Yesterday we experience one of the most immersive experience with the collaboration between Mexican electronic composer Murcof and AntiVJ‘s Simon Geilfus at Berlin Atonal. With large, semi-transparent screens, they create a fully immersive environment in which microscopic particles, geometric grids and organic elements are mapped in wondrous 3D perspective to the sound of ambient and droning electronica. As amateurs pics I took with my iphone will not make justice to the show, I have collected some professional pics from this collaboration that already last 4 years (2009).
ReFunct Media is a multimedia installation that (re)uses numerous “obsolete” electronic devices (digital and analogue media players and receivers). These devices are hacked, misused and combined into a large and complex chain of elements. To use an ecological analogy they “interact” in different symbiotic relationships such as mutualism, parasitism and commensalism.
Voluntarily complex and unstable, ReFunct Media isn’t proposing answers to the questions raised by e-waste, planned obsolescence and sustainable design strategies. Rather, as an installation it experiments and explores unchallenged possibilities of ‘obsolete’ electronic and digital media technologies and our relationship with technologies and consumption.
LEAP (Lab for Electronic and Arts and Performance) presents ReFunct Media #4, a collaborative project by Benjamin Gaulon (IE/FR), Niklas Roy (DE), Karl Klomp (NL), Tom Verbruggen (NL) and Gijs Gieskes (NL).
In the slide show: Trash with attitude (object, in the slide show correspond to the picture that contains a display and machine with word FUCK YOU lighted-on) and Electronic Instant Camera (combination of analogue B&W videocamera and thermal receipt printer, pics from people in the opening located in the wall) by Niklas Roy, Crackle Canvas by Tom Verbruggen (it is a painting that produces sounds: circuitboards, speaker, knobs, switches, wood and canvas), Hypnotoad (hardware version of youtube video of Hypnotoad-character from TV series futurama) and GVS1b by Gijs Gieskes (viewfinder used as display and small security camera that films the person operating the GVS1b so it samples themselves) .
Video above: ReFunct media v4 exhibition-installation. The video is a walk through the installation.
Corrupt.Movie- B.Gaulon (fragment 25 secs). This single channel video is the collection of uploaded images on corrupt.recyclism.com since 2005. The total lenght of the video is 1h 11min 45 sec and includes 107175 images uploaded by thousands of different people from 2005 to 2011.
The opening exhibition included a live performance from TokTek(NL) and VJ MNK (Karl Klomp (NL)): 2 min excerpt in the video above.
Benjamin Gaulon is a researcher, artist and has a broad experience of acting as art consultant, public and conference speaker and art college lecturer. His work focuses on planned obsolescence, consumerism and disposable society. He has previously released work under the name “recyclism”. He is currently leading Data 2.0 (Dublin Art and Technology Association), he co-founded the IMOCA (Irish Museum of Contemporary) Art in 2007 and is lecturer at the National College of Art and Design in Dublin.Since 2005 he has been leading workshops and giving lectures in Europe and US about e-waste and hardware Hacking / Recycling. Workshop participants explore the potential of obsolete technologies in a creative way and find new strategies for e-waste recycling. His research seeks to establish an inter-disciplinary practice and collaborations by creating bridges between art, science and activism, and by doing so, shifting the boundaries between art, engineering and sustainable strategy.
Niklas Roy, born 1974 in Nurnberg, lives in Berlin since 1999 where he initially served as visual effects supervisor in the film industry and later studies Visual Communication at the University of the arts. Since then he has worked successfully as a freelance artist.The core of his work ranges from complex mechanics refined over electronics to purely virtual computer code that manifest themselves in objects, installations and performances.
Karl Klomp (‘79 – NL) is a media artist, vj and theater technician. His research focuses on live audiovisual expressions and interfacing with a fascination for glitch-art, hyper kinetic audio visuals and glitch grabbing. He deals with video circuit bending and hardware interfacing out of obsolete video devices. Together with Tom Verbruggen (Toktek) they play live audio-visual performances (toktek vs mnk).
TokTek (aka Tom Verbruggen) is a Dutch artist who designs and deconstructs his own electronic instruments, giving his music a unique character and allowing him to improvise live on stage with the help of a joystick – the central piece in his live equipment. Behind TokTek stands musician and visual artist Tom Verbruggen, who aside from building his own instruments is an improviser: synths, toys and computer become instruments.His eclectic electronic style has been described as illogical hardware bending, where the outcome creates dramatic live compositions, which break down into delicate and tender sound moments.In one of his incarnations, he performs with VJ MNK (Karl Klomp) – a video artist that hacks/bends video equipment like videomixers.
Gijs Gieskes, an educated industrial designer, he now most enjoys re-appropriating tools for new purposes, making inventive hardware projects; such as his Feedback video log, Strobo VJ machine or PCB hand-painted circuit board. His work and live performances are a fantastic example of where hardware hacking can take you.
‘The King is blind’-100° Berlin-Das 9.Lange Wochenende des Freien Theaters @ Sophiensaele, February 23rd, 2012
Within 100º, the four-day theatre marathon that takes place from 23 until 26 February, Sharon Paz presents The king is blind, 2011, a combination of video and performance, investigating power and control using symbolic images of kings and servants. The performance and video are inspired from shadow theater, using silhouette images of actors placed in two-dimensional environments. The work is inspired by power structures of the past and reflects a critical view on current power structures. Music: Tobias Vethake. Performers: Camilla Milena Fehér, Jürgen Salzmann, Daniela Schulz, Karl-Heinz Stenz. Text source: http://www.sharonpaz.com/index.php?/project/biog/
100º will present more than 130 free productions: Stage versions of Effi Briest, performative concerts with seaman-aesthetics, performances on the topic of work and working-sounds, one-woman-monologues about goulash, virtual live connections to other parts of the world, karaoke singing games and highly acrobatic performances. Once again they have a mix of different aesthetics, contents and formats. Chaos is the concept of 100°.
Dark Drives. Uneasy energies in technological times – videos – part I. Text source: exhibition catalogue.
Costanza, 2011 – Costanza Candeloro & Luca Libertini: Ever since the practical value of electricity was discovered in the first half of XIX century, close connections between human body and electricity have unfolded multiplicity of trajectories in our culture. Costanza gets in front of the camera touching her body with the tip of a mini jack cable connected to an amplifier. As she moves the cable over different parts of her skin, the current coming from the amplifier 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 sex internet video, except she is not striping nor sex, only her body and the electricity connected in a tense act of intimacy.
Armed citizens, 1998-2006. Daniel G. Andujar / Technologies To The People: Originally a website, is a series of images of handguns that can be bought online like the millions of other consumer goods the Internet offers the common user. The images simply present them one after objects of desire mode available by the new economy of digitalised network transactions. Hence, the “armed citizens” the title refers to, are, for whatever reason they buy guns, themselves the products of the commercial logic embedded in the contemporary access culture.
My Generation, 2010, Eva + Franco Mates aka 0100101110101101.org: If you were a teenage boy, what would you do if your mother cancelled your World of Warcraft account? screen like a pig, take off all your clothes, hit yourself with a shoe…? With material found online social platforms such youtube, Eva+Franco Mates demonstrates that computer games are far from mere recreational entertainment. They are extremely addictive and the games industry is fully aware of this. Gamers get hooked on the ‘high’ of the experience, but as any drug-infused high it is also destined to take control and produce effects such as frustration and rage…
Realigning My Thoughts On Jasper Johns, 2011, JK Keller: this is a glitch version of The Simpsons episode “Mom and Pop Art” (Season 10, Episode 19) in which the pop artist Jasper Johns appears as himself. Recalling Johns’ series of ecaustic collages begun in the 50s, Keller handles The Simpsons as mass-produced pop cultural object and distorts image and sound through the misappropiation of standardised software tools. The use Illustrator tool “Allignment abd Distribution” to process the video gives the name to the piece.
Dark Drives. Uneasy energies in technological times is the transmediale exhibition in which the main point is to engage with the multiple instances where uneasy energies and the in/compatible, connect and generate processes that challenge consensual and standardized perceptions of technology.
“Uneasy energies in technological times” through an extensive and diverse group of examples claims that distortions, ambiguities, irritations, ironies, and unrest constitute as a significant trajectory in our relations with modern technology and have done so since the use value of electricity was discovered.
The exhibition claims that uneasy energies are insuperable, an integral and constitutive part of technological times. The exhibition is curated by Jacob Lillemose. Text source: http://www.transmediale.de/festival/exhibition
Re: Deep Water Horizon, Chris Burden’c photo+text Doorway to Heaven, Wellmer’s video Error 502… and Dahl, Peill, Zimmer video Web Warriors. Also Borroughs & Balch film The cut-ups and Ant Farm video Media Burn are not photograph or recorded ’cause it was surrounded by 50 people therefore I could not take a close shot.
The performance programme of transmediale reflects the relationship between “old” and “new” media. A range of works will be presented which use digital “listening devices” to analogue media and thereby lure out the “ghosts in the machine” that gives name to this performances programm.
Joshua Light Show perform in a setting which combines analogue with modern digital projection techniques. As a special highlight, JLS featuring Manuel Göttsching (Ash Ra Tempel/Ashra, de), know as Krautrock / cosmic / minimalism giant, will be bringing together analogue and digital sound-production, and featuring exponents of so-called hauntology and hypnagogic pop.
Manuel Göttsching’s (de) carrier spans over 40 years. First known in the early 1970s as a founder of the German cosmic rockers Ash Ra Tempel – later known as Ashra – Göttsching earned a reputation with his usually atmospheric and subtle guitar work. After a number of albums throughout the 70s, Göttsching’s most decisive and enduring work was released in 1984: E2-E4, a masterpiece of economy. Its hypnotic, treated synth and drum machine loop morphs and unfolds gradually over the entire first side of the album without ever loosing focus – before side two continues with Göttsching’s unique guitar-playing, which unpretentiously blends into the soundscape. With its stringent funkiness and minimalist sonic precision, it became a touchstone for much of the electronic dance music that would later emerge from Germany and internationally. Göttsching has remained active throughout the years while maintaining his position as grand seigneur of Krautrock, cosmic and minimal music.