Elektronisk kunst, holografi og videokunst

Masker, myter, spæk og stilletter. I en ny soloudstilling undersøger Jessie Kleemann med lige dele humor og tragik, hvordan grønlandsk identitet, kultur og natur forandrer sig over tid.Gennem tre årtier har Kleemann været en markant figur på samtidskunstens scene med sin originale tilgang til videokunst, eksperimentalteater og performancekunst. Hendes kunst tager afsæt i de komplekse relationer mellem Grønland, hvor hun er født og opvokset – og Danmark, hvor hun bor i dag.Dette hæfte er udgivet i forbindelse med udstillingen 'Tiden løber løber tiden' på Statens Museum for Kunst, 24. august - 26. november 2023

In "The Silver Mirror: A History of Gay Cinema," Robert Potter takes readers on an illuminating journey through the evolution of LGBTQ+ representation in film. From the hushed whispers of early cinema to the bold voices of contemporary filmmakers, this comprehensive work uncovers the challenges, triumphs, and undeniable influence of gay cinema. A must-read for film enthusiasts, historians, and advocates for equality, Potter's book is a profound exploration of how the celluloid landscape was forever changed by the gay community."A groundbreaking exploration of LGBTQ+ cinema!" - Jessica Martinez"Deeply insightful; Potter has outdone himself." - Rajeev Nair"Essential reading for every film enthusiast." - Eleanor Smith"A masterful blend of history, art, and activism." - Lucas Rodriguez"I've never seen queer cinema in this light before." - Chloe Tan"Every page is a revelation. Truly eye-opening!" - Malik Johnson"Potter's passion for the subject shines brightly." - Olga Petrov"An indispensable guide to understanding gay cinema." - Yasmine El-Rashidi"I learned so much; it's both academic and accessible." - Samuel O'Brien"This book is a testament to the power of film." - Nina Kwon

On the rich history of video art and its enduring relevance to today’s artistic and critical practices.The New Television delves into the rich history of video art, reexamining the pivotal Open Circuits conference held at MoMA in 1974 and exploring its enduring relevance to today’s artistic and critical practices. Open Circuits was an important event in establishing video art in American museums and articulated a range of conflicting teloses for the medium, some which materialized (like local cable television) and others that remain unrealized. The conference proceedings were published in 1977 as The New Television: A Public/Private Art, and the radical design of the book reflected the conference’s utopian aims. This two-part publication includes a facsimile of the long-out-of-print conference proceedings and new essays and discussions by over a dozen scholars and artists. The new scholarly texts and previously unpublished archival documents in The New Television illuminate the network of institutional histories of video art, consider global televisual contexts and alternative critical approaches, and examine contemporary video art and its continued relevance from new perspectives.

A key theme pervading the work of Alex Müller (*1969) is her investigation of the complex phenomenon of time. Again and again, the artist finds impressive images representing time - both its progress as well as its relative nature. For Kunsthalle Nürnberg, Alex Müller has developed an exhibition that combines biographical allusions, cultural and art historical references. In eight chapters, the exhibition takes us on a journey through the artist's universe.Numerous everyday objects become charged with a specific meaning in Alex Müller's oeuvre. Any material can become an artistic material in her work. The artist underlines the open narratives of her art by cleverly playing with the boundaries of painting, drawing, sculpture, installation, film, sound, and performance.Stories are hinted at, but never fully told. The titles evoke associations with specific people, books, films, or events. Alex Müller's art always suggests something unspoken, encouraging further thought, and represents the perpetual search for the self as well as a varied exploration of transience.

フラクタルは、複雑な境界線を持つ幾何学図形です。 これらの境界線に色を付けると、素晴らしい画像を作成できます。 ここでは私のお気に入りをいくつか紹介します。

フラクタルは、複雑な境界線を持つ幾何学図形です。 これらの境界線に色を付けると、素晴らしい画像を作成できます。 ここでは私のお気に入りをいくつか紹介します。

The film Trash The Musical (2023), from which the exhibition also takes its name, was elaboratedby Loretta Fahrenholz over the last two years in collaboration with performance artist Alicia McDaid. Assembled into a wild post-cinematic collage by Fahrenholz, McDaid's performances are a radical exploration of personal anxieties and questions of aging, unfulfilled dreams, ghosting, and the difference between art and trash. Two new image series, Once Upon a Time in Enemy-Occupied France and i make mistakes just to learn who i am (both 2023), are a continuation of Fahrenholz's interest in the processes of digital imagery.Ed.: Markus Hannebauer. Text: Felix Bernstein, Magnus Schaefer.

In dem in verschiedenen Schwarztönen gehaltenen Buch sind neben einer Einführung des taiwanesischen Künstlers Chen Chieh-jen zu seinem jüngst fertiggestellten Film Worn Away (2022-23), Skizzenzeichnungen und handschriftliche Notizen zu finden sowie eine Auswahl an Videostills. Jedes Buch enthält ein Lesezeichen aus Papier, auf dem das Bild eines RFID-Einweg-Armbands gedruckt ist. Im Film spielt das Armband eine bedeutende Rolle. Der Künstler hat zudem per Hand den chinesischen Filmtitel auf jedes Lesezeichen gestempelt.

Judith Fegerl explores the possibilities of electrical energy as sculptural and imaging material in a techno-poetic way. In "on/" she provokes a reflection on the availability and use of resources in a site-specific, symbiotic setting.The exhibition has symbiotically merged with and switched on Kunstraum Dornbirn. Electricity flows. For Fegerl's sculptural works, however, the electricity comes not from the socket as usual but from a solar power plant on the south side of the exhibition space that was specially designed and installed for the exhibition - a reference steeped in history, since the former assembly hall of the Rüsch Works built in 1893 constructed turbines for the first hydroelectric power plants.

Wir ist Zukunft. Visionen neuer Gemeinschaften kreist um die Sehnsucht nach einer idealen Gemeinschaft, eines harmonischen Lebens mit der Natur und miteinander. Das Buch blickt in sechs Kapiteln auf 120 Jahre künstlerische Visionen des Zusammenlebens: Ausgehend von der Lebensreformbewegung um 1900, über die visionären Architekturentwürfe von Bruno Taut oder Wenzel Hablik zu Constants Stadtutopie New Babylon, in deren Zentrum der spielerische Mensch stehen sollte; vom Hippie-Modernismus der 1960er-Jahre, über den Afrofuturismus bis zu zeitgenössischen Positionen, die eine Symbiose aller Lebewesen in und mit der Natur anregen. Die vorgestellten Werke sind Ausdruck eines Strebens nach neuen Lebensentwürfen in Gegenwart und Zukunft. Die künstlerische Perspektive wird in der Publikation durch wissenschaftliche und persönliche Beiträge und ein Künstlerinterview erweitert. In seiner nachhaltigen Gestaltung ist der Katalog ebenfalls einem Ideal auf der Spur.

Jeewi Lee is interested in all the traces-the intimate imprints and distinctive markings-that we leave behind and that inhabit the spaces surrounding us. Abstract compositions of rescued stories, worn-out pavements and stripped down wallpapers, cut out floors, grains of sand that have traveled millions of years around the world, coffee stains or burnt wood. These traces, both human and historical, become vessels of stories and memories, inscribed on various materials, bearing witness to the past, present, and future. This publication offers a comprehensive exploration of the manifold tracings of the Berlin-based Korean artist over the past decade. It provides insight into her highly conceptual way of working and unveils previously unseen documentation of her deeply personal process of creation.JEEWI LEE (*1987, Seoul) is a Berlin-based South Korean-German artist. She studied painting at the Berlin University of the Arts and at Hunter College University in New York, graduating in 2014 with a master in fine arts and since 2018 holds an MFA from the postgraduate program Art in Context. Her multidisciplinary practice encompasses site-specific installations and interventions, video and image series that predominantly deal with traces that question our visual perception, while also reflecting their own production process.

"Whimsical beasts, anthropormorphic monsters and more!"

The Illustrated Guide to Film Formats is an easy-to-read exploration of thirty-six popular and forgotten film formats. This collection begins with the Magic Lantern and concluding with DCP and IMAX Laser projection systems. In between, this book covers major developments in moving image cameras, projectors, and the medium of film. This includes classic small gauge formats like 8mm and 16mm, unusual film formats like 9.5mm and 22mm film, widescreen multi-camera configurations like Polyvision and Circle-Vision 360°, anamorphic lenses like Hypergonar and Cinemascope, and more.This guide contains 129 detailed illustrations featuring projectors, cameras, film, cartridges, and more.Along with some basic details about each format, there are some fun facts about the history of film, the context in the larger media production ecosystem, and the how and why behind their inventions.All illustrations and text are extra-large and printed in black-and-white, so the content of this book can double as posters or coloring pages!

In their practice, Klara Källström and Thobias Fäldt make extensive use of historical reference and historical juxtaposition to make sense of the present, including the status of photography. They invite us to be critical of dominant narratives about the world today, while examining how photography is used in the creation of these narratives. A guiding principle in their oeuvre are the gaps between what is visible and what is told. By exploring the limitations, challenges, and possibilities of photography, the artists aim to unfold and expose overlooked parts of official history as well as contemporary narratives. This is where nuances, critical perspectives, and questions reside. These are the stories that are uncomfortable and difficult. They would most likely have no natural platform in the public arena if they did not appear in Källström-Fäldt's projects. The artists' exhaustive body of work on Julian Assange and WikiLeaks is perhaps the most striking example of their commitment to exploring narratives that do not fit a certain mould. The ongoing project examines the media image of Assange following his exposure of US war crimes. Looking into the gaps of the Assange story, the artists shed light on anti-democratic forces and attacks on press freedom. Building on the insights of their work, Duncan Forbes, Head of Photography at Victoria and Albert Museum in London, has written an essay investigating the ways in which Källström-Fäldt approach questions of historical consciousness and historical process in their work.Text: Johannes Wahlström, Dragana Vujanovic Östlind.

Fraktaler er geometriske figurer med komplicerede grænser. Disse kanter kan farves på mange måder for at lave vilde og vidunderlige billeder. Her er nogle af mine højopløsningsfavoritter. Billeder i denne bog blev lavet ved hjælp af Fractal Forge.

Jajabka waa jaantus joomatari oo leh xuduudo adag. Xuduudahan waxaa loo midabayn karaa siyaabo badan si loo sameeyo sawirro duurjoog ah oo cajiib ah. Waa kuwan qaar ka mid ah kuwa aan jeclahay.

"In these lavishly illustrated pages, see how the world of Final Fantasy XVI was brought to life through hundreds of pieces of concept art and illustrations. Featuring the phenomenal work of the Final Fantasy XVI development artists, this volume is a superb visual compendium of Valisthea, from its Dominants and Eikons to its warring nations and rulers to its creatures and devices"--

Accessibility, understood as social integration, has been studied from many perspectives yet, due to our constantly changing environment, the concept is still in flux and needs to be reexamined.Within Translation Studies, audiovisual translation (AVT) has expanded the concept of translation activity and its growth has been exponential. In recent decades, AVT and accessibility studies have developed side by side, and the intersection of both fields has been at the heart of academic research as well as of professional practice.This collective volume showcases nine chapters written by specialists who approach the topic from different, yet complementary perspectives. All of them analyse the production of accessible translated material that requires adaptation to meet the needs and expectations of a multifarious audience, including older people, persons with sensory and cognitive disabilities, and those with limited digital knowledge.

Plattform der Post-Clubszene und Hub für interdisziplinäre Kunst Gegründet von Daniela Seitz und Anja Weigl etablierte sich Creamcake 2011 als Plattform, Kollektiv und Label für progressiven Clubsound an der Schnittstelle von elektronischer Musik, Performance, zeitgenössischer Kunst und digitalen Technologien. Was als Reaktion auf den damals dominierenden Techno- und House-Sound in Berlin begann, entwickelte sich im Laufe des letzten Jahrzehnts zu einer globalen Institution, die die schwer in Genregrenzen zu fassende Deconstructed- und Post-Clubszene unterstützt. Nun wird Creamcake zwölf, vielleicht dreizehn Jahre alt, plus minus die verlorenen Jahre während der Pandemie. Zeit für einen Rückblick. Chronologies of Creamcake blickt auf die Plattformidee, Themen, Konzerte, Ausstellungen, Performances, Symposien und digitale Projekte der Initiative und nicht zuletzt auch auf ein Kapitel interdisziplinärer Musik- und Clubgeschichte. Der Band veranschaulicht die außergewöhnliche Arbeitsweise von Creamcake anhand von Fotografien und anderen Dokumentationen aus dem Archiv von Veranstaltungen und Performances mit dem HAU Hebbel am Ufer, der Berlinischen Galerie, der Klosterruine, dem Berghain, dem OHM und von ortsspezifischen Berliner Projekten im Planetarium, Wasserspeicher und im Spreepark. Die Publikation umfasst Texte von einigen der bekanntesten und eloquentesten Stimmen der Szene, dazu gehören Selim Bulut, Jared Davis, Karlynne Ejercito, Adam Harper, Michelle Hooq, Susanne Huber, Vika Kirchenbauer, Steph Kretowicz, Rianna Jade Parker, Alex Quicho, Ashkan Sepahvand, Maxi Wallenhorst, McKenzie Wark und Hengameh Yaghoobifarah.   Platform of the Post-Club Scene and Hub for Interdisciplinary Art Founded by Daniela Seitz and Anja Weigl in 2011, Creamcake established itself as a platform, collective, and label for a progressive club sound at the intersection of electronic music, performance, contemporary art, and digital technologies. What started out as a reaction to the dominant techno and house sound of Berlin at the time would evolve over a decade into a global institution sustaining the deconstructed and post-club scene that is hard to square within the conventional boundaries of genre. Now, Creamcake is turning twelve, maybe thirteen, give or take the years lost to pandemic. Time for a look back. Chronologies of Creamcak e recalls the initiative's platform idea, themes, concerts, exhibitions, symposia, performances, digital projects, and, not least importantly, a chapter in the history of interdisciplinary music and club culture. The book illustrates Creamcake's extraordinary approach with photographs and other documents from the archives, including events and performances with HAU Hebbel am Ufer, Berlinische Galerie, Klosterruine, Berghain, OHM, and site specific Berlin projects at Planetarium, Wasserspeicher, and Spreepark. The publication also features commissioned texts summarizing the organization's unique position and context by some of the scene's most prominent and articulate voices, including Selim Bulut, Jared Davis, Karlynne Ejercito, Adam Harper, Michelle Hooq, Susanne Huber, Vika Kirchenbauer, Steph Kretowicz, Rianna Jade Parker, Alex Quicho, Ashkan Sepahvand, Maxi Wallenhorst, McKenzie Wark, and Hengameh Yaghoobifarah.

Richly illustrated and designed by New York-based designer Joseph Logan, this publication brings together new writing from the fields of architecture, art and music to reflect on Gates' Pavilion and his wider practice. The publication includes images of the Pavilion, tar paintings and bell sculpture, as well as the visual documentation of live events that took place in the Pavilion over the summer months and ranged from experimental musical performances to choirs and workshops that centred the sacred offered a space for reflection and convening. A collection of images compiled by Theaster Gates of places, buildings, objects and rituals, alongside images of the artist's past works and projects, which have influenced the design of the Serpentine Pavilion 2022 Black Chapel, give an insight into the design process and the artist's practice.Ed.: Yesomi Umolu. Text: Sir David Adjaye OM OBE, Jayden Ali, Jareh Das, Ryan Dohoney, Theaster Gates, Hans Ulrich Obrist, Christina Sharpe.

DER GROSSE BOGENDer »große Bogen« oder auch »arc de cercle ist mit seiner Ambivalenz des Kontrollverlusts und der Beherrschung ein verführerisches Motiv, das eine lange Tradition in der Kunst- ­und Kulturgeschichte hat. Es findet sich in Darstellungen von Tanz und Akrobatik, beschreibt aber auch physische oder psychische Krankheiten: Der überstreckte (Frauen-)Körper drückt ekstatische Entrückung oder auch eine psychotische Störung aus, ­im Tanz aber steht er für virtuose Körper­beherrschung und Expressivität. Mit »Arch of Hysteria« widment das Museum der Moderne, Salzburg, eine Ausstellung diesem bildmächtige Motiv. Es werden Kunstwerke der letzten 100 Jahre aus verschiedenen Kontexten gezeigt und so der Vielfalt der Ausdrucksmöglichkeiten nachgegangen, die der Pose innewohnen - bis hin zu ihrer Umwandlung in ­abstrakte, aber dennoch expressive und daher ­unverkennbare Formen. Buch und Ausstellung ­beleuchten die (kunst)geschichtlichen Wurzeln des Motivs ebenso wie aktuelle Fortschreibungen in Malerei, Zeichnung, Skulptur, Fotografie, Video- sowie Performancekunst. Unter den Protagonist­Innen finden sich u. a. Denis Darzacq, Max Ernst, Georg Herold, Gustav Klimt, Alfred Kubin, Auguste Rodin, aber auch Alexandra Bircken, Louise Bourgeois, Ronit Porat, Barbis Ruder, Charlotte Rudolph, Valerie Schmidt und VALIE EXPORT; dabei sind viele Arbeiten extra für die Schau entstanden und werden in diesem Buch erstmals ­abgebildet.Ausstellung:Museum der Moderne Salzburg, 21/7/2023 - 14/1/2024

Die Form im Dienst des InhaltsDie Installationen der in Berlin lebenden Künst­lerin Sung Tieu (*1987 Hai Duong, Vietnam) ­be­schäf­tigen sich mit dem wechselseitigen (Zwangs-) Verhältnis von Bürokratie und Identität. Ausgangspunkt ihrer Arbeiten bilden ihre ­Recherchen über das Anwerbeabkommen für vietnamesische VertragsarbeiterInnen in der ehemaligen DDR. Vor dem Hintergrund ihrer eigenen Biografie begann sie sich mit den komplexen soziopolitischen Hintergründen dieses spezifischen Migrationskontextes zu beschäftigen. Es überlagern sich darin Aspekte des Arbeitsregimes, der Regulierung von Wohnraum und der Kontrolle der Privatsphäre. Diesen migrationspolitischen und ökonomischen Zusammenhängen spürt Sung Tieu in ihrer ­Archivarbeit systematisch nach und verdichtet ihre Forschungsergebnisse in Rauminstallationen, die Objekte, architektonische Interventionen, Dokumente, Zeichnungen, Videos und Toneinspielungen miteinander kombinieren, zu atmosphärisch eindrucksvollen audiovisuellen Erzählungen. ­Formalästhetisch sind ihre Arbeiten an Minimal Art und Konzeptkunst angelehnt. Was zunächst im Widerspruch zum politisch-narrativen Ansatz der Künstlerin zu stehen scheint, repräsentiert ­jedoch eine Form des kritischen Engagements, das den konventionellen Glauben an die Auto­nomie der Kunst und ihrer Interpretation auf die Probe stellt. Für Tieu steht die Form im Dienst des Inhalts. Das zeigt auch die Gestaltung dieser Publikation, die einen Teil von Tieus Recherchematerial und Archivalien sowie ihre gesamten ­Serien bürokratischer Dokumente in einer strengen Rasterstruktur reproduziert. Kunsthistorische ­Essays und ein Interview mit der Künstlerin geben uns zusätzlich Auskunft über weitere wichtige ­Einflüsse und Bezüge ihres Kunstschaffens.Ausstellungen:Kunst Museum Winterthur, 16/9 - 19/11/2023Kunsthalle Nürnberg, 9/3 - 9/6/2024

"A full-color hardcover art book chronicling the renowned Nightdive Studios' faithful recreation of the iconic cyber-sci-fi action thriller video game, System Shock! When a powerful artificial intelligence named SHODAN is liberated of her ethical constraints, the inhabitants of the Citadel space station are rapidly corrupted into bloodthirsty cyborgs and mutants and placed under her control. It's up to a resourceful rogue hacker to traverse the station level by level, battling the monstrous crew and computer-controlled robots before ultimately facing down with the AI herself! Now fans of the groundbreaking cyber-action shooter can explore the development of the lovingly recreated System Shock in intricate detail-including art of Citadel Station's mysterious interiors, vile enemies, clever props, and much more. Nightdive Studios and Dark Horse Books invite readers to relive the unforgettable experience of the classic game, remade with enormous care for a new generation. Celebrate the return to Citadel Station with The Art of System Shock"--

How to use design as a tool to create not only things but ideas, to speculate about possible futures.

A beautifully illustrated book-length publication on the contemporary artist and Academy Award–nominated filmmaker Garrett Bradley, whose quietly devastating work blurs the space between fact and fiction.Garrett Bradley works across narrative, documentary, and experimental modes of filmmaking to address themes such as race, class, familial relationships, social justice, and cultural histories in the United States. Her collaborative and research-based approach to filmmaking is often inspired by the real-life stories of her protagonists. This book explores Bradley’s work through the lens of devotion and features conversations with the artist and contributions from the likes of Ashley Clark, Arthur Jafa, Joy James, Tyler Mitchell, Kevin Quashie, and Claudia Rankine. This is the first volume in a new series of readers copublished with Lisson Gallery entitled Re:, which will respond to a number of its artists and themes past and present.Adopting archival material alongside newly shot footage, Bradley’s films exist simultaneously in the past, present, and future, not only disrupting our perception of time, but also breaking down our preconceived ideas about objectivity, perspective, and truth-telling. These narratives unfold naturally in both feature-length and short form, revealing a multitude of individual and collective stories. The social, economic, and racial politics of everyday life—its joys, pleasures, and pains—are lyrically and intimately rendered on screen.

A book of 272 unique and original ASCII Art face, head and entire creature images limited to one line and made up of the standard English QWERTY computer keyboard letters, numbers and symbols.