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Il sindaco di Genzano, Flavio Gabbarini, con il presidente di Greenaccord, Alfonso Cauteruccio
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
© Genz, Lindner / transmediale
www.transmediale.de/node/20557
Year: 2011
Duration: 23:28 min
Format: film/video
With his work Realigning My Thoughts On Jasper Johns, JK Keller has devised a “glitch” version of The Simpsons episode “Mom and Pop Art” (Season 10, Episode 19), in which the seminal pop-artist Jasper Johns appears as himself. Recalling Johns’ ongoing series of ecaustic collages begun in the 1950s, Keller handles The Simpsons as mass-produced pop-cultural object and intentionally distorts image and sound of the episode through the misappropriation of standardised software tools. The distortion effect results from digitally saving and converting into vectors every single frame of The Simpsons episode. The files are then processed further in Adobe Illustrator using the “Alignment and Distribution” tool, before finally being reassembled into a continuous video.
© Genz, Lindner / transmediale
www.transmediale.de/node/20547
1996, internet based
Who at the time when the first waves of the dot.com hype hit the shores of Internet culture would have imagined that this new economy could reproduce a figure of financial scarcity known from the physical world? An Internet beggar!? Was this global network not supposed to overcome such old-fashioned social problems and release us all into an endlessly rich virtuality? Maybe, but the situation is also more intricate than a matter of simple reproduction. The “internet beggar” in this piece by Heath Bunting is smart. He understands the Internet and takes advantage of it, just like the pioneers of the dot.com economy. Squatting the information superhighway, he supposedly earned around 25,000 Euros in the first year of his activity. Moreover, he has survived the bust of the dot.com bubble and continues to work. “Excuse me mister! Could you spare a dollar?”
© Genz, Lindner / transmediale
Ben Woodeson’s works are deliberately confrontational; the pieces confront both the viewer and the exhibiting institution with their real or implied activity and consequences. Manipulating everyday materials within a space, the works keep the viewer poised in a state of slight suspense. Their physicality aims to instigate an intense and visceral relationship with the viewer and the gallery architecture. Threatening ripples of consequence are sent throughout the sculptures and audience alike.
Since 2009 Woodeson has been making the overtly provocative and confrontational Health and Safety Violation series. Some works are calm, stable and self-contained whilst others confront the viewer with catastrophic outcomes, some are deliberately dangerous, others only sound like they are…
For in/compatible Ben Woodeson is presenting a new work from his Health & Safety Violation series. A seemingly innocent sculptural curtain bisecting the foyer space, positioned to obstruct the visitor’s default routes. To avoid the work requires a conscious detour by the visitor. Equally, engaging with it requires a willingness to take risk. This is an "interactive" piece that does not pretend to be harmless.
GenZ&U is a safe space organization that coaches tweens, teens, young adults, and parents on how to revive the lost connection. We're bridging the generational gap, one family at a time.
© Genz, Lindner / transmediale
www.transmediale.de/content/labor-berlin-8-studio-weise7-...
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 Haus der Kulturen der Welt is a place for international contemporary arts and a forum for current developments and discourse. It presents artistic productions from around the world, with a special focus on non-European cultures and societies. Visual arts, music, literature, performing arts, film, academic discussions and digital media are all linked in an interdisciplinary programme that is unique in Europe.
Alfonso Cauteruccio, presidente di Greenaccord
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
© Genz, Lindner / transmediale
Any kind of media installation based on electronic systems or micro controllers requires some sort of printed circuit board (PCB). To get a PCB one has to manufacture them. Industrial standards are a challenge and it takes some time and money to get them ready, ending up with a lot of dangerous chemicals, not to mention the hundreds of tiny holes one has to drill. Paperboards or PaperPCBs are a smart way to spare you the trouble. Wolfgang Spahn developed them as an open hardware system that allows everyone to create PCBs quite easily (dernulleffekt.de). One can design and modify them on any computer using a simple drawing programme like Gimp or Photoshop. After printing the circuit design, one just sticks it on a standard protoboard – and voilá: a proper and solid PCB has come into existence. PaperPCBs are a perfect extension to the already existing Arduino system and they are a perfect substitute if one likes to create an individual paper version of the Arduino. In the workshop Wolfgang Spahn will teach how to create and modify PaperPCBs. As an outcome of the workshop every participant will have designed and build his or her own Paperduino-Uno. Please bring your laptop (complete with Arduino IDE) and an Arduino. You may also choose a picture beforehand that you like to print on your circuit board.
© Genz, Lindner / transmediale
Presentation of the reSource for transmedial culture
With: Tatiana Bazzichelli (transmediale), Stéphane Bauer (Kunstraum Kreuzberg /Bethanien, Berlin), Oliver Baurhenn (CTM, Berlin), Clemens Apprich and Oliver Lerone Schultz (Post-Media Lab, Leuphana University Lüneburg). Introduced by Kristoffer Gansing.
The reSource for transmedial culture is an initiative of transmediale, which aims to create a distributed platform and a peer-production context of research, knowledge and artistic practices throughout 2012 and beyond. The reSource works in partnership with CTM/DISK, Kunstraum Kreuzberg/Bethanien and the Post-Media Lab of the Leuphana University Lüneburg. Within the aegis of facilitating collaboration and the sharing of resources and knowledge between the transmediale festival in Berlin and the local and translocal scene engaged with art and digital culture, the reSource acts as a link between the cultural production of art festivals and collaborative networks in the field of art and technology, hacktivism and politics. The launch of the reSource takes place at transmediale with a dissemination of workshops, talks and performances, looking into the future through a series of events scheduled in the course of 2012, leading to the next transmediale festival in 2013.
© Genz, Lindner / transmediale
speaking: Siegfried Zielinski (de)
Discussion with Inke Arns (de), Wolfgang Ernst (de), Jussi Parikka (fi/uk)
Moderator by Timothy Druckrey (us)
With such an array of histories whirling through the media sphere over the past decades, it seems important to tackle some questions about how these methodologies have and are inflecting an equally wide range of artistic practices that incorporate, re-evaluate, rethink, spoof, or re-invent technologies under rubrics ranging from “archaeology” to “variantology”. This “Open Conversation” brings together a range of participants whose work traverses historiographic and contemporary curatorial practices that resonate with assessments and contributions to this debate. In a sphere with such varied approaches to artistic production – geneaologies, archaeologies, and other approaches to revive, extend, reconsider, etc., previous techniques or media – this “conversation” will attempt to bridge differences, clarify methodologies, and, most importantly, ask what is the relevance of all this historiography in the working spheres where art is being made.
© Genz, Lindner / transmediale
www.transmediale.de/content/keynote-jodi-dean-incompatibl...
in/compatible publics
Keynote by Jodi Dean (us)
Moderated by Krystian Woznicki (de/pl)
Hundreds of thousands of people have recently responded to capitalist dispossession by taking space, occupying sites that, ostensibly open and public, the process of occupation reveals as closed to the many and belonging to the few. As a tactic, occupation responds to communicative capitalism’s ideology of publicity. Communicative capitalism announces the convergence of democracy and capitalism in networked communication technologies that promise access and equality, urge participation, and celebrate creative engagement. Occupation accepts that promise. The resulting disturbance – pepper spray, riot gear, eviction – reveals the incompatibility at communicative capitalism’s heart. At this point, though, the tactic of occupation is compatible with the system it ostensibly rejects. Thus, it is necessary to consider the gap between occupation and its politicisation, between occupation as a tactic and occupation as a form.
Enrico Marinelli, prefetto e già responsabile sicurezza del Papa
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
11 May 2019, Lima, Peru: Rev. Silvía Genz, President of the Evangelical Church of the Lutheran Confession in Brazil. The Latin America and the Caribbean & North America Leadership Conference takes place in Lima, Peru, 10-14 May 2019. The conference brings together close to 60 leaders from the LWF member churches in the two regions. Together they reflect on diverse contexts and identify strategies and themes to work on regionally and globally. LWF/A. Danielsson
© Genz, Lindner / transmediale
www.transmediale.de/content/liquid-state-machine-wolfgang...
Borrowing terms from the cognitive and computer sciences, Liquid State Machine usually describes a soup of connected nodes, a situation with inputs, nonlinear functions and outputs which computes something or assists in its computation.
In this instance, the performance space becomes the computational soup bucket, an experimental Space-Noise-Continuum based on the connections between the plentiful nodes of both the kinetic-electromagnetic-noise apparatus of Martin Howse and the analogue/digital projection-machines of Wolfgang Spahn.
The performance begins with the subtle influence across these two distinct systems, arriving at an ultimate feedback between light (waves) and sound. LSM presents a play with transformations between distinct physical system domains.
© Genz, Lindner / transmediale
www.transmediale.de/content/keynote-graham-harman-everyth...
in/compatible systems
Keynote by Graham Harman (us)
Moderated by Christopher Salter (ca/de)
The idea that everything is interconnected has become a staple of intellectual life. As a related phenomenon, “contextualisation” is now the method of first resort throughout the humanities. This lecture opposes the general trend of emphasising systems and wholes over autonomous individuals. Among the greatest drawbacks of holistic ontology is its inability to explain disruptions and surprises in any system it studies. At best, one posits some sort of “materiality” lying outside all formatted systems that serves as their underground source of change, a theory that fails for a variety of reasons. The only alternative is to adopt an object-oriented model of fully formatted entities lying beyond the grasp of the human mind and even of each other. After providing some theoretical background for this claim, I will consider several recent political phenomena that are better understood by an object-oriented approach than a holistic one.
Dave Genz holds a channel catfish caught by Bobby Whitehead on the Upper Mississippi River between St. Cloud and Clearwater, Minnesota.
photo by Dan Small Outdoors
Bevor sich die jungen Künstlerinnen am Silbermaterial (vorne) versuchen dürfen, dient ihnen das günstigere Kupfer als Übungsstoff. (Foto: Ilka Bärwald)
Die Goldschmiedemeisterin Katja Osterhoff-Genz schmiedet in ihrer kleinen Dorfgoldschmiede in Haltern am See individuelle Schmuckstücke nach Kundenwunsch.
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