Bardula will present a selection of her latest works which uses LED’s technology. The artist’s new kinetic and optical series focuses on revisiting simple geometrical shapes such as spheres, circles and squares, or complex ones such as the torus.
These shapes, animated by subtle modifications and magnified by LED light, generate the illusion of volume and movement, swirling and expanding before the viewer’s eyes.
With “Preabsence”, HeK presents the first solo exhibition of the Mexican-Canadian artist Rafael Lozano-Hemmer in Switzerland. The show focuses on works dealing with the complex interrelationship between presence and absence, motifs usually understood as mutually exclusive or opposites, but here presented as echoes of each other within the tangible traces that data, memory and visitor interaction leave behind.
Cameras, tracking systems and biometric techniques have now transformed the public space into a metered matrix where every activity can be registered, stored and analyzed. Lozano-Hemmer makes use of this technology, but instead of tracking for pre-emptive control he uses it for connecting disparate planes of experience. By creating platforms for participation and self-representation he offers critical, playful and poetic installations that seek complicity and that by definition are out of control, ambiguous and indeterminate.
The Mapping Festival, dedicated to audio-visual art and digital culture, celebrates this year its 12th edition that will take place from April 28 to May 8, 2016 in Geneva.
The festival is now a major event in the fields of image generation, technological creation and exploration, attracting both professional and general audience. Considered as a unique platform of production and diffusion in Switzerland, it also enjoys an international reputation thanks to the quality of its programming and diversity, which aims to encourage emerging artists of the field. Working with several venues and open spaces in the city, it alternates audio-visual performances, installations, clubbing, architectural mapping, as well as workshops and conferences.
Lift Conference is one of Europe’s key events about innovation and digital technologies. It features a special blend of inspiring speeches by some of the world’s best speakers, truly interactive workshops, exhibitions of interactive media projects and prototypes to play with… and the legendary Fondue!
Look forward to the OLYMPUS PHOTOGRAPHY PLAYGROUND ZURICH 2016.
Centrally located, only a few minutes behind the Central Station in the Photobastei you will discover an extraordinary playground of creativity: the interactive exhibition NIGHT&DAY. Here, through the eye of the camera you will experience fascinating installations, created by the internationally renowned artists MASER, Leigh Sachwitz (flora&faunavisions) in collaboration with Andi Toma (Mouse on Mars), Martin Butler and Erik Olofsen.
You’ll become part of a spectacular cycle of light and shadow, black and white, positive and negative. You’ll experience how latest technology and innovative camera features let you capture LightRooms in a most impressive way, even at low lighting.
On that, you can paint with light and photograph yourself like a pro in a professional photo studio.
THE ENTRANCE IS FREE OF CHARGE!
You can borrow an OLYMPUS camera, with which you can experiment during the exhibition. The camera loan is right at the entrance and for free. The SD card with your photos is a present which you can keep.
Look forward to a wonderful photographic journey of discovery.
The HeK and 18 other institutions feature contemporary art from the tri-national region. The works shown in «The Worlds They Wanted» investigate and create hybrid spaces and realms, where realities shift. As in Allison’s «Worlds She Wanted» (Philip K. Dick, 1953), the artists create their own dream spaces in which they manipulate, alienate and renegotiate the world we know. Using digital tools, they break through material boundaries and create new spaces for design and action. In these spaces, the works question and shatter the old familiar notions of sound, image, time and movement – or they generate new perspectives on social processes, memories and participation. The exhibition opens up spaces for us to experience these shifted and reconstituted artistic realities.
Jonas Baumann, Vincent Chevillon, YGRG (Dorota Gaweda & Egle Kulbokaite), Evgenij Gottfried, Bettina Grossenbacher, Mike Haefliger, Oleg Kauz, Daniel Kurth, Julia Minnig & Jelena Nikolic, Sebastian Mundwiler, Ariane Koch & Sarina Scheidegger, Michel Winterberg
89plus and the LUMA Foundation are pleased to announce the second 89plus exhibition ‘Filter Bubble’ at the LUMA Westbau exhibition space within Löwenbräukunst in Zürich, Switzerland. The exhibition is co-curated by Simon Castets and Hans Ulrich Obrist.
Coined by Internet activist Eli Pariser in his 2011 book, “The Filter Bubble”, he designates the way Internet users are increasingly directed to a personalized information landscape through an algorithmic editing of web content. ‘Filter Bubble’ marks 89plus’s interest in translating three years of research into an exhibition format harnessing the reflective nature of its long-term inquiry. In presenting work by over 40 international artists, writers and technologists, ‘Filter Bubble’ introduces a selection of pointed responses to the perennial dilemma of blissful ignorance, paradoxically heightened by the pursuit of relevance in an ever-growing mass of data.
Media art and neuroscience have one specific thing in common: They’re both interested in how we perceive the world! Media artist Jill Scott will talk about how media art can change and sharpen our senses by demonstrating media art’s change and development over the past few years. Audio-visual technologies shape the perception of ourselves and have a great influence on art and science. Jill Scott illustrates this influence by talking about how audio-visual technologies evolved: About the non-digital images of our bodies, to political and dualistic notions of body and body art, from postmodern coded body information and digital screen manipulations to virtual characters and object-oriented sensory interaction with the audience.
In her series NEUROMEDIA, Jill Scott combines media art and neurobiological anatomy with neuroscientific studies on our perception of the world. Every piece of art is a sculpture and can be explored in „realtime“ by the visitors. NEUROMEDIA addresses the perception of our bodies today as a metaphor in a cultural context.
“AURALROOTS”, a work from the “NEUROMEDIA SERIES” is currently on display at the Anatomischen Museum at the University of Basel. Before her lecture at HEK, Jill Scott will be present at the museum and explain the piece (2pm-5pm).
The exhibition “Poetics and Politics of Data“ addresses the paradigm of a data-driven society and reflects life in an increasingly datified world. In visionary future scenarios, scientists enthuse over a world in which algorithms take over managing processes, envisioning a highly sensory and datafied space for us to live in, a world in which our desires and activities are anticipated, long before we carry them out. “Big Data“ is the keyword to this new era in which the power of data induces a radical transformation of a society whose actions and production of knowledge rely increasingly on the accumulation and evaluation of data.
“Poetics and Politics of Data” shows artistic works that approach the phenomena of Big Data and data mining, visualizing the continuous bitstream in various ways while referring to the political and social implications that come with a world that is controlled by data – from the processes of self-optimization to economical aspects and questions concerning the use and evaluation of this data. Who has access to our data? In what ways is it possible to extract useful information and find “valuable” and applicable correlations from the immense pool of data?
The exhibition introduces critically subversive approaches and interventions in networked spaces that make use of the potential of a virtual community and reflect personal performance in social networks. It focuses on aspects of surveillance strategies, data mining, privacy, post-privacy and digital autobiography acted out in social networks. Amid the constantly growing, infinite ocean of data, artists question the meaning and position of the individual in a technologically networked society and – thanks to their resistance and sense of independence – offer various alternatives to a normative world of data.
From computer-mediated installations to data visualizations, they address these questions through different media in order to not only generate a new approach to complex data structure, but to create a poetic immersive space of data.
The vocabulary of watchmaking uses poetic and evocative language to express the plethora of ways employed through the centuries to display the time – how about wandering hours, mysterious time, digital time, hands in the air or singing hours? Telling Time juxtaposes historic pieces and works by contemporary artists and designers, which all share the same desire to tell the time. The more recent creations often build upon and adapt the inventive¬ness of watchmakers of yesteryear. Each of these domains – watchmaking, art and design – brings its own particular resonance, its own poetry and aesthetic language. The exhibition builds bridges from one time to another, one subject to another, sometimes playfully, while highlighting the harmony and continuity between the past and the present. It is unexpected, curious and funny.