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Computer Grrrlz brings together 23 international artistic positions
that negotiate the complex relationship between gender and
technology in past and present. The book deals with the link
between women and technology from the first human computers to the
current revival of techno-feminist movements. An illustrated
timeline with over 200 entries covers these developments from the
18th century to the present day. The publication presents artists,
hackers, makers and researchers who are working on how to think
differently about technology: by questioning the gender bias in big
data and artificial intelligence, promoting an open and diversified
Internet, and designing utopian technologies. The perspectives
presented here address a broad range of topics: electronic
colonialism, the place of minorities on the Internet, the sexist
bias of algorithms, the dangerous dominance of white men in the
development of artificial intelligence and digital surveillance,
but also ideas on how we can change our traditional ways of
thinking. Artists included: Morehshin Allahyari, Manetta Berends,
Zach Blas & Jemima Wyman, Nadja Buttendorf, Elisabeth
Caravella, Jennifer Chan, Aleksandra Domanović, Louise Drulhe,
Elisa Giardina Papa, Darsha Hewitt, Lauren Huret, Hyphen-Labs,
Dasha Ilina, Roberte la Rousse, Mary Maggic, Caroline Martel,
Lauren Moffatt, Simone C. Niquille, Jenny Odell, Tabita Rezaire,
Erica Scourti, Suzanne Treister, Lu Yang. Text in English and
German.
In the popular imagination, artificial intelligence (AI) is usually
portrayed as a divine entity that makes “just” and
“objective” decisions. Yet AI is anything but intelligent.
Rather, it recognises in large amounts of data what it has been
trained to recognise. Like a sniffer dog, it finds exactly what it
has been taught to look for. In performing this task, it is much
more efficient than any human being – but this precisely is also
its problem. AI only mirrors or repeats what it has been instructed
to reflect. Seen in this light, it may be viewed as a kind of
digital “house of mirrors”. Humans train machines, and these
machines are only as good or as bad as the humans who train them.
Based on this insight, the publication addresses not only
algorithmic bias or discrimination in AI, but also AI-related
issues such as hidden human labour, the problem of categorisation
and classification – and our ideas and fantasies about AI. It
also raises the question whether (and how) it is possible to
reclaim agency in this context. Text in English and German.
The title of the catalogue of works by the artist duo Stefan
Panhans (Germany) and Andrea Winkler (Switzerland) is a nod to the
rhetoric used by evangelical megachurches in the United States that
preach a market-oriented, neoliberal ideology of individual
self-optimisation under the guise of Christian pastoral care. The
artists' works touch on electric SUVs, communication with forms of
artificial intelligence, racism in everyday life, celebrity cults,
stereotypes, computer games, the "uncanny valley," and other
post-digital feedback loops between humans and virtual worlds, but
also on the precarious condition of cultural sector workers.
Panhans and Winkler are masters at using a broad spectrum of
artistic genres and media, such as novels, texts, performances,
installations, miniseries, musicals, sculptures, objects, films,
videos, and dance. Their video installations can be subsumed under
what is known as "expanded cinema": the displayed objects, which
also appear in the videos, are presented in a way that allows the
films to expand into the surrounding space, drawing viewers into
the artwork. Text in English and German.
Based on the art project of the Mallinckrodtstrasse workshop on
Romani building culture of the same name and the redesign of a
building facade in the Nordstadt district of Dortmund in September
2019, this publication focuses on a special form of architecture
that has arisen in Romania, among other places, in the last 30
years which is characterised by expressive facade designs. Text in
English, German and Romanian.
Every month, the art association HMKV presents the latest videos by
international artists in its series "HMKV Video of the Month" which
has been ongoing since March 2014. The idea for the series came
from the desire to show the newest artistic productions in rapid
succession, changing works at a faster pace than in the exhibitions
of the HMKV. For the first time, this publication unites all 78
works that have been exhibited since 2014. The videos address a
variety of different topics and stories, ranging from labour
conditions, structural changes, speculative technologies, or
posthuman machines to technology (and its history) as well as
artificial intelligence. A wide array of works is devoted to the
old 'new' right-wingers and the alt-right. The book not only shows
stills of all videos, but each work is also accompanied by an
introductory text to provide a comprehensive overview. Text in
English and German.
This book focuses on right-wing populist movements that are heavily
reliant on the Internet and social media to spread their ideas. It
explores the emergence of a (sub)culture of transgression in online
forums such as 4chan and on platforms such as Breitbart News. The
artists featured in this volume address Internet phenomena such as
memes (e.g., Pepe the Frog, probably the most well-known symbol of
Trump supporters), figures such as Steve Bannon, flag worship, the
prepper scene, white supremacists, and Dark Enlightenment. The
catalogue includes a comprehensive introduction to the issue, an
interview with the science writer Angela Nagle, entries on all of
the works, a critical glossary, and a list of links to relevant
online resources. Text in English and German.
L'Internationale is a trans-institutional network of five major
European museums and artists' archives: Moderna Galerija Ljublana,
Julius Koller Society Bratislava/Vienna, MACBA Barcelona, Van
Abbemusuem Eindhoven and MHKA Antwerp. With these five museums and
their respective collections as a starting point,
"L'Internationale: Post-War Avant-Gardes Between 1957 and 1986"
presents a range of case studies and historiographical and
theoretical essays that reconsider a period in art history that was
dominated by the art of Western Europe and North America. The
publication instead portrays a more dispersed, multi-polar and
interconnected neo-avant-garde, one that existed long before it
became common to think in terms of globalization or
trans-nationalism. In the process, this book questions how local
narratives can be brought together in a new "rhizomatic" way, one
that works to reshape our ideas of translocalism and
internationalism.
This catalogue for a show at HMKV Dortmund explores
techno-shamanism in the arts today, taking Joseph Beuys, who
cultivated the figure of the shaman throughout his career, as the
starting point. In addition to viewing shamanism itself as a
form of technology, this artistic approach uses (speculative)
technology as a way of discovering shamanic powers. Contemporary
artists are updating Beuys’s strategies and themes for the
digital age, deploying many of the same tropes. These acquired
iconic status in Beuys’s oeuvre, and were aimed at healing and
transforming society, cultivating a spiritual approach to the
environment, and subverting power structures and the logic of
capitalism. The positions introduced here combine aspects that
appear diametrically opposed: technology and shamanism, technical
progress and esotericism, rational modernism and the mystical
tradition. Today’s artistic alchemists are engaged in a quest for
“rare-earth elements” and metals, a fusion of the environment,
technology, and artificial intelligence in order to create a
technical/mythological description of the cosmos. Included here are
works by: Morehshin Allahyari, Joseph Beuys, Mariechen Danz, Anja
Dornieden & Juan David González Monroy, Lucile Olympe Haute,
knowbotiq, Sahej Rahal, Tabita Rezaire, Jana Kerima Stolzer &
Lex RĂĽtten, Transformella (aLifveForm fed and cared for by JP
Raether), Suzanne Treister, Anton Vidokle. Text in English and
German.
Originally published in 2009, this book collects the work made
between 1999 and 2009 by Austrian duo UBERMORGEN (lizvlx and Hans
Bernhard). Along that decade, UBERMORGEN developed a consistent
oeuvre, focused on the ability of media to infiltrate reality to
the point of completely altering the perception of it or even its
social, biological or human infrastructure; and on the potential of
art to engage a dialogue with economic, bureaucratic and
informational systems. All these works are presented extensively
through pictures and introductory texts, and discussed in depth in
two essays by Domenico Quaranta and Dr. Inke Arns. The book also
features a visual tribute by artists JODI.ORG. UBERMORGEN have
exhibited in museums and galleries internationally since 1999,
including HKW, Berlin; MUMOK, Vienna; MACBA, Barcelona; Ars
Electronica, Linz; SFMOMA, San Francisco; Witte de With, Rotterdam;
Centre Pompidou, Paris; New Museum, New York; Sydney and Gwangju
biennales.
Every month, the art association HMKV presents the latest videos by
international artists in its series "HMKV Video of the Month" which
has been ongoing since March 2014. The idea for the series came
from the desire to show the newest artistic productions in rapid
succession, changing works at a faster pace than in the exhibitions
of the HMKV. For the first time, this publication unites all 78
works that have been exhibited since 2014. The videos address a
variety of different topics and stories, ranging from labour
conditions, structural changes, speculative technologies, or
posthuman machines to technology (and its history) as well as
artificial intelligence. A wide array of works is devoted to the
old 'new' right-wingers and the alt-right. The book not only shows
stills of all videos, but each work is also accompanied by an
introductory text to provide a comprehensive overview. Text in
English and German.
Viewers find themselves captivated by the edgy unconventionality of
the works of Christoph Faulhaber, which point out the
contra-dictions and abysses of our society today. In his new cycle
he examines artificial intelligence. What at first seems like a
phenomenon far distant from everyday life ultimately reveals a
fascinating topicality. Marshall McLuhan talked about "art as
radar." It is an "early warning system that allows us to recognize
social and psychological weaknesses far in advance." There is
hardly any other artist to whom this applies as much as it does to
Faulhaber and his art, which dares to look toward the future in
order to show, through artificial intelligence, what the
consequences of our present day might be.
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