Ausstellung Expanded Media/Exhibition Expanded Media
Artistic works from the competitions Media in Space and Network Culture are on display, which includes cross-border formats such as performance, installation, Expanded Cinema and Net Art like interactive web or social web projects or interventions at public and virtual spaces.
Opening Hours Expanded Media Exhibition at Filmwinter-Palais (08.02.-12.02.18)
Thu: 17:00 – 18:30 and 21:00 – 22:00
Fri: 17:00 – 22:00
Sat: 17:00 – 22:00
Sun: 17:00 – 18:30 and 20:00 – 22:00
Mon: 17:00 – 22:00
Exhibition and Supporting Programme – free admission
Guided Tours Thu 08.02.18 21:30 (guided tour through the exhibition at opening) Fri 09/Sat 10.02.18 18:00 Sun 11.02.18 17:30
Guided Tours for families with Sara Dahme Sat 10/Sun 11.02.18 17:00
Individual guided tours for groups Please contact: firstname.lastname@example.org
Meeting point for guided tours Exhibition Area, Filmwinter-Palais
How to get there U-Bahn, Bus: Stop Charlottenplatz
Konrad-Adenauer-Straße 2, 70173 Stuttgart
U-Bahn, Bus: Haltestelle Charlottenplatz
Single Screen, Colour, 4:3, ohne Ton, 6:13 Min, in loop (without break or pause)
This is a film comprising only of words – words printed, pasted, filmed, and edited image by image. No sound is added. Glue is still visible in the creases of the sheets of paper. It is a surprisingly anachronistic procedure for a film that is digitally produced and projected. This is a film that asks to be read – word for word, letter by letter – an endless, silent stream of consciousness. Watching a film as it is coming into being. The film’s title includes a subtitle with a number, indicating its placement in a series, immediately announcing a forthcoming episode. A film in/as a waiting room.
In the video “Drehzahl meiner Beweggründe“ (“Driving Speed of my Motives“), the strenuous production of a film with the outmoded frame-by-frame animation process corresponds with the depicted Sisyphian actions of the artist in his studio. Dobroschke captured the morningexercise-like motions of “riding a bike in the air” in nine single frames. He then attached these pictures to the spokes of his bicycle which he photographed again while riding in circles in his studio’s yard and finally assembled these shots to a film. In the video, we can see the lower arch of the bicycle with a figure of the artist “walking” on the rim. He switches between being the driving force and being driven. In spite of all of his movements, he remains at the same spot of the circle – in the continuous and self-contained process of his occupation.
Sound: Costis Drygianakis
Additional Sound: Christian “Chemiefaserwerk” Schiefner
Heavy war machines of an unknown air force are moving in circles in front of the concrete tableau of a seemingly gigantic megacity. An unclear situation: given the high number of helicopters we might be dealing with a situation of war. If so – who are the invaders? Where are we? As impressive and highly equipped as big combat helicopters normally are – in the wide scenery of the sea of houses below them, from afar they don’t seem to be so different from a flock of birds. How many of these metal birds are necessary to dominate and conquer the cityscape with its hundreds of thousands of houses. The wandering gaze and the quiet images accompanied by the threateningly buzzing machines create a mood that is both meditative and charged. This work is part of a series of “nature videos” in which the filmmaker Matthias Fritsch portrays authority in a nature documentary style and in this way creates tension and poetry.
Video with Sound, 4:03 Min.
“Two Forces One Air” explores the relationship between Israel and Palestine. The thin line between love and hate is rooted in the similarities of these two nations.
Cinetic Video Sculpture
“Nintendogs” is a wall-monted installation: a device made of electric motors and metal rods operates a Gameboy console whereby a touchscreen pen strokes a virtual puppy. Do robots dream of virtual puppies? “Nintendogs”, the Gameboy game explores the training of puppies. Additionally, respectively as a side effect or even more probable is the fact that the simulated leisure time with the virtual animals is a vital part of the game. The installation “Nintendogs” questions whether artificial empathy will ever play a part? Does a virtual dog realize it is being stroked by a robot? Can a virtual dog develop sympathy for that robot?
Sound: Abi Fry
A cosmic message beamed from the sky. “The Signal” meditates on the hallucinatory potential abiding in nature and invites us to consider our receptivity to extreme natural phenomena. Designed to be screened as looped video, the work appears endless, with no apparent beginning or end. “The Signal” has a cumulative transformative power and aims to generate a subtly altered state of mind in the viewer.
“How to Rob a Bank” is a love story in five parts. The story focuses on the misadventures of a young and inexperienced bank robber and his female accomplice. The entire work is revealed through the main characters’ use of their iPhones and the searches, texts, apps, imagery, animations, audio, and functions that appear on their iPhones. End user interactivity is limited in this work (swipes or keyboard), but this is deliberate: the user is, in many ways, already “present” in the story observing iPhone displays as the main characters navigate their phones. The narrative point of view is simultaneously both the characters’ and the user’s, as if they are both sharing the same digitally rendered manifestations of their inward psyches. Character, plot, and symbolic resonance are created not only by the searches, texts, and purchases the characters make, but also by the various apps they use. The iPhones themselves become the setting for the story and the virtual space where the action takes place. In all of this, although their digital interaction appears minimal, the user is complicit. The work is playable on desktop, laptop, and portable devices.
Web mobile Application
Blue Vessel is a mobile web app that takes the user on a digital voyage across uncharted waters. Hosted on a server located on a flagless ship drifting on international waters, the app invites users to write anonymous web messages by selecting words solely from the book “Robinson Crusoe” by Daniel Defoe, and learning survival skills from a chaotic browser that decomposes itself with each scroll movement. Through the redesign of mobile app familiar features, the project inquires into smartphones technologies as active agents in URL and IRL interactions, and explores new ways of Colonialism in the Internet era
Facebook’s “reactions” let you express how you feel about a link, photo, or status. While such data might be helpful for your friends, these recorded feelings also enable increased surveillance, government profiling, more targeted advertising, and emotional manipulation. “Go Rando” is a web browser extension that obfuscates your feelings on Facebook. Every time you click “Like”, “Go Rando” randomly chooses one of the six “reactions” for you. Over time, you appear to Facebook’s algorithms as someone whose feelings are emotionally “balanced” – as someone who feels Angry as much as Haha or Sad as much as Love. You can still choose a specific reaction if you want to, but even that choice will be obscured by an emotion profile increasingly filled with noise. In other words, Facebook won’t know if your reaction was genuine or not. Want to see what Facebook feels like when your emotions are obscured? Then Go Rando!
“Sculptures for Distant Places” is a series of three networked sculptures titled “Sculpture for Mountains”, “Sculpture for Lakes” and “Sculpture for Forests” presented together as an installation. Each sculpture is created in response to a specific place or site. The sculptures employ aspects of those sites including streaming video feeds, weather data, time and location. This is combined with motion and audio capture within the gallery, the site from which the sculptures are seen, as input. The outcomes are audio-visual sculptures assembled by combining distant and local sites, their places and times merged through the space of a network, and the enabling of actions to occur between them. “Sculpture for Mountains” consists of sound reactive skewed square form that hovers over a view of Banff town, Canada seen from Sulphur Mountain. “Sculpture for Lakes” is an assemblage of circular forms that hover over the lake at Kinkaku-ji, the Golden Pavilion Temple, in Kyoto, Japan. “Sculpture for Forests” includes three forms derived from triangles whose surfaces are motion reactive and animated with triangular patterns. It is situated in the Šumava National Park, Czech Republic.
Sculpture in Augmented Reality 20m x 20m x 20m (only visible in AR on smartphone, in public space)
/supported by Augment.com, Plateforme Paris.
The atoms of our body work according to the same quantum laws as the whole universe and resonate with it. In “Quantic Space Ballet”, 1000 cubic pixels move in space in apparent complexity, but actually all ruled by the same quantumtype equation (frequencies all integer multiple of one another), thus creating a global dynamic structure in which the spectator gets immersed, included, protected, energized, deconstructed and reconstructed. “Quantic Space Ballet” puts us in relation with the quantum equations and mechanisms at work behind the screen of perceived reality.
Download “augment.com” app (free) from iOS App Store/Google Play Store.
Launch “augment.com” app and use option “Scan”.
Scan picture above in the catalogue to activate “Quantic Space Ballet”.
Alternatively, insert this link into a browser on your device: http://agmt.it/m/9PrdhcOe
This piece tries to create an immersive environment, that blurs the line between game and performance, while the player becomes the performer and for that reason acts as intermediary between virtual (Gameplay) and physical (Performance) realities. By observing the ongoing rise of the online phenomenon (meanwhile rather: genre) called “Let’s Play”, that features players (meanwhile: superstars) playing, presenting and market certain computer games, this piece tries to modulate this concept in an artistic manner, while questioning the aesthetics of games, their presentation and of performance itself.
Alexander W. Schindler/Jack Wolf
“In-Camera-Proceedings” is an intervention that challenges Googles Earth’s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google’s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it, edit it, or rebuild it. We can only passively observe. “In-Camera-Proceedings” challenges this. It does not accept Google’s policy. The work visualises the technical process of taking back our space, it’s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google’s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.