PITT BULL GERMANY
GERMANY 2004 MARTIN BRANDViolence, alcohol, drugs, loss of guidelines – all of this is reflected in the faces of young people projected simultaneously on to a respective wall of the exhibition room via 4 video beamers in this 20 minute long DVD-loop. Mainly young people aged between 13 and 25 years from various social contexts and groups out of Bochum’s scene around the train station are portrayed here. Without any sound this installation draws a picture of adolescents - and thus of a whole generation – whose lives since early childhood has been determined by social and economical discrimination as well as crime, wrecked family, unemployment and homelessness as well as loss of perspective and disillusion.
TING WO SHUO
CHINA 2004 LIU WEI, AMY ZIThis 5 channel video installation is telling the stories of five petitioners from different parts of China. They were collected from more than 20 recorded petitioners, dictated by them, telling their respective petition experiences and life. It reflects a real side of this reforming country, using media to face and listen to the facts that it does not want to face.
GERMANY 2002/2004 BETTINA LOCKEMANN, ELISABETH NEUDÖRFLThe work Deltaville pictures the fictional place Deltaville. The city forms a network in which action in social space is created between architectural points of intersection. In Deltaville this activity happens solely in a computer programme which is depicted textual as a programme code.
SUBURBS OF THE VOID
GERMANY 2004 THOMAS KÖNERWithin several months media artist Thomas Köner has archived more than 2000 pictures of a public observation camera, pointed at a junction in a suburb. The material for “Suburbs of the Void“ was chosen from these pictures. This work is placed within the topics surveillance and internet, however, without turning the view on oppression or control often associated with this surveillance technology.
“Suburbs of the Void“ is a succession of takes of an empty suburb which are subject to a patient and unspectacular observation. We are asked to observe time passing by. The artist depicts alterations in different appearances of light changing a seemingly deserted city before our very eyes: the streetlights beginning to glow, the lights in the windows of shops going out, dawn.
SWITZERLAND 2003 COLLECTIF_FACT“Circus“ deals in a very unusual way with the construction of space. The video work is based on digital photos of a busy square in Geneva that the artists dissembled into layers and subjected to digital animation. The installation shows a constantly moving view of the city that seems to be disintegrating. Set pieces of urban architecture, logos and passersby float inculculably and vertiginously towards the viewers. On the basis of the photographic document of a real city, the artists create a three dimensionality that refers indirectly to the virtual 3D worlds of computer games, while at the same time deconstructing the un-ambiguity and coherence of their spatial order and hyper realistic graphics.
AUSTRIA 2003 ROBERT PRAXMARERIn this installation – originally designed as a video game – the player can slip into the role of a George W. Bush, Osama Bin Laden or Tony Blair and haunt the (game)world with the respective identity. By recording outlines and movements of players via camera and projecting it in real time and size onto the wall, the voluntary players become pieces of the game - their task is either to avoid contact with tanks, submarines or warships of the enemy, to collect oil refineries and Dollar bills or to fight desperate civilians to get to the next level of the game.
On one the hand (t)error depicts the cynical discourse on events and the doubtful motives of the war in Iraq on the other hand the piece of work by Austrian artist Robert Praxmarer is an attempt of critisism on today’s game and media culture, characterised by consumption and fun. Using the medium computer game is an irony in itself. The consumer is actively included into the action through a strong identification with his chosen character and experiences the combination of fun and violence in a much more direct and instant way than with any other medium.
GERMANY 2004 JENS BRANDThe G-Player (Global Player), resembling a radio or a CD-player but instead of playing CDs or records it plays the globe, can be admired in this installation in a GP store with customer service and big world map. On the basis of current data the G-Player calculates the exact flight path of every officially known satellite and transforms their elevation course directly into sound when revolves around the globe thus creating a demonstrable acoustical image of the earth’s surface. In addition to that the G-Player provides information about the names of the chosen satellites, their type, altitude and position.
ELF - ELEKTRONISCHE LEBENSFORMEN
ELF - ELECTRONIC LIFEFORMS
GERMANY 2004 MARTINA HÖFFLIN, PASCAL GLISSMANNThe centre of this installation by Pascal Glissmann and Martina Höfflin - created in the course of the research project “Electronic Life Forms“ – are the light-sensitive “elfs“, small simple mechanical systems operated by solar energy. The “elfs“ are shown in their natural environment as well as locked in a preserving jar. Surprisingly their behaviour has a lot in common with that of natural life forms.
05 MARCH/10:43 PM
GREAT BRITAIN 2004 ANDREA ZAPP05 March/10:43 pm consits of a small-scale suburban model house linked to a computer. Looking through the window into one of the rooms the viewer discovers the live video image of a person, who collapsed on a chair, with a computer screen and web camera running on a table next to him.
The scenery, to some extent reminiscent of a characteristic web cam setting, recalls a recent online incident in which a young man - his avatar being “the Ripper“ - killed himself with an overdose of prescription drugs; at home in front of a net audience and apparently encouraged by fellow users in a chat room.
GERMANY 2003 MATTHIAS FITZThe video sound installation by Matthias Fitz uses the TV as an undiscovered sound instrument by using unstable digital and analogue video signals of generated sequences to explore electromagnetic sound characteristics of a TV valve. In short: certain images create certain sounds. On 4 monitors we can see video sequences matched for this experiment creating an electromagnetic sound composition when intersecting.
SOUND INSTALLATION NO.1
GERMANY 2004 GOH LEE KWANGBy using the “output back to input“ connection, the electronic signal of the home theater amplifier become audioable. The audience are invited to play along with the sound. Following a little instruction, twisted the EQ button, everybody can be a rhythm-maker.
HUNGARY 2003 SZABOLCS KISSPÁLThe flight of birds is unpredictable. If one points the camera towards the sky and pushes the red button, a bird might fly across the image frame in the course of time. It may fly in from any direction and may direct its course to any point in space, but the tape may also run out before the bird appears. The image of the slowly altering clouds remains an infinite yet empty set of possibilities until the vector of a bird's flight traverses it. The event signifies the beginning and the end of the story and marks two distant points in space, that is where the bird has entered and left both the imaginary and the concrete space of the lens' visual pyramid. At this moment the spectacle becomes an event, whereas the image metamorphoses into a fact. The world is the totality of facts not things, as we may have learnt from Wittgenstein, thus the only chance for the creator of the video is to wait until the featured object of the shooting perhaps reappears, like a gift with an inherent possibility for the story to be continued, at the same point where it left, and doomed the visual pyramid to emptyness. The flight of the birds, however, as we are aware, is unpredictable, thus leaving you with only the method as a release from the factual prison of the image. The objective of KissPál’s (1967) videocamera has a maximum picture angle of 110 degrees. This means that the rest of the world, the remaining 210 degrees are always out of sight. When he hits the red button, he usually stays in this invisible part of the world. In spite of this, his concern is to make visible this hidden view by transforming the surface that splits the world in two into a semi-transparent mirror. This is the way he creates a projected image from a captured one, an installation from a recording, as the CCD, the interface between the two worlds becomes sensitive on each side, able to hold both the impressions of the visible and the non-visible. In western tradition there are many ways and attitudes to perform this transformation, from the radicality of the modern to the subversivity of the postmodern. All of them are direct methods in opposition to the indirect inductivity applied for instance by the Zen.
By his efforts to widen the view towards a total picture angle, he tries and achieves an inductive gestuality that captures the existence behind the camera, including the person with his fingers on the red button, and that other person watching the act of recording, thus offering the viewer a simultaneous perception of the framed view that has been recorded and the world behind.“ Maria Marcos
A CAMOUFLAGED QUESTION IN THE AIR
USA 2003/2004 HIROHARU MORIBalloon in the air with a question mark on it...
WORKSHOP 13.-16.01.2005 DAILY FROM 11AM WÜRTTEMBERGISCHER KUNSTVEREIN
MINIMAL GAMES BAR
GERMANY 2002/2004 OLAF VALA workshop to demonstrate to the viewer how pictures, movements, causal coherence and rules can be transformed into wiring diagrams and computer programmes to stimulate a creative and above all active dealing with the medium computer game, on the basis of electronic games with construction and design reduced to a minimum.
“paintOn games” draws on a pocket-sized computer game – cube shaped LEDs are associatively connected to building blocks and can be transformed into individual game modes and constellations over and over again. Games such as “Maze Driver” and “Min Pong” on the other hand recall common movie classics, their simple minimal construction of light diodes and micro-controllers however is much more transparent for the course of game and process than with usual game consoles.
Small electronic games based on light diodes and micro-controllers can be created and played at a long white bar. For these “minimal games” the technical side will be reduced in favour of the creative aspect in constructing the games. There are distinct structures, which fascinate by their uniqueness and might even unfold the poetry of a three-liner. The “minimal games” will tackle pure consumers to deal with computer games in a creative way.
PERFORMANCE 13.-16.01.2005 DAILY FROM 2PM-10PM WÜRTTEMBERGISCHER KUNSTVEREIN
LABORATORY FOR INVESTIGATION OF HUMAN FREEDOM
GERMANY 2005 ANDRÉ HERZER, UWE KASSAI, RUTH SCHEEL, ANDREAS VOGELThe laboratory for investigation of human freedom is an installation/performance and comprises of a seminary room, workstation, archive, reading stations and exhibitions. Is the term “freedom“ an essential value of human aspiration or just a phrase of a multi-option society? The terminology of “freedom“ is not solely damaged as a word of political demagogy and as a promise of the media world. This laboratory sets out to recognise, restrict and repair these damages and also make the term freedom available as an ethical moral dimension. The laboratory for investigation of human freedom unites, gathers, and analyses whatever the laboratory staff and speakers but also viewers and test subjects contribute and add to the topic of freedom. Previously held interviews are being analysed and assessed, added by further interviews and discussions and combined with gathered data and material about the interrelated subject.The didactical task to provide a piece of work that orientates itself by- and to discuss “freedom” with the public in many respects is quintessential here. Not only mediation and achievement of aspects and techniques of freedom are offered to the visitor, though, they are also used as test subjects and material for statistics and test and measuring objects within the work of the laboratory. We try to come together.
PERFORMANCE 13.-16.01.2005 DAILY 4PM-10PM WÜRTTEMBERGISCHER KUNSTVEREIN
FIFS,– THE PEOPLE: “EMOTION DICTATION“ OR “DISCOVERY OF TWOSOMENESS“
GERMANY 2005 AGZ - ANARCHISTISCHE GUMMIZELLE, 5,- DM - FIFS,- DIE MENSCHENThis contribution to the festival 2005 demands activity by the viewers, it wants to include them into performance experience. The centre of the arrangement is interactivity between two protagonists: Felix Popp, a 22 year-old student of economy from Hamburg and a member of the audience. The two persons come together in a room. They probably will not have a lot in common but are subjected to an anticipation of interactivity by the performance situation – partly because of the knowledge of being watched, partly out of their own awareness regarding the artificiality of the situation. The resulting uncertainty remains the only emotion that the two protagonists should be able to control serenely in the few minutes of their joint helplessness. As the course of the performance is not solely in their hands – and yet builds on their twosomeness.
A situation, in which the two “inmates” of the performance room should meet is set in a second room by the remaining members of FIFS and 5 further members of the audience. This happens in the same way as with further selections: the Wilhelm Tell method. The apple is being replaced by situations and emotions on the wall, the hand of a member of the audience functioning as crossbow and the bolt becoming a dart arrow. As soon as the first selection was made the emotion dictation begins and the audience in the second room are made “emotion dictators”.