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© Genz, Lindner / transmediale
www.transmediale.de/node/20539
Year: 2011
Duration: 9:40 min
Format: film/video
Ever since the practical value of electricity was discovered in the first half of the 19th century, close connections between the human body and electricity have unfolded a multiplicity of trajectories in our culture. There is the fantasy of reanimating dead tissue such as in case of the Frankenstein monster, experiments with stimulating brain cells to think faster and the electric chair used for execution. Costanza adds another chapter to this complex history of the electrified body. In her apartment, stripped of furniture and other everyday objects, she gets in front of the camera wearing only her underwear and touches her body with the tip of a MiniJack cable connected to an amplifier. As she moves the cable over the different parts of her skin, the current coming from the amplifier is connected to the ground through her body and the sound of this electric circuit is heard on the loudspeakers connected to the amp. When she touches her covered parts no sound is produced. The performance is reminiscent of a peepshow or a sex video on the Internet, except there is neither striping nor sex, only her body and the electricity, connected in a composed, yet tense act of intimacy.
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
© Genz, Lindner / transmediale
Claudia Becker is Scientific Supervisor of the _Vilém_Flusser_Archiv
The Vilém Flusser Residency programme aims to support conceptual projects and works that are towards a form of practice. The programme seeks to encourage new research approaches and further develop existing projects.
Greek philosopher and economist Georgios Papadoloulos has been selected as the first resident. In his research project Iconographies of Drachma; Speculations on Symbolic Value he addresses the economic reality of Greece and how it manifests itself in the currency Drachma.
REGIONE LAZIO
Want to use this image on your project? Visit my website www.scorcio.it to obtain a licence.
© Genz, Lindner / transmediale
www.transmediale.de/node/20582
1971, prints
From its legendary beginnings in Silicon Valley, the high-tech computer industry has shared close ties with counter cultures. For Sture Johannesson, co-founder of the Cannabis Gallery (1966-69) in Malmo and initiator of Skandinavias first laboratory of digital art Digitalteatern (late 1970s), this connection also involved a parallel of being high on drugs and being “drugged” – or as Marshall McLuhan said “massaged” – by new technologies. After Cannabis Gallery closed, Sture started working with computer graphics with programmer Sten Kalin at IBM in Stockholm. The collaboration was to last for many years and included projects such as Intra (1969-74) and Exploding Picture Space (Epics) (1986-present). One part of the Intra series is particularly significant in the given context: Leaves is an attempt to trace the outline of a cannabis leaf using a card-punching mainframe computer without a screen. As an output device, they had only a drum-plotter with a 30cm wide roll of paper at their disposal. By varying the input parameters in the mainframe and continuously printing-out the results, Johannesson and Kallin approximated the shape of a cannabis leaf while also anticipating the machine’s performance of imperfections.
© Genz, Lindner / transmediale
Jacob Appelbaum
Panel with Jacob Appelbaum (us, image), Gabriella Coleman (us), Dana Buchzik (de) and anonymous
Moderated by Tatiana Bazzichelli (it/de)
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
May 2nd, 2008 several hundreds of workers without isolated papers invested the Labor market (Appendix Eugene Varlin) of 85 Rue Charlot to obtain their regularization with the assistance of the trade unions, to date hardly 10% of the files its to pass in committee to the prefecture…
To mark this date in 2009, an exposure was organized with the assistance of various supports and artists like Bruce Clarke, Laura Genz, Franck Vibert, etc…
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Le 2 mai 2008 plusieurs centaines de travailleurs sans papiers isolés investissait la Bourse du travail (Annexe Eugene Varlin) du 85 Rue Charlot pour obtenir leur régularisation avec l'aide des syndicats, a ce jour à peine 10% des dossiers son passer en commission à la préfecture ...
Pour marquer cette date en 2009, une exposition fût organisée avec l'aide de différents soutiens et artistes comme Bruce Clarke, Laura Genz, Franck Vibert, etc...
Series:"#safersexting"
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School project on the topic "#GenZ". The series should show how easily you can pick up someone or be picked up by someone nowadays...
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📷 shows Buseta Carnuda. Photos are edited by me. This is #3 of a series, more will follow.
© Genz, Lindner / transmediale
Panel in the symposium strand in/compatible publics
left to right: Anonymous (upper left in the picture), Gabriella Coleman (us), Jacob Appelbaum (us), moderator Tatiana Bazzichelli (it/de)
also with Dana Buchzik (de) sitting in the audience
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
© Genz, Lindner / transmediale
left to right: Danja Vasiliev, Servando Barreiro, Julian Oliver, Brendan Howel, Kristoffer Gansing, Bengt Sjölén
Labor Berlin 8 – Studio Weise7: in/compatible laboratorium
Exhibition dates: Jan 31 - Mar 12, 2012
Publication launch: Mar 9, 2012
Opening times each day: 10:00 - 22:00
Walk throughs each day: 13:30 each day during transmediale
Cost: free
Opaque devices, spyware, search engines and phones that talk about us behind our back: the deep reach of technology in our lives shapes both how we read the world and what we do in it.
The Weise7 in/compatible Laboratorium is an experimental workspace set up as an exchange between an artist and engineer run studio space at Weisestraße 7 in Neukölln and the Labor Berlin gallery at HKW. The Studio Weise7 exhibition brings together a series of works that frame a volatile interrogation of our increased dependence on machines, computer networks, databases and digital automation. The works consist of curious devices, software and circuitry, each representing a unique, critical engagement with the challenges of our "techno-political condition". In doing so, they serve as triggers for discourse, code for study and tools for deployment.
During transmediale 2012, Weise7 will present four different in/compatible themes which are being made manifest through installations and intensive mini-workshops and presentations. After the transmediale, the laboratorium will transform into a "moratorium": in this phase, part of the Labor Berlin space will be closed off to the public, and the four themes will extend into longer workshops carried out in the Weise7 studio space. The workshops will have a feedback to the Labor Berlin space as well and the process will be concluded with a publication launch. At this event, an artefact will be presented that functions as a networked archive publication of all the in/compatible Laboratorium activities.
This exhibition is part of the ongoing Labor Berlin series at the Haus der Kulturen der Welt (HKW), a project dedicated to the creativity and potential of international artists with the city as their new home and focuses on Berlin and its production conditions for artistic creation.
The Weise7 in/compatible laboratory is an experimental space in which artists and engineers of the project area in the Weisestr. 7 in Neukölln and the Labor Berlin Galerie share their thoughts in the Haus der Kulturen der Welt.The Studio Weise7 exhibition brings together ten works that frame a volatile interrogation of our increased dependence on machines, computer networks, databases and digital automation. The works consist of curious devices, software and circuitry, each representing a unique, critical engagement with the challenges of our 'techno-political condition'. This exhibition is part of the ongoing Labor Berlin series at the Haus der Kulturen der Welt (HKW), a project dedicated to the creativity and potential of international artists with the city as their new home and focuses on Berlin and its production conditions for artistic creation.
Participating artists are Bengt Sjölén, Brendan Howell, Danja Vasiliev, Gordan Savicic, Julian Oliver, Servando Barriero. Labor Berlin 8 is curated by Kristoffer Gansing.
REGIONE LAZIO
Want to use this image on your project? Visit my website www.scorcio.it to obtain a licence.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
Krystian Woznicki moderating the panel in the symposium strand in/compatible publics
Panel with Jacob Appelbaum (us), Gabriella Coleman (us), Dana Buchzik (de) and anonymous
Moderated by Tatiana Bazzichelli (it/de)
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
Pieza audiovisual a cargo de CHARRAS / GENZO P. / ALEXPLAYS, creada expresamente para la inauguración de la exposición Moscoso Cosmos, que tuvo lugar el sábado 13 de noviembre en el Hall del MUSAC con motivo de la inauguración de la exposición Moscoso Cosmos. Fragmentos de la pieza en este vídeo de Youtube.
El MUSAC presenta una pieza audiovisual de nueva creación a cargo del músico Daniel Salvador de Madariaga “Charras” y el artista sonoro Genzo P., junto con las artes visuales Alexplays (Alejandro Sáenz de Miera). Bajo el título de Baile Vector Viscoso, esta pieza tiene al órgano como catalizador de la experiencia sónica, y supone un viaje psicodélico orgánico que toma como referente el trabajo gráfico del artista Victor Moscoso.
Esta actividad se enmarca en el contexto de FAMOL 21, la primera edición del Festival Alternativo de Música de Órgano León 2021, organizado por DMadariaga Producciones Creativas con la Concejalía de Promoción y Acción Cultural del Ayuntamiento de León.
Álbum BAILE VECTOR VISCOSO - CHARRAS / GENZO P. / ALEXPLAYS - FAMOL 21 - MUSAC - 13.11.21