A stop motion animation from my studio in Berlin 2011 where I disassemble and reuse old ink jet printers to construct new a series of kinetic artworks. Guest starring Joelle and four-month-old Sophia.
Posts Tagged ‘Berlin’
I am tele-participating in a one-week online performance of Google queries at Transmediale 2012 in Berlin. The project, plainly titled, “Google,” is organized by Johannes P. Osterhoff and will run from Jan 30 to Feb 5, 2012. Each participant edits the search method for their browser search bar so that everything they type in this box, from the personal to the mundane, becomes instantly visible at google-performance.org.
The project (“manifesto” below) makes public what Facebook, Google, and any online search engine, crowdsourcing website, or social network already does by harvesting searches from users, and re-representing that data in a new context. While Google uses these queries to build and sell condensed user demographic data to advertisers, Osterhoff’s project asks, who actually owns your search data?
We shall do an one-week performance piece.
The piece is called “Google” and documents all searches we perform withthe search engine of the same name.
The performance shall take place during transmediale 2012 and shall start on Monday, January 30 and shall end on Sunday, February 5, 2012.
We shall not use undocumented ways to use the search engine Google during this time.
Each of our search queries shall create a web page that is indexed by this search engine and thus makes our searches publicly available as search results for everybody.
Finally finding time to edit documentation from A Single Composite exhibition this summer in Berlin.
A Single Composite is a series of kinetic installations and projection apparatuses that stretch, twist, and loop film strips containing declassified and other found reconnaissance footage. Using reconstituted digital printer chassis, this cinematic enterprise is projected on walls, ceilings, and floors, to form a series of individual moments of surveillance and implied violence.
Through A Glass Darkly will be included in an international exhibition next month in Berlin, Germany.
Keine Z E I T / No TIME
Time phenomena. Phenomena of time.
The fourth international, interdisciplinary and topic centered exhibition of G.A.S-station.
48 Positiones out of science, art and literature.
Erik Andersen (Ger), video – Ewelina Aleksandrowicz, Andrzej Wojtas (UK), video – Elisa Asenbaum (A), video/installation – Thomas Bedürftig (Ger), science – Axel H. Bertram (Ger), video – Hubert Blanz (Ger), video – Thomas Born (Ger), fine art – Udo R. Bruening (Ger), performance – Amandine Crozat (FR), fotografie – Franz Embacher (A), science – Oliver Feigl (Ger), video – Volker Frechen (Ger), audio installation – Peter Funken (Ger), publicist – Bruno Goosse (BE), video – John Greiner (US), literature – Stephan Groß (Ger), video – Marion Habringer, E. Asenbaum (A), installation – Heiko Hecht (Ger), science – Anna Elisa Heine (Ger), literature, lecture – Batya Horn, Edition Splitter (A), literature – Helen Acosta Iglesias (ES), installation, – IMAGO e.V., Anne-Katrein Maschke, Ina Krauß (Ger), fashion, performance – Britta M. Ischka (A), video – Grace Kim (US), video – Ina Krauß (Ger), audio-collage – Renate Krätschmer, Elli Schnitzer (A), installation – Till Kreutzer (Ger), science – Verena Kuni (Ger), webproject, lecture – Anna Maria Kursawe (Ger), painting – Team K.U.SCH. (A), video – Wolfgang Marktl (A), science – Owen Mundy (US), video – Wolfgang Neipl (A), video – Julia Nuss (Ger), fine art – Jerzy Olek (PL), fine art, video – Herbert Pietschmann (A), science – Arnold Reinthaler (A), fine art – Hartmut Rosa (Ger), science – Miriam Schwedt (Ger), fotografie – Christiane Spatt (A), fotoinstallation – Renée Stieger (A), installation – Ralf Tekaat (Ger), drawing – Guichard Thibaud (FR), performance – Tomax (A), installation – Mirko Tzotschew (Ger), fotografie – Burchard Vossmann (Ger), fine art – Gisela Weimann (Ger), literature, reading – Peter Whittenberger (US), video
Vernissage: October 7th 2011 – 7 pm
Exhibition: October 8th 2011 until Februar 4th 2012
Berlin: Thomas STUCK, Fon: 030 221 609 312 Mov: 0160 995 78 158
Vienna: Elisa ASENBAUM, Fon: 0043 1 533 56 77
This week I am installing an ambitious new project in a quaint and friendly space called bauer&ewald located in Kreuzberg / Neuköln (Berlin) opening on May 7 until the end of June. There will be a party on the evening of the opening day. Please come if you are in town.
A Single Composite
May 7–June 24
Vernissage (opening): May 7, 19:00+
Finissage (closing): June 23, 19:00+
“Nothing now distinguishes the function of the weapon and the eye; the projectile’s image and the image’s projectile form a single composite.”
—Paul Virilio in “War & Cinema”
A Single Composite is a kinetic installation and multi-projection/viewing apparatus consisting of one 100cm wide film strip stretched, twisted, and looped through multiple spaces by reconstituted digital printer chassis. This cinematic enterprise, a sprawling film through which declassified and other found reconnaissance footage is projected on walls, ceilings, and floors, forms a series of individual moments of surveillance and implied violence.
u8 schönleinstraße, u7/u8 hermannplatz
Öffnungszeiten (open hours):
Mo-Sa ab 18:00, So ab 16:00
jeweils bis spätnachts (until late)
April 28, 19:00–21:00
Berliner Technische Kunsthochschule BTK
Bernburger Straße 24–25
Last weekend I took part in Random Hacks of Kindness an international hackathon dedicated to creating useful systems to respond to critical global challenges. I met with other programmers at the Betahaus in Berlin and worked with Tim Schwartz and Mikkel Gravgaard on Google Person Finder a searchable database of missing persons that helps people find loved ones during disasters. It was used during the 2010 Haiti and Chilean Earthquakes and is developed by volunteers and employees of Google.
This week I have been enjoying the blurred images of German buildings whose owners have chosen to opt-out of Google Street View. Infamous moments in the country’s history have led Germans to take privacy very seriously; especially when it comes to information about their residences. Unlike the United States, where data privacy is an opt-out option, Germany law states that, “citizens must opt-in to have their data collected in any way.” (1). In fact, there is a document detailing the rights of the “data subject” in the German Federal Data Protection Act which serves “to protect the individual against his right to privacy being impaired through the handling of his personal data.”
An even more powerful gesture are the very public images that have resulted from this protection. While they serve a specific function—to obscure identifying aspects of buildings, faces, etc.—they also communicate very effectively the message that individuals should have the right to decide how their data is used. This gets to the heart of the Give Me My Data app—to prompt this sort of discussion. It is then ironic that Google, a company whose revenue is based almost completely on advertising opportunities made possible by aggregating and re-representing data, has inadvertently brought us this message.
I was excited to find my own apartment building in Berlin has been removed.
Another building down the street
Helge Denker, a reporter with the German daily, Das Bild, has found a clever way to opt-out.