Künstler_in

Destillat: Place Specific Art and Digital Virtual Space

장소라는 테마를 결정한 후 장소에 대한 2가지 키워드로 데이터를 수집했다. 첫 번째는 가상현실, interspace. 두 번째는 장소 특정적이다. 장소의 개념은 단순히 지리적 위치뿐만 아니라 새로운 상징 혹은 표상으로 역할을 한다. 전자에 대한 예로, 김희천 작가는 디지털 인터페이스, 3D, VR 등으로 작업을 하는 작가이다. 그는 작업에서 현실과 가상을 혼동시키는 ‘제3의 공간’을 만들어내며 공간은  매체로도 작동한다. 후자로는 실천된 장소, 매체 등 무대화된 장소 특정적 예술에 대한 데이터를 모았다. 예전 고문을 받았던 장소이지만, 이제는 박물관으로 변한 같은 장소에서 동일 인물로 퍼포먼스를 했던 임민욱 작가의 불의 장벽2를 장소 특정적 예술의 예로 가져온다.

 장소에 의해 규정된, 장소 지향적인, 장소를 참조하는, 장소를 의식하는 장소 특정적 미술에서 디지털은 어떤 방식으로 장소 특정적 미술을 규현하고 있는 것일까. One Place After Another, 권미원은 장소에 또 다른 장소가 생겨난다고 한다. 이에 덧붙여 구글맵,  3D,  AR이 일상화된 지금 가상의 공간까지 또 다른 무한한 공간이 생긴 것이다. 그리고 위치적 장소, 맥락적 장소, 가상적 장소 등 내러티브의 매체로 작동하며 더 풍부하지만 복잡한 ‘장소성’이 생겨난 것이다. 위치적 장소, 의미적 장소, 인터넷 공간(장소), 가상으로 현실을 재현하는 공간(장소), 가상과 현실을 믹스한 공간(장소) 등을 예로 들 수 있다.

Posted by LJ, 20. Jan 2019
Orte Digital Künstler_in Locational Identity Narrativ(e) Ort Spezialität Virtuelle Realität

Destillat: An image is an idea

The photographic medium has been changing at an unprecedented pace in the last decades. As Robert Shore mentioned in the book “ Post-Photography”, being at the right place at the right time, in the tradition of Cartier-Bresson’s decisive moment, is no longer the challenge, a picture is just a platform, the starting point (or end point) of a lengthy process, taking photography to places it has never been before.

We have to learn how to look at photographs as social and cultural representation of how we see and think “photographically”, through what we capture through lenses and what we see on the screens. An Image is an idea and in an infinite production-exhibition- documentation loop, we sought to ask the place of art in photography.

The rise of technical images signify a new relationship with visible.  Technical images generally aim to represent the world, but in fact they hide their real dimensions, which is none other than that of being an image. Digitalization creates the illusion that there is no longer any difference between original and copy, but we forget the face that there is no copy without an original.

Posted by HH, 20. Jan 2019
Bild Digitalisation Germany Iran Künstler_in Post-Photography Technical Images

Destillat: Choosing “Magic”

The choosing “Magic” as the overall term to define one of the proposal, sounds, mind like a foolish idea. Important elements of “Magic” perhaps to other word in such evocative form. Magic is a silent shadow of the cultural form, philosophy and own understanding.

The magic happens when an artist creation uses technology in a way that it removes tech from tech. The relationship between art und magic is a relationship of complete opposites. Magie bring back some of the strangeness and mystery chaotic potential, that the culture has lost along the time. Mysticism is upon us: it begins simultaneously from culture and science.

The system of the world is the beginning of the phantasmagoria of the epoch, imagination, culture and traditions. The results was phantasmagoric, understood ecologically or topographically rather than as something spectral.

We  can understand  the magic of reality, on the basis of our definition of our mind, which is opened and framed by the existence and  the essence.

Posted by AU, 20. Jan 2019
Magie Federico Campagna Germany Künstler_in

Destillat: Über das Original im digitalen Zeitalter

Das Verhältnis von Original und Kopie, Replikat und Fälschung muss im Zeitalter der Digitalisierung neu gedacht werden. Ist die digitale Erfassung eines Objekts eine simple Kopie von diesem oder ist es selbst ein Original bzw. welche Kriterien sind für diesen Unterschied entscheidend und welchen Status nehmen die digitalen Kopien im Vergleich zu den Originalen und nicht digitalen Kopien/Repliken ein?

Immer mehr Museen digitalisieren ihre Archive um einen leichteren Zugang zu den einzelnen Exponaten zu ermöglichen. Diese Digitalisierung hat viele Vorteile: man kann unabhängig von Ort und Zeit einen Zugang zu den Daten erhalten und die Möglichkeiten der Übersicht und der Verweisbarkeit vervielfachen sich um eine Großes. Gleichzeitig bringt diese Digitalisierung aber auch viele Fragen mit sich, so ist der digitale Zugang an sich nur für Personengruppen mit einem Internetzugang möglich – was jedoch nicht automatisch eine Vermittlung generiert – davon abgesehen ist nicht gesagt, dass jedes Museum sein Digitales Archiv für die breite Öffentlichkeit zugänglich macht. Dies eröffnet Fragen nach Besitzverhältnissen, der Monopolisierung von Daten und damit auch von Wissen. Fragen, die bereits außerhalb des digitalen Raumes eine gesellschaftliche Rolle gespielt haben: Wer besitzt das Original eines Kunstwerkes/Exponats, wer besitzt eine Kopie und wer kann sich welches leisten?

Während diese Faktoren im historischen Rückblick vor allem bei einer gesellschaftlichen Situierung der Besitzenden eine Rolle spielten, könnten Sie heute helfen einen dauerhaften Zugang zu Objekten von fragwürdiger Provenienz zu erlauben und damit zu einer Restituierung der Originale beizutragen. Da insbesondere bei ethnographischen Objekten der Status von Orginial und Kopie eine besondere Rolle einnimmt, sollte eine Digitalisierung dieser immer in Zusammenarbeit und unter Zustimmung der Herkunftsgesellschaften erfolgen, um durch diese nicht nur die Originale nicht zu beschädigen, sondern auch die Herkunftsgesellschaften in eine mögliche Nutzung der Archive einzubeziehen.

Posted by AS, 19. Jan 2019
Original Digitalisation Female Germany Institution Internet Culture Künstler_in Museologie Russia

Cultural Heritage

As scholars, historians, and archaeologists continue to discover, explore, and expand access to tangible and intangible cultural heritage, more and more problems arise that permeate conservation efforts.
Preservation of cultural heritage is not one of the topics that received much attention in the past century. However, the goal is to isolate and expand conservation research.

Posted by AU, 19. Jan 2019
Kultur Germany Künstler_in Menschheit

Zitat: The Other Nefertiti

This artistic intervention “The Other Nefertiti” talks about decolonizing our minds, democratization of culture and about activating artifacts. We strived to make this cultural object publicly accessible and to promote a contemporary and critical approach on how the so-called “Global North“ deals with heritage and the representation of “the Other.” We should tell stories of entanglement and deconstruct. Nefertiti is a great case to start with to tell stories to differ of the dominant narrative and to see how they intertwine.

Source: Nikolai Nelles Studio, The Other Nefertiti // Nefertiti Hack

 

Posted by ft, 20. Jan 2019
Property Kulturelles Erbe Künstler_in Narrativ(e) Nikolai Nelles

Zitat: Falsche Fälschung

Eine affirmative Rezeption von hyperrealen Modellen findet sich gegenwärtig in der strategischen Zukunftsgläubigkeit: Diese verbindet sich oft mit der Computertechnologie und der Gentechnik, in denen die Bedeutung von falsch oder Fälschung oft auf einen an sich schon zweifelhaften Original- pder Naturbegriff rekurriert. Diese Rhetoriken bewegen sich außerhalb der Begrifflichkeit von Kunstfälschungen, die traditionell immer ein Original voraussetzen.

Quelle: Künstlerische Strategien des Fake – Kritik von Original und Fäschung, Stefan Römer; 2001, DuMont Buchverlag Köln,  S. 12

Posted by AS, 20. Jan 2019
Original Autor_in Digitalisation Germany Kunstgeschichte Künstler_in Male Stefan Römer

Zitat: Colonial notion of possession

With the data leak as a part of this counter narrative we want to activate the artefact, to inspire a critical re-assessent of today’s conditions and to overcome the colonial notion of possession in Germany.

(Al-Badri/Nelles 2015)

Quelle: Omnia sunt Communia: Das kulturelle Erbe hacken
Original und Kopie im ethnographischen Museum von Sophie Lembcke

In: Archive dekolonialisieren: Mediale und epistemische Transformationen in Kunst, Design und Film (Edition Kulturwissenschaft) von Eva Knopf (Herausgeber), Sophie Lembcke (Herausgeber), [transcript] Edition Kulturwissenschaft, 2018, S. 60

Posted by AS, 20. Jan 2019
Original Female Germany Jan Nikolai Nelles Kolonialismus Kulturkritik Kunstgeschichte Künstler_in Künstlerische Forschung Male Museologie Nora Al-Badri Sophie Lembcke

Zitat: Exotic Trade

‘In the show, Rezaire draws parallels between the layout of submarine optic cables (the very architecture of the Internet) and colonial trade routes to point to the powerful symbolism underpinning ‘electronic colonialism’ whereby the Internet has literally been built on routes of Black pain’.

Source: http://tabitarezaire.com/exotictrade.html

Posted by Anisha, 19. Jan 2019
Kultur Digitalisation Internet Culture Kolonialismus Künstler_in Power Symbolism Tabita Rezaire

Zitat: CopyFarLeft

“FREE CULTURE REQUIRES A FREE SOCIETY: COPYFARLEFT
Despite copyleft’s beneficial role in forming a valuable common stock of software, it remains problematic when the model is retrofitted back to the domains of art and culture from which dissent against intellectual property sprung. Cultural works, unlike software, are a consumer good, not a tool for use in production, or a producer’s good. […] Failure to understand the difference between capital demand and consumer demand propagates the myth that the success of free software can be a template for free culture. Under capitalism, only capital can be free. That’s why software can be free, but culture cannot be free without more fundamental shifts in society.
Art is not, in most cases, a common input to production as software is. Thus, the demand for itis consumer demand, not capital demand. […] Capitalist publishing firms and entertainment industry giants will support the creation of copyleft software in order to employ it in production. However, in most cases, they will not support the creation of copyleft art. Why would they, as art is a consumer good, and the industry is not in the business of giving away consumer goods for free. They are in the business, however, of earning profits by controlling the distribution of consumer goods. […]
In order for copyleft to mutate into a revolutionary instrument in the domain of cultural production, it must become ‘copy-far-left’. It must insist on workers’ ownership of the means of production. The works themselves must be a part of the common stock, and available for productive use by other commons-based producers. So long as authors reserve the right to make money with their works, and prevent other commons-based producers from doing so, their work cannot be considered to be in the commons at all and remains a private work. A copyfarleft license must not restrict commercial usage, but rather usage that is not based in the commons.”

Dmytri Kleiner: The Telekommunist Manifesto (2010), S. 40 ff.

Posted by GS, 19. Jan 2019
Property Dmytri Kleiner Künstler_in Male

Zitat: “Fake”

Mit Fake wird ein Begriff entworfen, der entgegen seiner konventionellen Verwendung im Englischen die Strategie umreißt, auf den eigenen Doppelstatus aufmerksam zu machen, gleichzeitig der Kategorie des „originalen Kunstwerks“ und auch der der „Fälschung“ zu entsprechen.

Quelle: Künstlerische Strategien des Fake – Kritik von Original und Fäschung, Stefan Römer; 2001, DuMont Buchverlag Köln,  S. 17

Posted by AS, 19. Jan 2019
Fehler Autor_in Germany Kunstgeschichte Künstler_in Male Stefan Römer

Zitat: Kriterien des Originals

Solange eine Fälschung als ein Original anerkannt wird, hat es der Fälscher geschafft, genau den Kriterien der sogenannten Experten zu entsprechen. In diesem Fall handelt es sich aber nicht um eine Fälschung, sondern noch um ein Original.

Quelle: Künstlerische Strategien des Fake – Kritik von Original und Fäschung, Stefan Römer; 2001, DuMont Buchverlag Köln,  S. 13

Posted by AS, 19. Jan 2019
Original Autor_in Digitalisation Germany Kunstgeschichte Künstler_in Male Stefan Römer

Zitat: Visual Digital Culture

„In a period of barely twenty years, digital techniques have left the research laboratories and integrated with established means of production and exhibition. With the emergence of the computer, entirely new ways of making images, together with
ways of assisting and augmenting established methods and techniques have
become commonplace within contemporary forms of visual cultural production.“

“Clearly a new aesthetic space has opened up within contemporary culture, one which owes its existence to digital technology. It is important to stress, however, that this debt is by no means absolute. The computer is vital to understanding the make-up of the forms whose development we have just sketched, yet it is not the only agency explaining what they are and how they have come to be that way. The computer has not shaped the aesthetic character of these forms all by itself, as – taken on its own – an account such as the one above
might be mistaken for suggesting.”

Andrew Darley, Visual Digital Culture (2000)

Posted by MB, 19. Jan 2019
Bild Andrew Darley Artistic Research Computer Animation Computer Games Künstler_in Technologie USA Visual Culture