View allAll Photos Tagged genZ
© 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.
© 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
Telekommunisten present R15N as a working telephone-based interactive installation which is available as a mobilization and engagement platform for the transmediale community. R15N is an artwork in the form of an experimental mobile phone service which attempts to generate local community engagement and communication. Unlike typical social networks, where communication is self-selected into circles of “friends,” R15N works through the co-operation of randomly selected people to enable a community to share information by having the system call people and connect them to each other on the phone. After registering with the service on www.r15n.net participants will be joined together in the R15N community, able to initiate and share information. Every member thus eventually becomes engaged in a real conversation with another, and this engenders cohesion and complicity. R15N was originally produced in collaboration with the Israeli Center of Digital Art and successfully implemented in the Jessy Cohen Neighborhood (Holon, il).
© Genz, Lindner / transmediale
www.transmediale.de/node/20773
The Collegium Hungaricum Berlin was established in 1924 and re-opened its doors on historical grounds in Berlin-Mitte, Dorotheenstraße 12, in November 2007. The new institute was designed in the style of Neobauhaus and demands for contemporary contents and forms of expression. Over the course of the past four years the .CHB has emerged as an excellent centre for art and media within the cultural landscape of Berlin-Mitte. Since 2008 Collegium Hungaricum Berlin has been hosting projects on the intersection of art, science and research in close conjunction with transmediale.
The transmediale 2012 performance programme features the legendary Joshua Light Show, which in the late 1960s and throughout the 1970s became known through their colourful improvisational performances at the NYC venue Fillmore East, providing visuals to groups such as Grateful Dead, Janis Joplin and Frank Zappa. In their contemporary performances, The Joshua Light Show connects the analogue light show to digital technology, fusing old and new, and demonstrating how intermedia forms such as the light show form an important point in the history of network culture aesthetics. The light show embodied a multimedial approach before the digital convergence of different media, dynamically playing off seemingly incompatible media elements. This evening, co-presented by transmediale curator Sandra Naumann and The Art of the Overhead is hosted by the .CHB, which is particularly interested in supporting audiovisual experiments in the fields of VJing, live and expanded cinema. The evening concludes with an AV live performance by ZOLA, a Hungarian VJ who visualises in his AV-set projective surfaces of relational networks and the theory of probabilities.
© 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
At transmediale 2012 The Joshua Light Show presents its light projections for the first time in Europe since the 1960s. Thousands of kilograms of equipment have been packed into boxes, shipped to Berlin, and installed on stage in the Auditorium. Once in place, the magical-psychedelic gadgetry will be fired into action, overwhelming and sweeping the audience into the past, the present, and into places they have never been before. Together with CTM.12 – Festival for Adventurous Music and Related Arts, transmediale has initiated a series of special collaborations with musicians, bringing together historical and contemporary sounds. Tonight JLS are joined by the band Supersilent and the guitarist Stian Westerhus from Norway.
Supersilent (no)
Supersilent is a Norwegian improvisational band formed in Bergen in 1997. The current band members are Arve Henriksen (trumpet), Ståle Storløkken (keyboards) and Helge Sten (electronics). 1998 saw the release of Supersilent’s debut album 1-3. Supersilent 6 is considered by many to be a particular highlight. While the band’s earlier work was often propelled by drums and harsh electronic treatments, the bands sound has gradually become more meditative and expansive. After the departure of their drummer Supersilent has continued to perform extensively as a trio and has meanwhile released the albums 9, 10 and 11.
For their show at transmediale 2012 Supersilent will be joined by guitarist Stian Westerhus from Norway.
> supersilence.net
Stian Westerhus
Stian Westerhus is one of Norway’s most in demand young musicians playing in bands like Monolithic (with Kenneth Kapstad from Motorpsycho), Puma, Nils Petter Molvaer Group and more. For the last few years Stian Westerhus has put more and more energy into challenging the electric guitar alone on a stage. Having been blessed with little or no respect for the instrument his performances balance raw expressiveness, virtuosity and melodic instinct utilizing his Norwegian heritage as well as growing up listening to Slayer. With a soundscape far beyond the standard guitar he seeks to push the boundaries for improvised music across the muddy waters of genres.
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
With presentations by Dieter Daniels (de), Thomas Munz (de), Rudolf Frieling (de/us), Susanne Jaschko (de)
Moderated by Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
© 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.
Así adelanta W Genzo parte de la trama de "Los Ángeles de Pau" en Twitter.
El guión falso que circulaba hace unas semanas al final no resultaba serlo del todo.
El personaje de Déborah se llama Thais,según relata W Genzo,ella quiere vengar el asesinato de su padre.El presunto asesino del padre es su propio mejor amigo,Pau(Aaron Lauper),por quien Thais siente una fijación que va creciendo por momentos.
Esta información y la que deja ver el teaser trailer recién estrenado,deja claro que Thais y Pau se alían para hacer justicia.
Pero el resto de su relación sigue siendo un misterio.
© 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
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.