Oct 6, 2014
Saturday October 11th // Critical Wounds - an Exhibition and Videocreening - with Angela Kaisers and Tania Ilichenko
The event Critical Wounds is a collaboration between the artists Angela Kaisers and Tania Ilichenko. It consists of the display of Angela's original dream notes and a collage installation in which the work process of analyzing the dreams and interpreting their unconscious message is presented. This exhibition is accompanied by the screening of Tania's video work Kritische Wunden (Critical Wounds) in which she reflects on the human, philosophical and political value of grief work. Both artists' approaches observe and explore interpersonal relationships, emotional needs and fears and ways of coping with those - on the unconscious and the conscious level.
- Angela Kaisers (1980, Munich, Germany)
- Tania Ilichenko (1986, Ufa, Russia)
Exhibition opening: 8 pm
Screening: 10 pm
Jul 25, 2014
Jun 24, 2014
The Dream Machine explores the unconscious by processing all forms of dreams in an attempt to arrive at a collective psychoanalysis of now.
Dream processing takes place on Saturday, 28th of June, from 21 h to 23 h.
Come and feed the machine.
Die Traummaschine erkundet das Unbewusste durch Verarbeitung von Träumen, um zu einer kollektiven Psychoanalyse des Jetzt zu gelangen. Die Maschine verbrennt dein geträumtes Benzin.
Die Traumarbeit findet am Samstag, den 28. Juni, zwischen 21 und 23 Uhr statt.
Jun 10, 2014
Exhibition by Isabel Simões
An installation of painting-objects dealing with weight and light under the title of a text by Simone Weil.
“All the natural movements of the soul are controlled by laws analogous to those of physical gravity. Grace is the only exception. We must always expect things to happen in conformity with the laws of gravity unless there is supernatural intervention.”
Simone Weil, Gravity and Grace [La pesanteur et la grâce (1947)]. Routledge & Kegan Paul, 1952.
Jun 8, 2014
Grégoire Blunt & Austėja Vilkaitytė
Opening: Wednesday, 11 June 2014 7pm-12am
This night appears to you in a morphing narrative of a hypnotic dance performance by Austėja Vilkaitytė (Stella) as well as all white eye gazing through the blue liquor haze by Grégoire Blunt. Plus 3D text with Eglė Kulbokaitė. Plus plus plus DJ SAMOLN
Apr 9, 2014
Exhibition by Santiago Taccetti and Lorenzo Sandoval.
Opening 15th of April, 19:00
15th - 24th of April
......................................It is mainly invisible walls made of crystal that define most of the spaces where our bureaucratic fluxes inhabit: tax offices, shopping malls, airports or banks. For a long time we have known them as non-places, they are the epitome of the architecture of transparency. These transit spaces represent in their very glass construction what is supposed to be hidden. In a way comparable to what happened with the appearance of credit cards and the ongoing disappearance of money as a physical object, today a similar process is happening with the representation of the infrastructures of power. On the transparent walls are some floating corporative logos as the customer care person is always within our sight. While one does not perceive the symmetry of power as it happened before, the architecture of transparency pushes our steps in a stealthy fashion. This transparency hides the rules of our regulated lives in its own immateriality.
In this exposed nothingness, we individuals are choreographed through the perverse management of our desire, very well described by Byung-Chul Han. In this mechanic conception of all movements, synchronized once more by an interior panopticon composed in our time by of a digital substance, it would seem that the gestures of defiance are the ones that propose a disruption in this machinery.
_Doval Holt, April 2015
Opening 15th of April at 19:00.
Exhibition continues until April 24th (visit possible by appointment)
With the support of:
and John Holten
Mar 6, 2014
The exhibition contains a film from a greenhouse and a film prop of sorts. Of sorts as not having been built to be in the film, the prop is made after the shooting and based on an object in the film. Displayed under the same roof this time but separately in other occasions, both works stem from an interest in how objects gain importance and sway between their function and their worth.
Jan 29, 2014
Friday, January 31st 2014
"Tag der Kosmonauten"
Abigail Sanders - french horn
Manuel Miethe - soprano saxophone
Adam Goodwin - double bass
Thomas Rohrer- rabeca, soprano saxophone
Johannes Bergmark- amplified objects, saw, constructions etc.
Anna Kaluza - alto saxophone
Stephan Bleier - double bass
Doors open at 21.00 h
Set 1 starts at 21.30 h
Jan 2, 2014
Online / Offline. Encoding Everyday Life
for Vorspeil Transmediale.
22nd - 28th of January
Opening 22nd of January, 19:00
Performances start at 19:00
Constant Dullaart, Jodi, Nuria Güell, Sophia Le Fraga, Lindsay Lawson, Eilis Macdonald,
Sam Smith and Kandis Williams.
Curated by Lorenzo Sandoval
In the recently abundant texts about cartography, we sometimes find references to the tale Borges´ Del Rigor de la Ciencia which narrates the past existence of a map, which scale was 1:1 with the Empire. We would like to propose as a reflecting element to this story another fiction by the same author: Funes the Memorist, which outlines a map in the same scale, not of the land but of the memory. It speaks of a map of time, which simultaneously serves as an (quasi) infinite archive of variations and possibilities. The main character takes a whole day to remember a day in its totality. Furthermore, he is able to enunciate, applying a game of association, every remembrance he has. In effect, Funes not only remembered every leaf from every tree from every hill, but each time he had perceived or imagined them.
Instead of the term “surf” used in the Anglo-Saxon world, in Spanish one started to apply “navigate” as a verb for describing the circulation trough the Internet. In spite of its aquatic relation, this different perspective appeared when the Internet became popular in the Spanish-speaking world, where the first widely used browser was Netscape Navigator. It lost the browser battle when Microsoft introduced the Internet Explorer, since the latter was always included in the operative system commonly used at the time. Later, Netscape liberated the code, which led to the emergence of Mozilla.
This inaccurate Spanish translation, stemming from the term “to navigate” instead of “to surf”, places the net hopelessly in a metaphoric position that brings it together with the idea of the cartography by way of navigation. If the term “to explore” had become popular due to the Microsoft browser, it could have generated a similar correlation. In fact, the internet is commonly represented in the form of a map. One could say, that there is a continuity within the history of maps and their usage. Therefore, their logic goes far beyond the mere circulation through the sources of information, the net creates a continued extension of the domain; a colonization of life´s spaces.
This can be observed in the areas of use, which exceed the personal and the work space: email, social networks, desktop in the cloud, pornography, dating sites, maps, video servers and a large etcetera that amplifies, dominates and codifies the spheres of communication, emotion and action. And beyond this doppelgänger we find the physical reality: mobile devices, cable networks that cross the oceans and the applicable legal environment specific to each of the countries in which they are located.
This set of techniques composes a digital skin over the space and the body, constituting a virtual and physical infrastructure of control, but also of affect, an emotional bureaucracy built of technological prostheses.
***This project proposes an analysis of how those technologies are introduced in the everyday life, change the configuration of relationships and encode our perception of the world.