Machar investigates the complexities of human interaction as mediated through a screen. Reflecting upon recent reports on PTSD among drone operators, the work questions how we perceive others when they are mediated through a screen. The artist re-enacts the voyeuristic and mundane viewing of the operators and thus investigates the complexities of the engagement and affective reactions to what is displayed on the screen.
Artemenko humorously supports activists and demonstrators with the development of a compact protest kit, a multifunctional backpack for spontaneous campaigning: pens and a demonstration placard for the colourful protest poster, an umbrella and awning to shield the protestor from the vagaries of the weather, a stool and cushions for activism breaks, and a first-aid kit for emergency treatment.
In her installation, Anke Eckardt employs ultrasonic loudspeakers used by the military and the police to repel potential aggressors. Visitors to the exhibition are invited to move the highly concentrated ultrasonic beam across the room using a swivel reflector resembling a large radar screen. If the beam hits a solid surface, this in turn reflects the sound, meaning that the source of the sound can no longer be located. The sound consists of fast beats, whistling noises and technical sounds admonishing us to exercise control, order and discipline.
The Decelerator Helmet
The Decelerator Helmet offers a perception of the world in slow motion. Floating time as an apparently invariant constant is broken and subject to the user’s control. The helmet works as a “reflection bubble” in which the relations between sensory perception, environment and corporeality are disputed.
The “Paranoid Home“ is the perfect place for people in great need of safety. Gun barrels protrude from small hatches of the dodecahedron, enabling defence in all directions at any time. The “Paranoid Home” was created for an exhibition on the grounds of the former US Embassy in Düsseldorf.
(-1 MinusEins Medienlabor)
The Google Trilogy
When the driver of the vehicle taking the images suddenly stares into the camera in Google Street View, when absurd scenes, incidents and inconsistencies flare up on the streets and in front of façades, or when malfunctions overlay images with cascades of colour: the “glitches”, faulty pulses, breakdowns and hitches revealed in The Google Trilogy are a sign of the, as yet, limited power of these devices. “Courtesy the artist and Jarach Gallery, Venice”
Tue - Fri: 14 - 18 h, Sat: 11 - 16 h
Can you see the wind when it blows
In the exhibition, Langkamp concentrates a number of videos into a visual showcase of his previous creations. His video sketches are short, bewildering trips into the world of another kind of seeing with quiet, poetic eye-openers. In the process, the camera is often the chief character; it is pressed between lift doors, attached to drills or sent flying through the room using adhesive tape. By taking an ironic look at reality or conjuring up small wonders of perception by shifting perspectives from everyday contexts, Langkamp literally turns ways of seeing upside down, and questions our visual vocabulary.
Opening hours: Tue - Sun: 9.00 - 18.30 h
Eye could see
Nora Peters concerns herself with seeing and being seen. Over the five-day festival, visitors’ irises will be photographed and transmitted to an old electronic knitting machine using a new technique. The recorded eye images appear on a knitted tapestry that gets longer and longer. Not only do they establish an area of conflict between art and the beholder, they also refer to the fact that observation results in a kind of acquisition. In this case in fact, the acquisition of something very personal – after all, the human iris is distinct and unique.
Mobile Botschaft Kompostaat
The state of “Botschaft Kompostaat“ was founded in Mönchengladbach on September 3, 2011. One of the ideas behind it was to foster autonomy and self-sufficiency. The idea of the “Botschaft Kompostaat“ lives on at various places in the form of messages. Vistors can have a passport issued there, enabling them to gain an additional nationality that is valid for one hundred years.
(-1 MinusEins Medienlabor)
For a period of 10 seconds, a 3D-Body-scanner captures human movements. This data was prepared for 3D-printing, but is just realized as a 2D-print. Thereby the sequence of the movement resolves into the simultaneity of all layers.
(-1 MinusEins Medienlabor)
Evolution of Silence
Evolution of Silence portrays a virtual world populated by artificial sonic creatures. Each creature produces a tone defined by its DNA. These creatures, visually represented by beams of light inside a holographic projection, procreate driven by an evolutionary algorithm. Thus the sonic population evolves in a self-harmonising soundscape.
The installation called "Scanner Lines“, modified for exhibition in the tower, lets the observer take central stage. He is confronted with his reflection and shadows, whilst white lines of light appear to scan both the person and his environment. Accompanied by mechanical sounds, abstract forms construct an ever-changing composition that keeps on disintegrating and reforming.
The interactive sound installation “sound light“ attempts to connect the analog and the digital. It deals with the transformation and manipulation of data. The medium (in this case sound) passes through a wide variety of physical states. It consists of various hanging lamps and a base station. Each of the lamps contains its own particular sound or noise, which are transmitted over the respective light of the lamp.
Nothing to Hide
Hochschule Osnabrück Media & Interaction Design
Osnabrück University of Applied Sciences presents a selection of projects by students pursuing Media & Interaction Design and Media Information Technology. The projects take all kinds of perspectives on the topic Nothing to Hide, they’re critical, exorbitant, explanatory, humorous – and, of course, interactive. Animation films, mapping projects and installation works can be viewed and played with. Visitors can experience what happens when their mobile phones awake. They can have their mobile phones scanned, and are themselves scanned, too. There’s a forest with a deer, a bollard with a life of its own, a room that undergoes a transformation, and easily comprehensible information about personalised advertising and Facebook. And the smokers outside, in front of the door, are illuminated, drawing attention to themselves.
Stimmmaler - Paint with your Voice
Benjamin Böhm, Julian Hermann, Tim Rizzo, Manfred Liedtke, Prof. Anja Stöffler, Jochen Huber
The interactive installation "Stimmmaler – Paint with your Voice" invites visitors to paint onto a projected screen with their own voice. In doing so, the visitor interacts with an augmented megaphone that controls the brush on the virtual screen.
Genre and comedy
Filmprogramme FH Mainz
The factors of time and interaction take on a central creative dimension in the audiovisual media of film and television. Animations, shorts and documentary films are presented by Mainz University of Applied Sciences in three film programmes over the course of the festival. What I can never express! Sweet things and 40 grams of pork sausage take centre stage, the result of a general anaesthetic and risky memory. Till we meet again!
Vinyl records are layered by the hundreds as stalactites and stalagmites. Each single record has an audio file as its counterpart. Huge sculptural sound archives which arange music and noise in a completely new way. All the records were processed in a DIY CNC milling machine: the “technofaktur“ is able to record sound while milling the vinyl records.
Macintalk - A Mac in dialogue with itself
Erik Freydank & Kevin Röhl
Within a media critical experiment, we transfer personality and human attitude to a computer. Tim Macintalk is communicating with itself and its environment via internal functions of voice response and speech recognition. Therefore Tim is simulating human workflows such as writing e-mails, using programs and entering social networks.