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The screening takes place every Sunday at p. The film is a homage by the filmmaker to his artist colleague, who died in and is still known today for his confrontational political as well as artistic approach.
Beuys did not shy away from confrontation and entered into direct contact with his audience. His eyes fix the audience through a camera gaze that appears endless in the loop. The screening takes place every Sunday from a. Like time-based media themselves, these collaborations expand, appropriate, reinterpret, and repurpose the collection in new and exciting ways, highlighting and discovering multiple historical threads and thematic clusters.
T ime-based media art since , explored video as a form of scenic art, strongly influenced by the so-called performative turn which pervaded not only the humanities but also society and art at the time. The exhibition, curated by Bernhard Serexhe and Julia Stoschek, was divided into sections, investigating concepts of body and soul, public space, environment, and virtual reality through different artistic positions. Perceptions of truth are widely mediated through moving images. Borrowing from various cultural narratives, the works expound on their potential to serve as an incubator for social mythologies.
Traditionally understood as narrations about gods, creation, and sanctity, myths are stories that are widely shared and factually ambiguous. They tell unverified truths, educate and entertain at the same time, and create archetypes from simple characters. The works each grapple with various mythologies by reinterpreting histories, disrupting established behaviors, and imagining new visual and sonic worlds. Through everyday acts of pretending and performing, the works ask: What—if anything—can be trusted?
How is meaning assigned to these stories? Who creates these myths and which ones will be carried into the future? These works document particular milieus while examining the collective fantasies that drive their construction. Through very different mediums and contexts, the enduring projects by the Guerrilla Girls and the work of Natascha Sadr Haghighian foreground myths specific to the art world through fictionalizing their own personal narratives and participation.
A free booklet accompanied the exhibition, which is here as download available. The works are set in the future and explore how marginalized societies confront life after a scientific discovery has mapped and determined all parameters of transcendental spiritual experience.
The Quantification Trilogy examines fringe culture, theories of evolution, virtual reality, neurotheology, esotericism, dance, the representation of the sublime, as well as the notion of transcendence itself. In the video, Shaw meticulously reworks archival documentary footage of Pentecostal Christian snake handlers to depict the uncanny return of an outmoded system of belief. Liminals is presented as a recovered episode of a documentary series on marginal societies Periphery Altruist Cultures who respond to a widespread loss of ability for faith that threatens the extinction of the human species.
Born with an 8. These photographs feature subjects experiencing states of spiritual, hedonistic, or technological catharsis. They are framed under precisely faceted prismatic lenses designed by the artist to create multiple refracted images around a specific element within the picture. This mediation of the presented image not only appears to approximate the altered state of consciousness of the photographic subject, it heightens an awareness of the perspective of the camera, the beliefs or values of the original photographer, and those of viewer of the artwork.
An extensive publication will be released in conjunction with the show. Jeremy Shaws publication Quantification Trilogy Reader operates as an extension of the artist project and installation. It renders the narratives of the films through full-colour, full-bleed stills, which become immersive visual experiences. Each narrative is followed by the original voiceover transcripts, as well as critical texts exploring the questions the project provokes. In conjunction with beuys Joseph Beuys, one of the most significant artists of the twentieth century, has had a strong impact on collective cultural memory.
He gazes from the screen at the audience for eleven entire minutes—without saying a word, steady and self-assured, looking directly into the camera. By engaging our gaze through the medium of film, Beuys establishes a social space of interaction. He utilizes his vehement, iconic presence as a device that we as viewers cannot resist.
It is precisely this sounding out of the relationship between the filmmaker, the medium of film, the protagonists, and the viewers as well as cinematic authenticity that interested Mommartz. In addition to their efforts to develop new cinematic possibilities of expression far from the mainstream and to establish film as a visual art, they were also concerned with finding alternative channels for film distribution.
Yikes, Whatever Have We Done? Soziale Plastik will be shown every Sunday from a. While doing preliminary research, Bonny and Wissel became aware of the parallels between this dictum and the rise of neoliberal values in German society: according to these, everybody today has the potential for success in their own business if they work hard enough and are creative. Following this concept, Bonny and Wissel came across Helge Achenbach, who was once one of the most successful art advisors in Germany.
Achenbach became rich from art consulting and selling art. He lost everything when it was revealed that he had manipulated invoices in his favor, including those for clients such as the Aldi discount supermarket heir Berthold Albrecht. Working in an experimental and improvised manner, the actors hold the script in their hands and recite the stage directions along with their dialogue.
The location and time vary from scene to scene, ranging from the late s to the s. Christoph Schlingensief — was one of the leading German-speaking artists of his time. He eliminated the borders between theater, film, television, literature, and visual arts with his politically subversive and often extreme happenings and projects.
His death in left an artistic void that is still felt today, even outside of the German-speaking world. Kaprow City , and the Filmmuseum will mount a Schlingensief film series and display photographs by his sound engineer and close friend Eckhard Kuchenbecker.
The photo prints, videos, and mixed-media installations on display were created between and He always succeeded in directly influencing society.
Christoph Schlingensief and Julia Stoschek had a long and close friendship that was accompanied by a lively exchange concerning his projects. They met in for the first time. One year later Stoschek attended rehearsals for the Bayreuth Festival with Schlingensief, who was staging the opera Parsifal. During that period Christoph became a member of my family. The collector later funded a number of his projects, including the long-term project The Animatograph —07 , a revolving stage construction that simultaneously provided a surface for action and projections.
The artist had originally planned a performance that was to take place during Frieze Art Fair in London. It was conceived as a continuation of the immersive multimedia installation Kaprow City , which will be presented at K20 of the Kunstsammlung NRW from 24th April to 17th October in Dusseldorf. With the aid of a portable altar taken from Catholic liturgy, Schlingensief visited sites around London that were associated with the Princess of Wales and Allan Kaprow, one of the pioneers of performance art.
You were the only one who did not discourage me and instead gave me strength. The mysterious work Message in a Bottle also has a personal connection.
The object consists of a rough wooden frame with two Plexiglas panels screwed onto it, between which there is a small package. Addressed to Schlingensief and bearing a canceled stamp, the package is reminiscent of Conceptual Art and Mail Art of the s.
Schlingensief was making reference to the approach of the Fluxus movement, which elevates everyday items to art objects imbued with an aura of mystery. The story of the journey taken by this object, its contents, and the frame is clearly inherent I the art object. However, it cannot be grasped in concrete terms.
It remains uncertain what information is actually contained in the message in the bottle. To find out more, the object would have to be broken open and destroyed. The artist and the collector engage in a direct relationship with each other that depends on mutual agreement on rules concerning the handling of art in general, making sure the message remains protected by its frame. On a personal level, it is about trust—accepting that things are left unsaid.
You can download the booklet accompanying the exhibition here. MOUTHLESS presents a fragmented folk horror narrative that explores history, ritual, myth, and the relationship between humans and nature, using witchcraft as a transhistorical and transcultural signifier.
Based on historical events and mythic tales, the duo intertwine references of witch trials in and around the Fribourg area, Eastern European folklore, magical rites, and contemporary healing practices. The video can be considered a ritualistic chant or call to communicate with the deceased and the harmed whether they are human, animal, or tree. The video is accompanied by an olfactory installation that simulates the smell of wet soil, triggering a partly unconscious, visceral experience in the body.
The project, consisting of video and VR works, lectures, and installations creates a fictitious archive of feminist narratives by a selection of female or queer figures. Employing processes of animation and 3-D modeling, the artist recreates these beings, whilst simultaneously embedding them in contemporary contexts. In addition to the feminist appropriation of traditional narratives and myths from the Middle East, the archive deals with notions of cultural heritage, political injustice, environmental destruction, and digital colonialism.
Each video begins with a spoken mantra-like manifesto about the meaning and purpose of She Who Sees The Unknown. Allahyari regards She Who Sees The Unknown as a feminist intervention by taking on a field and space that is still principally dominated by white men and Western thinking—the digital realm. In addition to the underrepresentation of women in digital professions, the concept of digital colonialism introduced by Allahyari critizes the prevalent hierarchies that define these infrastructures.
She Who Sees The Unknown seeks to rethink and transform this new form of colonialism to engender a more just future. In her work, the Qatari-American artist explores forms of redress and revision, engaging with writing and drawing as a way of rejecting speechlessness and acknowledging untold histories and lives that have been suppressed, silenced, or have gone unwritten. Delving into the murky terrain of post-colonial identity, representation, and desire, the works featured in the exhibition reflect and resist the deeply ingrained forms of violence perpetuated by the imposition of narratives, the gaze or the camera, and the circulation of images in both a public and interior sphere.
The film explores point of view and the difference between being a witness and a participant in historical events at a time of extreme cultural, political, and environmental change.
Conceptualized as a film in multiple parts, the work will change over the course of the exhibition; only at the end will the whole work be available in the space. Bitch Omega is comprised of written text, phone footage, found images, and childhood videos. Beast Type Song is a film-within-a-film that lays bare the production of its own making: as it unfolds, one of the narrators, played by the artist herself, discloses the various devices and plot structures used to construct the storyline.
In the single-channel video loop Major Motions she impersonates the Torch Lady from the logo of Columbia Pictures, a Grecian style white woman holding up a shining torch as a symbol of enlightenment modeled after the early female personification of America known as Columbia. Al-Maria substitutes the torch with a vibrator and places Bai in front of an ever-rising moon accompanied by a distorted and vertiginous soundtrack.
In , Bai became the first Asian woman to be featured on the cover of the magazine, which cost her a role in Star Wars, whose producers subsequently cut her scenes from the final edit of the movie. The installation includes an interview with the actress about this experience. The script for Beretta was inspired by rape-revenge movies and portrayed a young mute woman out to avenge her perpetrators. Her ongoing engagement with writing and the imaging of history through broadcast television, print advertising, and social media challenges the perspective of the omniscient narrator, rattling at the foundations of Western ideologies and power.
Instead, she turns inward—toward the hypersubjective—asking how the personal affects our understanding of the world. In addition to time-based art, the emphasis is on the genre of photography, which is also well-represented in the collection. The selected works not only look back thematically at past, political, and historical locations but also socially relevant events in the present age, which is characterized by political instability and violent conflicts.
They also document current forms of territorial mechanisms of power and individual political resistance. Individuals and groups who are confronted with exclusion and separation take center stage in these works and are empowered through their diversity and differences. The works also present alternatives and unconventional havens for grappling with the political and social uncertainties of our time. The photographic and time-based works illustrate how images can be manipulated, staged, and distributed on the internet and through mass media.
They thus reveal how the borders between fact and fiction blur, and how images become icons and find their way into our collective memory of images. Demand was less interested in the actual affair than he was in the fact that the case was determined by the medium of photography: the picture taken by the reporter who found the dead politician was reproduced on the cover of Stern to illustrate the alleged suicide for the first time.
The photographs thus became icons that have been burned into the collective memory of Germans. The video is a rapid sequence of found footage, starkly rhythmic and synchronized with the electronic techno beats of the Detroit DJ Robert Hood. The artist combines images of music icons such as Jimi Hendrix and Bob Marley as well as fictional characters such as Mickey Mouse or Felix the Cat with disconcerting shots of murders, slavery, and discrimination of blacks.
Taryn Simon also examines reality and staging in her photo series The Innocents She created portraits of wrongly convicted perpetrators of violent crimes whose innocence was later proven by DNA tests; the portraits show them at the scene of the crime that was associated with their case. Turning away from photographic realism, Simon plays with the fluid borders between truth and construction, which are the basis of our verdicts in criminal trials—from the accusation to the defense—as well as in photography, in which even the most detailed likeness is never equivalent to reality.
By focusing on the individual stories, the artist highlights the problematic constitutional system in which social differences result in inequality. The title of the series refers to the Russian tradition of waging war that is characterized by deception, camouflage, renunciation, and disinformation.
Masks were also used by the protesters of the Maidan movement as a way to hide their identity, and in the Kiev party scene they are a favorite way of dressing up. Surname Viet Given Name Nam consists of reenacted interviews with women from various parts of Vietnam and the United States, talking about their everyday experiences and role as women in a patriarchal society. The stories they tell also address their experiences in the Vietnam War, subsequent displacement, and life in the diaspora.
In its critique, the film pays homage to the multiplicity of stories and subjectivities of women of color. The video works featured here, This Unwieldy Object and Endarchiv , examine how shifts in power and ideology are simultaneously inscribed in the body, psyche, and the earth. Zett asks: How do human bodies perform, come to terms with, document, and resist these shifts? It is split into two parts. Part 1 focuses on the modernist idea of progress and part 2 centers around the aftermath of colonial violence.
The turning point of the film is marked by a scene where Zett encounters a fragment of the Berlin Wall in Rapid City, South Dakota, as part of a monument for the US-American victory over socialism. In Endarchiv , Zett examines the symbolic process of disposal and forgetting while raising questions about how the material and emotional remains of the GDR still affect the environment, society, and individuals today.
In the video, footage of the artist climbing large mounds of small rocks while spray painting short verses and questions onto their surfaces is interspersed with found footage of protesters painting on the east side of the Berlin Wall shortly after it was opened in November Filmed during the Standing Rock protests resisting to the construction of the Dakota Access Pipeline across indigenous lands, Dislocation Blues offers an incomplete and imperfect portrait of the demonstrations and the camp with reflections by two participants, Cleo Keahna and Terry Running Wild.
Engaging deeply with questions of materiality and re production, Burns examines how power is connected to the body, its functions, physiological processes, sensations, and pleasures. For Burns, the body is not an object with inherent boundaries and properties but multifaceted and porous, permeating and penetrated by its surroundings.
These inquiries take shape as visually seductive and socially critical videos, sculptures, writing, sound, drawings, and collages. Conceived as a non-linear and layered narrative, this series envisions a world wherein boundaries are fluid and hierarchical relations permute. This cycle of works playfully corrupts science-fiction tropes exploring the intersection of politics and fantasy to build idiosyncraticallegorical imagery.
Burns deliberately locates the work in a speculative present filled with the detritus of everyday life. Filmed in stunning but familiar landscapes, like the desert of the Southwest United States, the Negative Space series exposes the tension between utopian proposals of sociality and apocalyptic anxieties.
The works challenge long-standing assumptions about social orders, marshaling familiar images and objects to ask how value is assigned to resources, how marginalized bodies navigate a fraught social reality, and how different forms of matter come to matter.
In addition, the exhibition will include twenty-one collages related to the series, a new film observing a total solar eclipse, and an experimental sound work presented as a vinyl record. Steiner, Community Action Center , 15—17 November , a. A talk with A. Burns and curator Lisa Long , 16 November , p. The series is being introduced by a tribute to three female artists who have recently passed away: Lutz Bacher, Barbara Hammer, and Carolee Schneemann. The U. American artist Lutz Bacher who, since the s, had concealed her identity behind a male pseudonym used a deliberately unaccommodating approach in her frequently parodic art to forego it being categorized within a feminist context.
She employs imagery and text from popular culture in her objects and time-based work, which by means of deconstruction and alienation broaches central questions concerning authorship, power, and the influence of mass media on society. However, it is in fact hard pornographic imagery that is on display, once again denying the viewer the opportunity of ascribing any specific classification to the work.
The filmmaker Barbara Hammer is one of the pioneers of queer cinema. Her experimental films evolved from the notion that conventional narrative film is too limited to be capable of representing homosexual reality in general and her lesbian one in particular. Her documentary and experimental films are regarded as one of the earliest and most wide-ranging representations of lesbian identity, love, and sexuality.
The work Double Strength , one of three works by Hammer in the exhibition, is a poetic study of the different stages of a lesbian love affair between Hammer herself and her then partner, the choreographer and female trapeze artist Terry Sandgreff. In a montage comprising film footage of both women swinging on the trapeze, Sandgreff performing acrobatic dance moves, and also including private photographs, the film traces the relationship from its intense beginnings, via alienation to the eventual end of their love.
Carolee Schneemann, in her performative, kinetic painting and experimental practice, opened the social discourse around physicality and gender roles earlier than many other female artists. The act, which she filmed herself, has been collaged with color overlays and burn marks that have been inscribed into the film over time.
Fuses is the first part of her Autobiographical Trilogy and was based on the question of how and whether the sexual act itself differs from pornography and traditional art. All three artists were pioneers in their respective fields.
All three died this year, in their seventies. This very personal point of view facilitates intimacy but also a directness that suggests an unmediated form of experience. In When the Moon is Full , Knight takes her family as a starting point from which to ask questions about the slippage of memory and performance within the home.
Following a different type of performance, the visual essay My Ecstasy is Your Rapture weaves together phone camera footage of various musical performances seen both onscreen and onstage. Here, Knight ponders the social and cultural distance the use of screens allows, and how recording things and people is no longer exceptional. Lonely Planet was also shot entirely on a phone. A travelogue made by Knight and Shane Aslan Selzer in Costa Rica, the video includes footage of their daily routines and travels, interspersed with fragments of written and spoken text taken from conversations between them during and after filming.
Lonely Planet, which touches on the artists sense of place in relation to feminism, mothering, nature, whiteness, fear, and privilege illuminates the layered performance inherent to the framing of any narrative.
The work questions how institutional spaces, like a university, incorporate the voices of those who often go unheard or unseen. Serpent Rain and 4 Waters: Deep Implicancy by Arjuna Neuman and Denise Ferreira da Silva are grounded in experimental and collaborative research on migration, displacement, resource extraction, and colonial legacies, as well as quantum physics, blacklight, and cloud subjectivity a concept developed by Neuman in response to the resurgence of nationalist and racist claims on the sovereign body and state.
The artist and philosopher are interested in the politics and poetics of the moving image, focusing on the tensions between what is seen and remains opaque, what seems solid but is in transition. In Serpent Rain Neuman and Ferreira da Silva interlace long landscape shots with images of riots in London, Ferguson, and Baltimore; found footage from promotional videos by Statoil, a Norwegian public oil company, and The Secret Life of Plants ; images of drawings or paintings of slave ships i.
They highlight the shifting states of the elements and how on a planetary level humans are enmeshed with the elements. Expanding notions of linear time through residence time which describes the amount of time a material stays in a volume of water or liquid , Neuman and Ferreira da Silva consider the circulation of decomposed matter of bodies that have died crossing the ocean; the matter that is ingested by fish and then humans, or has evaporated, becoming clouds and then falling back to earth as rain.
Continuing their inquiry into the elements air, fire, earth, water , matter, and on the displacement of peoples, in 4 Waters: Deep Implicancy , the Mediterranean, the Atlantic, the Pacific, and the Indian Oceans become guiding bodies through which the artists navigate historical and current racial injustices and impending ecological catastrophe.
In 4 Waters , the first iteration of a series of works each focusing on one element, they asked themselves how to make a film outside of the existing visual regimes of transparency, turning toward opacity and blacklight ultraviolet light as method instead.
Arjuna Neuman is an artist, filmmaker and writer. Her art-related work includes texts for publications linked to the Liverpool and Sao Paulo Biennales, advising Natasha Ginwala, the curator for the Contour 8 Biennale Mechelen, They will be accompanied by screening and performance programs, artist talks, lectures, and readings at both locations.
Each project deals with a specific context driven by the artist and what the artwork affords, creating a web of associations and stories over time that is both fluid and multivalent. The curatorial framework for this programming is inspired by the writing of artist, writer, and filmmaker Trinh T.
At JSC Berlin there will be a number of one-time screening events. Alongside existing paintings and sculptures, the exhibition features new videos and virtual reality works, a site-specific livestream installation, and a soundtrack produced in collaboration with Milo McBride. Both definitions imply spatial demarcation—gestures whose benevolence and violence depend on context and point of view.
For Johnson, language is not supplemental but an integral part of each piece—it is just one of the many found, appropriated, recombined, and composed materials he uses to ask questions about agency and power.
In this collision of language, object, and viewer, Johnson explores complex hierarchies that structure our societies, challenging their legitimacy and legibility. Few technologies have the potential to change the nature of work and how we live as artificial intelligence AI and machine learning ML. Everything from new organizational structures and payment schemes to new expectations, skills, and tools will shape the future of the firm.
Jyoti Aneja. Tianshi Cao. Speckle-free holography with partially coherent light sources and camera-in-the-loop calibration. Yifan Peng. Lirui Wang. Arsalan Mousavian. Nathaniel Pinckney. Gal Dalal. Siva Karthik Mustikovela. Aayush Prakash. Visak Kumar. Balakumar Sundaralingam. Ben Boudaoud. Visualizing and Communicating Errors in Rendered Images. Pontus Andersson. Ray Tracing Gems II, chapter 19, Jakub Bokskansky.
Ray Tracing Gems II, chapter 10, Differential Barycentric Coordinates. Ray Tracing Gems II, chapter 6, Gordon Wetzstein. Cooperative Profile Guided Optimization. Mark Stephenson. Rearchitecting Spatiotemporal Resampling for Production. Chris Wyman.
Avantika Lal. Yaobin Ouyang. Hendrik Baatz. Fabrice Rousselle. Markus Kettunen. Neural Scene Graph Rendering.
Jonathan Granskog. Eugene d'Eon. Zero-Variance Transmittance Estimation. Thomas Muller. Ting-Chun Wang. Learning to Track Instances without Video Annotations. Yang Fu. Rakshit Kothari. Abhishek Badki. Jianyuan Wang. Hongxu Danny Yin. Optimal Quantization Using Scaled Codebook. Yerlan Idelbayev. Yu-Wei Chao. Yifeng Zhu. Simba: scaling deep-learning inference with chiplet-based architecture. Yakun Sophia Shao. Guanya Shi. Fernando Fernandes dos Santos.
Mariana G. Josef Spjut. Nathan Morrical. Contrastive Syn-to-Real Generalization. Wuyang Chen. Journal of Computer Graphics Techniques, Jon Hasselgren. Steve Dai. Auxiliary Learning by Implicit Differentiation. Aviv Navon. Nadav Dym. Learning the Pareto Front with Hypernetworks. Luyang Zhu.
Atefeh Mehrabi. Niladrish Chatterjee. Mike O'Connor. Wei Yang. Martin Sundermeyer. Aditya Jonnalagadda. Michael Danielczuk. Nikolai Hofmann. Michael Bauer. Kei Kase. John Wilson. Vidya A. Mingjie Liu. Idan Achituve. Dvir Samuel. Akshay Chawla. Ching-An Cheng. Zhisheng Xiao. Xueting Li. Hadar Serviansky. Yufeng Zheng.
Yuval Atzmon. Iuri Frosio. Jiahao Su. Neural Networks with Recurrent Generative Feedback. Yujia Huang. Jun Gao. Tewodros Abtegebrial. Neural Control Variates. Alicia Klinefelter. Abdul Rehman Anwer. Tzuf Paz-Argaman. Zahra Ghodsi. Alejandro Troccoli. Simon Rodriguez. Samuli Laine. Yanqing Zhang. Adam Fishman. Guanpeng Li. Learning Object Permanence from Video. Aviv Shamsian. Wentao Zhu. Vinu Joseph. Saurav Muralidharan.
Andrew Hundt. Accelerating Chip Design with Machine Learning. Brucek Khailany. Zander Majercik. Yang Zou. Zhongzheng Ren. European Conference on Computer Vision.
Neural Holography. World-Consistent Video-to-Video Synthesis. Arun Mallya. Adrian Spurr. Pavlo Molchanov. European Conference on Computer Vision, Hongyu Ren. Ram Rangan. Leo Tam. Spatiotemporal reservoir resampling for real-time ray tracing with dynamic direct lighting. Benedikt Bitterli. David Hart. Angular Visual Hardness. Beidi Chen. Automated Synthetic-to-Real Generalization. Joohwan Kim. On Learning Sets of Symmetric Elements.
Haggai Maron. Ilay Luz. Understanding SSIM. Jim Nilsson. Neural Denoising with Layer Embeddings. Jacob Munkberg. Morgan McGuire. Abdulrahman Mahmoud. Dependable and Secure Machine Learning. Yibo Lin. Tanmay Gupta. Weiyang Liu. Meshlet Priors for 3D Mesh Reconstruction.
Mark Boss. Jae shin Yoon. Ke Chen. Siva Hari. Roei Herzig. Esha Chouske.
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