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"Universal Machine": historical graphs on the relations and fluxes between art, architecture, design, and technology (19.. - 20..) | #art&sciences #history #graphs
https://blog.fabric.ch/index.php?/archives/2731-Universal-Machine-historical-graphs-on-the-relations-and-fluxes-between-art,-architecture,-design,-and-technology-19..-20..-artsciences-history-graphs.html
<p> </p>
<p><u><em>Note (03.2024): The contents of the files (maps) have been updated as of 02.2024.</em></u></p>
<p>-</p>
<p><u><em>Note (07.2021)</em></u><em>: </em><em>As part of my teaching at </em><a href="http://www.ecal.ch" target="_blank">ECAL / University of Art and Design Lausanne (HES-SO)</a><em>, </em><i>I've delved into the historical ties between art and science. This ongoing exploration focuses on the connection between creative processes in art, architecture, and design, and the information sciences, particularly the computer, also known as the "Universal Machine" as coined by A. Turing. This informs the title of the graphs below and this post.</i></p>
<p><i>Through my work at </i><a href="http://www.fabric.ch" target="_blank">fabric | ch</a><i>, and previously as an assistant at </i><a href="http://www.epfl.ch" target="_blank">EPFL</a> followed by a professorship at <a href="http://www.ecal.ch" target="_blank">ECAL</a><i>, to experience first hand some of these massive transformations in society and culture.</i></p>
<p><i>Thus, in my theory courses, I've aimed to create "maps" that aid in comprehending, visualizing, and elucidating the flux and timelines of interactions among individuals, artifacts, and disciplines. These maps, imperfect and constrained by size, are continuously evolving and open to interpretation beyond my own. I regularly update them as part of the process.</i><i><br />
</i></p>
<p><i>Yet, in the absence of a comprehensive written, visual, or sensitive history of these techno-cultural phenomena as a whole, these maps serve as valuable approximation tools for grasping the flows and exchanges that either unite or divide them. They offer a starting point for constructing personal knowledge and delving deeper into these subjects.</i></p>
<p><em>This is precisely why, despite their inherent fuzziness - or perhaps because of it - I choose to share them on this blog (</em><a href="http://blog.fabric.ch" target="_blank">fabric | rblg</a><em>), in an informal manner. It's an invitation for other artists, designers, researchers, teachers, students, and so forth, to begin building upon them, to depict different flows, to develop pre-existing or subsequent ideas, or even more intriguingly, to diverge from them. If such advancements occur, I'm keen on featuring them on this platform. Feel free to reach out for suggestions, comments, or to share new developments.</em></p>
<p><em>...</em></p>
<p><b><i>It's worth mentioning that the maps are structured horizontally along a linear timeline, spanning from the late 18th century to the mid-21st century, predominantly focusing on the industrial period. Vertically, they are organized around disciplines, with the bottom representing engineering, the middle encompassing art and design, and the top relating to humanities, social events, or movements.</i></b></p>
<p><b><i>Certainly, one might question this linear timeline, echoing the sentiments of writer </i>B. Latour<i>. What about considering a spiral timeline, for instance? Such a representation would still depict both the past and the future, while also illustrating the historical proximities of topics, connecting past centuries and subjects with our contemporary context in a circular manner. However, for the time being, and while recognizing its limitations, I adhere to the simplicity of the linear approach.</i></b><b><i><br />
</i></b></p>
<p><b><i>Countless narratives can emerge as inherent properties of the graphs, underscoring that they are not their origins but rather products thereof.</i></b></p>
<p>...<i><br />
</i></p>
<p><i>The selection of topics (code, scores-instructions, countercultural, network-related, interaction, "post-...") currently aligns with the themes of my teaching but is subject to expansion, possibly toward an underlying layer revealing the material conditions that underpinned and facilitated the entire process.</i></p>
<p> </p>
<p><i>In any case, this could serve as a fruitful starting point for some further readings or perhaps a new "Where's Waldo/Wally" kind of game!</i></p>
<p> </p>
<p>Via <a href="http://www.fabric.ch" target="_blank">fabric | ch</a></p>
<p>-----</p>
<p>By Patrick Keller</p>
<p> </p>
<p>Rem.: By clicking on the thumbnails below you'll get access to HD versions.</p>
<p> </p>
<p><u>"Universal Machine", main map (late 18th to mid 21st centuries)</u>:</p>
<p> <a href="http://blog.fabric.ch//uploads/image/MIDstory_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstoryMAIN_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p><u>Flows in the map > "Code"</u>:</p>
<p><a href="http://blog.fabric.ch//uploads/image/MIDstoryCODE_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstoryCODE_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p><u>Flows in the map > "Scores, Partitions, ..."</u>:</p>
<p><a href="http://blog.fabric.ch//uploads/image/MIDstorySCORES_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstorySCORES_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p> <u>Flows in the map > "Countercultural, Subcultural, ..."</u>:</p>
<p><a href="http://blog.fabric.ch//uploads/image/MIDstoryCOUNTER_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstoryCCULTURAL_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p><u>Flows in the map >  "Network Related"</u>:</p>
<p><a href="http://blog.fabric.ch//uploads/image/MIDstoryNETWORK_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstoryNETWORK_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p><u>Flows in the map > "Interaction"</u>:</p>
<p><a href="http://blog.fabric.ch//uploads/image/MIDstoryINTERACTION_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstoryINTERACTION_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p><u>Flows in the map > "Post-Internet/Digital, "Post -..." , "Neo -...", ML/AI"</u>:</p>
<p><a href="http://blog.fabric.ch//uploads/image/MIDstoryINTERACTION_FLOWS&TITLES_HD.jpg" target="_blank"><img src="https://blog.fabric.ch/uploads/image/MIDstoryPOST_FLOWS&TITLES_24.png" width="100%" alt="" /></a></p>
<p> </p>
<p>...</p>
<p> </p>
<p>To be continued (& completed) ...</p>
<p> </p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Culture & society, Design, Interaction design, Science & technology,
2024-02-27T16:05:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2731
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https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2731
architecture
art
culture & society
data
design
engineering
fabric | ch
history
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visualization
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Mnemosyne History and Research in Arts and Design / (Re)Viewing Paik | #paik #digitization #digitalexhibition
https://blog.fabric.ch/index.php?/archives/2785-Mnemosyne-History-and-Research-in-Arts-and-Design-ReViewing-Paik-paik-digitization-digitalexhibition.html
<p> </p>
<p><em>Note: </em><i>as part of a year-long preliminary research into digital exhibitions, we teamed up with the </i><a href="https://njpart.ggcf.kr/" target="_blank">Nam June Paik Art Center</a><i> (South Korea) - and their incredible collection and archive of Nam June Paik's works -, as well as ECAL/University of Art and Design Lausanne, to deliver initial thoughts and proofs of concept.</i></p>
<p><em>Late last year saw the publication of </em><strong>Mnemosyne</strong><em>, a book on "<strong>History and Research in Arts and Design</strong>"</em><em> (ed. Davide Fornari, published by ECAL/University of Art and Design Lausanne (HES-SO)). </em></p>
<p><em>In this context, I had the chance to be in conversation with NJPAC curator Sang Ae Park about this joint research. Among other topics, we discussed the unrealized piece </em><em> – at the time –</em><em> "Symphony for 20 rooms"  (1961) by Nam June Paik as a </em><em>potential </em><em>inspiration for "remote" exhibitions, at home.</em></p>
<p><em>This discussion gave ground to the paper "<strong>A Symphony for Nam June Paik, Digitally</strong>" (below), while this preliminary research is likely to continue in the form of a longer-term research.</em></p>
<p> </p>
<p>-----</p>
<p>By Patrick Keller</p>
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<p><img src="https://blog.fabric.ch/uploads/image/IMG_4572_screen.jpg" width="100%" alt="" /></p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Art, Interaction design,
2024-02-09T15:22:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2785
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2785
ar
art
artificial reality
automation
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design (environments)
design (interactions)
digital
fabric | ch
interaction design
non-material
publications
publications-fbrc
research
schools
spatial
variable
vr
worldbuilding
xr
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Architecture & Landscape Award 2023 from Fondation Vaudoise pour la Culture (FVPC) | #award #fabricch #architecture #interaction #research
https://blog.fabric.ch/index.php?/archives/2784-Architecture-Landscape-Award-2023-from-Fondation-Vaudoise-pour-la-Culture-FVPC-award-fabricch-architecture-interaction-research.html
<p> </p>
<p><em>Note: </em><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><em> was honored to receive this year the </em>Award for Architecture and Landscape Culture<em> from the </em><a href="https://www.fvpc.ch/" target="_blank">Fondation vaudoise pour la culture</a><em> (FVPC).</em></p>
<p><em>The price distinguishes an actor who is "involved in the design or promotion of built environment and who, through this commitment, contributes to the quality of our natural, [digital] and built environment".</em></p>
<p><em>A brief video portait of </em><a href="https://www.fabric.ch">fabric | ch</a><em> was produced on this occasion by director </em><a href="https://www.swissfilms.ch/en/person/pierre-yves-borgeaud/45BC222B903849F999C3AD0A3EF608CE" target="_blank">Pierre-Yves Borgeaud</a><em>, as well as a small publication by Art Director </em><a href="https://dualroom.ch/" target="_blank">Emmanuel Crivelli</a><em> and photographic portraits by </em><a href="https://matthieucroizier.ch/Home" target="_blank">Matthieu Croizier</a><i> (see below).</i></p>
<p><i>We'd like to thank the foundation and its jury for awarding our studio in 2023!</i></p>
<p> </p>
<p>-----</p>
<p>By <a href="https://www.fabric.ch">fabric | ch</a></p>
<p> </p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/23_FVPC_PhotoGroupeCeremonie_s.jpg" width="100%" alt="" /></p>
<p> </p>
<p>---</p>
<p> </p>
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/882979079?badge=0&autopause=0&quality_selector=1&player_id=0&app_id=58479" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="fabric | ch, a portrait by Pierre-Yves Borgeaud (2023) – on the occasion of the Foundation for Culture Award (Vaud, CH)"></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script>
<p> </p>
<p>---</p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/IMG_4262s.jpg" width="100%" alt="" /></p>
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<p>---</p>
<p> </p>
<p> </p>
<p>... and for the record,</p>
<p>our bit of the award ceremony!</p>
<p> </p>
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/888058434?h=ff81834dad&badge=0&autopause=0&quality_selector=1&player_id=0&app_id=58479" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Fédération vaudoise pour la culture, distinctions 2023. Prix Culture du bâti à fabric | ch"></iframe></div>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Culture & society,
2023-11-29T13:52:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2784
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2784
architects
architecture
art
artists
culture & society
design (environments)
devices
digital
exhibitions-fbrc
fabric | ch
installations
interferences
talks-fbrc
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fabric | ch receives the award "Architecture & Landscape" from the Fondation vaudoise pour la culture | #architecture #experimental #digital #award
https://blog.fabric.ch/index.php?/archives/2783-fabric-ch-receives-the-award-Architecture-Landscape-from-the-Fondation-vaudoise-pour-la-culture-architecture-experimental-digital-award.html
<p> </p>
<p><em>Note: this Saturday (04.11) </em><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><em> will receive the "Architecture & Landscape" price from the </em><a href="https://www.fvpc.ch/" target="_blank">Art Council of Canton de Vaud</a> (CH).</p>
<p><em>It is a rare but much-apreciated recognition of our work </em><em>by the region where we've been working all those years (and, at the same occasion, also one to show our faces)! We're still waiting for an invitation to exhibit </em>fabric | ch<em>'s work somewhere in our hometown though </em><span style="font-size: medium;"><span style="color: rgb(204, 204, 204); font-family: "Noto Color Emoji", "Apple Color Emoji", "Segoe UI Emoji", Times, Symbola, Aegyptus, Code2000, Code2001, Code2002, Musica, serif, LastResort; text-align: center;">😉</span></span></p>
<p><em>So rejoice, and let's celebrate together during the following drinks reception!</em></p>
<p> </p>
<p>Via <a href="https://www.instagram.com/fondation_fvpc/" target="_blank">@fvpc</a></p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design, Territory,
2023-10-30T17:53:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2783
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Beyond Matter Within Space, ZKM exhibition catalogue (eds. L. Nolasco-Rószás & M. Schädler), Hatje Cantz (Berlin, 2023) | #AI #AR #VR #XR #art #digital #exhibition #curation
https://blog.fabric.ch/index.php?/archives/2782-Beyond-Matter-Within-Space,-ZKM-exhibition-catalogue-eds.-L.-Nolasco-Roszas-M.-Schaedler,-Hatje-Cantz-Berlin,-2023-AI-AR-VR-XR-art-digital-exhibition-curation.html
<p> </p>
<p><em>Note: </em><i>this well-documented publication, complete with essays and which also serves as a comprehensive </i><i>exhibition</i><i> catalogue, was released to coincide with the end of a European research project </i><strong><a href="https://beyondmatter.eu/" target="_blank">Beyond Matter</a>.</strong><i> The research was led by the </i><strong><a href="https://zkm.de/en" target="_blank">ZKM (Zentrum für Kunst une Medien, Karlsruhe)</a></strong><i> and </i><strong><a href="https://www.centrepompidou.fr/en/" target="_blank">Centre George Pompidou</a></strong><i> in Paris. The publication also came out as the exhibition catalogue in relation to two exhibitions held in 2023 – </i><i>n </i><strong>ZKM </strong><i>and </i><strong>Centre Pompidou –</strong><i> about the research obectives.</i></p>
<p><strong><a href="https://webshop.zkm.de/Beyond-Matter-Within-Space" target="_blank">Beyond Matter – Within Space</a></strong><i> is certainly destined to become a central work on the issue of digital art exhibition in our time.</i></p>
<p><em>In this context, </em><strong>fabric | ch – studio for architecture, interaction & research</strong><em> had the chance to be involved in the exhibition at the </em><strong>ZKM </strong><em>and work with around 200 digitized artworks (of historical signifiance) provided by the research team. The "experimental architecture" project </em><strong>fabric | ch</strong><em> created at this occasion, a new work, was entitled </em><strong><a href="https://blog.fabric.ch/index.php?/archives/2745-Atomized-re-Staging-short-video-documentation-fabricch-digital-hybrid-exhibition.html" target="_blank">Atomized (re-)Staging</a></strong><em>.</em></p>
<p> </p>
<p>-----</p>
<p>By Patrick Keller</p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/pbl_40a.JPG" width="100%" alt="" /></p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design, Science & technology,
2023-10-02T10:02:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2782
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-
All 242 fabric | rblg updated tags | #fabric|ch #wandering #reading
https://blog.fabric.ch/index.php?/archives/2504-All-242-fabric-rblg-updated-tags-fabricch-wandering-reading.html
<p> </p>
<p>By <a href="http://www.fabric.ch/">fabric | ch</a></p>
<p>-----</p>
<p> </p>
<p><em>As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the <strong>updated</strong> content on | rblg (as of 09.2023), via all its tags!</em></p>
<p> </p>
<p>FIND BELOW ALL THE TAGS THAT CAN BE USED TO NAVIGATE IN THE CONTENTS OF <u><strong><a href="http://blog.fabric.ch" target="_blank">| RBLG</a></strong></u> BLOG:</p>
<p>(to be seen <font face="Georgia, Verdana, sans-serif" color="#333333"><span style="font-size: 14px;">just </span></font>below <span style="color: rgb(51, 51, 51); font-family: Georgia, Verdana, sans-serif; font-size: 14px;">if you're navigating on the blog's html pages</span> or <a href="http://blog.fabric.ch/index.php?/archives/2504-All-234-fabric-rblg-updated-tags!-fabricch.html" target="_blank">here</a> for rss readers)</p>
<p> </p>
<p>--</p>
<p><i>Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "<a href="https://en.wikipedia.org/wiki/Fair_use" target="_blank">fair use</a>" - we've never made any money or advertised on this site).</i></p>
<p><i>Nevertheless, we continue to publish from time to time information on the activities of </i><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><i>, or content directly related to its work (documentation).</i></p>
<p> </p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch,
2023-09-11T14:29:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2504
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Satellite Daylight Pavilion (2017) at AC Cube in Chengdu (Sichuan, CN), during Chengdu Biennale | #pavilion #environmental # device
https://blog.fabric.ch/index.php?/archives/2751-Satellite-Daylight-Pavilion-2017-at-AC-Cube-in-Chengdu-Sichuan,-CN,-during-Chengdu-Biennale-pavilion-environmental-device.html
<p> </p>
<p><em>Note: </em><strong>Satellite Daylight Pavilion</strong><em> (2017) – pdf file documentation <a href="https://www.fabric.ch/pdf/62_satellite_d_pavilion_m.pdf" target="_blank">HERE</a> – by </em><a href="https://www.fabric.ch" target="_blank"><em>fabric | ch</em></a><strong> </strong><em>is presented during <strong>Chengdu Biennale</strong> at <strong>AC Cube</strong> in Chengdu (Sichuan, CN).</em></p>
<p><em>The piece is an architectural experimentation, displayed as 4 videos in loops, and articulated around two "environmental devices", namely two </em><a href="https://www.fabric.ch/pdf/67_satellite_daylight_II&III_m.pdf" target="_blank">Satellight Daylight</a><em> pieces, which tend to reorganize and entertwine the natural rythms of day and night within the pavilion. </em></p>
<p><em>This creates a form of luminous phasing between two spatio-temporal referents </em><i>(the localized one of London's Hyde Park and those of two fictitious satellites circling the Earth)</i><em>, hybridizing their time and space... in a quest for a new liveable relationship with the now mediated space.</em></p>
<p><em>The work is part of the exhibition </em><strong>Community of the Future: The Same Frequency and Resonance</strong><em> (images below) and is curated by Guo Jinman.</em></p>
<p> </p>
<p>Via <a href="https://www.instagram.com/fabricch_asfound/" target="_blank">@fabricch_asfound</a>  (fabric | ch's default Instragram account)</p>
<p> </p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2023-08-07T09:41:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2751
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Moviment exhibition at the Centre Pompidou fabric | ch during Chapter "Par-delà la matière" | #matter #non-matter #automated #exhibition #fabricch
https://blog.fabric.ch/index.php?/archives/2748-Moviment-exhibition-at-the-Centre-Pompidou-fabric-ch-during-Chapter-Par-dela-la-matiere-matter-non-matter-automated-exhibition-fabricch.html
<p> </p>
<p><em>Note: Early last July,</em><a href="https://www.fabric.ch" target="_blank"> fabric | ch</a><em> took part in the <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment" target="_blank">Moviment</a> exhibition-festival at <a href="https://www.centrepompidou.fr/en/" target="_blank">Centre Pompidou</a>, in Paris. </em></p>
<p><em>Organized in 10 chapters (<a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/red-thread" target="_blank">Red thread</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/the-bedroom-the-house-the-city" target="_blank">The bedroom, the house, the city</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/in-the-spotlight" target="_blank">In the spotlight</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/aloud" target="_blank">Aloud</a>, <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/here-and-elsewhere" target="_blank">Here and elsewhere</a>, <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/other-worldly" target="_blank">Other-worldly</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/of-gesture-and-time" target="_blank">Of gesture and time</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/to-the-max" target="_blank">To the max</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/beyond-matter" target="_blank">Beyond matter</a>; <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/the-grand-finale" target="_blank">The grand finale!</a>), this was the occasion – following the words of the curators – to "reactivate the essence of the Centre Pompidou ideals: </em><i>to assemble all the different ways of encountering creativity, understanding it, participating in it; to be a monument in motion, a "moviment.</i><em>"</em></p>
<p><i>It was truly a success, with <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment" target="_blank">outstanding guests</a> and a very interesting hybrid museum format, somewhere in-between exhibition and performance, talks and workshops.</i></p>
<p><em>In this context and during "Chapitre 9: Par-delà la matière" curated by Marcella Lista & Philippe Bettinelli, </em><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><em> presented recent works about digital exhibitions.</em></p>
<p> </p>
<p>-----</p>
<p>By <a href="https://www.fabric.ch" target="_blank">fabric | ch</a></p>
<p><img src="https://blog.fabric.ch/uploads/image/M5050_ARC_20230708_moviment_herve_veronese_-2795_squarecrop.jpg" width="4" height="4" alt="" /> </p>
<p>A few pictures from <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/beyond-matter" target="_blank">Moviment / Chapter 9</a>:</p>
<p><em>(with fabric | ch, M. Lista & Les Immatériaux, M. Klonaris & K. Thomadaki, H.U. Obrist – "Résistances" project with LUMA Foundation and P. Parreno, J.-L. Boissier - Electra / Pictures by C. Babski & H. Veronese)</em></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/20230708_150338_squarecrop.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/IMG_3366_squarecrop.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/20230708_150556_squarecrop_02.jpg" width="33%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/fbrcch_pompidou_longsquared_01a.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/fbrcch_pompidou_longsquared_01b.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/fbrcch_pompidou_longsquared_01c.jpg" width="33%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/20230708_151355C_squarecrop.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/20230708_150957_squarecrop.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/M5050_ARC_20230708_moviment_herve_veronese_-2795_squarecrop.jpg" width="33%" alt="" /></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/IMG_3380_sqrdB_m.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/IMG_3351_sqrdA_m.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/IMG_3381_sqrdC_m.jpg" width="33%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/IMG_3388_sqrd_m.jpg" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/IMG_3389_sqrd.JPG" width="33%" alt="" /> <img src="https://blog.fabric.ch/uploads/image/IMG_3390_sqrd_m.jpg" width="33%" alt="" /></p>
<p> </p>
<p> </p>
<p>Via <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/beyond-matter" target="_blank">Centre Pompidou</a></p>
<p>-----</p>
<p> </p>
<h1>Beyond Matter / Par-delà la matière</h1>
<h2><a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment" target="_top">Moviment</a>, chapter 9</h2>
<h3><span>Sat 8 – Sun 9 July 2023</span> </h3>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/csm_prog-festival-moviment-bandeau-rouge.jpg" width="100%" alt="" /></p>
<p>Combining technology and memory, the penultimate chapter of Moviment looks back at two major cultural events in the world of art and music, and the ways in which they can be perpetuated, revived or experienced beyond their materiality and topicality. </p>
<p>In partnership with LUMA Foundation</p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/csm_1_Les_Immateriaux_poster.jpg" width="50%" alt="" /></p>
<p>Affiche de l’exposition "Les Immatériaux", 1985 – © Centre Pompidou. Conception graphique : Grafibus.</p>
<p> </p>
<p> </p>
<hr />
<h2>Retour sur « Les Immatériaux »</h2>
<h3>Arts plastiques, Nouveaux médias  Exposition, rencontres</h3>
<p>Organisé par les commissaires Jean-François Lyotard et Thierry Chaput en 1985, « Les Immatériaux » était un essai aux fondements philosophiques adoptant l’exposition comme média ou interface. En faisant dialoguer œuvres d’art, technologies et documents scientifiques, les commissaires interrogeaient la condition humaine à l’ère des nouvelles technologies, dans différents domaines de la vie physique et psychique. La scénographie, particulièrement novatrice, privilégiait la désorientation, la stimulation de tous les sens et l’interactivité. Les visiteurs, dont le parcours n’était pas contraint mais « induit » par des écrans suspendus à l’opacité variable, étaient munis d’un casque diffusant une bande sonore variant au gré de leur déambulation dans la soixantaine de sites et les vingt-six zones audio de l’exposition.</p>
<p>Cette exposition historique a récemment fait l’objet d’une <a href="https://lesimmateriaux.beyondmatter.eu/" target="_blank" class="blue link" style="box-sizing: border-box; color: rgb(0, 120, 194); text-decoration-line: none; background-color: transparent; transition: all 0.2s ease 0s; word-break: break-word; border-bottom: 1px solid;">reconstitution virtuelle</a> dans le cadre du projet de recherche « Beyond Matter ». </p>
<p><em style="box-sizing: border-box;">Exposition en continu, samedi 8 juillet 2023</em></p>
<p> </p>
<hr />
<h3>« Beyond Matter »</h3>
<p>Financé par la Commission européenne, le <a href="https://www.centrepompidou.fr/en/offer-to-professionals/scientific-research/beyond-matter" target="_blank">projet de recherche « Beyond Matter: Cultural Heritage on the Verge of Virtual Reality »</a> vise à développer des outils technologiques et théoriques pour la reconstitution virtuelle d’expositions historiques et la documentation d’expositions en cours. Les recherches menées dans le cadre de ce projet ont notamment porté sur deux expositions pionnières : « Iconoclash » (4 mai–1<span style="box-sizing: border-box; position: relative; font-size: 13.5px; line-height: 0 !important; vertical-align: baseline; top: -0.5em;">er</span> septembre 2002, ZKM) et « Les Immatériaux » (28 mars–15 juillet 1985, Centre Pompidou).</p>
<p><strong>Lívia Nolasco-Rózsás</strong> et <strong>Marianne Schädler</strong> du <strong>Zentrum für Kunst und Medien de Karlsruhe (ZKM)</strong> présenteront la publication conclusive du projet européen.</p>
<p>Les artistes <strong>Jeremy Bailey</strong>, <strong>Damjanski</strong>, <strong>fabric | ch</strong> (Patrick Keller, Christian Babski, Christophe Guignard), <strong>Geraldine Juárez</strong> (en visioconférence), <strong>Carolyn Kirschner</strong> et <strong>Anne Le Troter</strong> présenteront ensuite les œuvres qu’ils et elles ont pu concevoir dans le cadre de l’exposition « Matter, Non-Matter, Anti-Matter » (3 décembre 2022–23 avril 2023, ZKM), restituant une partie des résultats du projet « Beyond Matter ». </p>
<p><em>Samedi 8 juillet 2023, 13h30–16h</em></p>
<p> </p>
<hr />
<h3>« Les Immatériaux » : Artistes et historiens en conversation</h3>
<p>Le chercheur <strong>Andreas Broeckmann</strong>, ainsi que les artistes <strong>Katerina Thomadaki</strong>, <strong>Jean-Louis Boissier</strong> et <strong>Jean-Claude Fall</strong> reviennent sur « Les Immatériaux », exposition pionnière à laquelle ils ont participé. </p>
<p>Séance modérée par Marcella Lista, Philippe Bettinelli et Marie Vicet.</p>
<p><em>Samedi 8 juillet 2023, 16h-18h</em></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/csm_moviment-08-les-immateriaux-02.jpg" width="100%" alt="" /></p>
<p>Maria Klonaris, Katerina Thomadaki, "Orlando-Hermaphrodite II", 1985, photographies noir et blanc sur panneau.</p>
<p>Courtesy Katerina Thomadaki.</p>
<p> </p>
<hr />
<h3>Après « Les Immatériaux »</h3>
<p>Projet porté par le curateur <strong>Hans Ulrich Obrist</strong> et l’artiste <strong>Philippe Parreno</strong> avec le soutien de LUMA Foundation, « Résistances » fait écho à l’exposition « Les Immatériaux » imaginée par Jean-François Lyotard. Resté inachevé, ce projet se trouve tout à la fois continué et réimaginé à travers des rencontres et la production de « films de pensée ». </p>
<p><em>Samedi 8 juillet 2023, 18h–19h30</em></p>
<p><em>La conversation se déroulera en français et en anglais, suivie d’une projection des « films de pensée ».</em></p>
<p> </p>
<p><strong>Films de pensée :</strong></p>
<p>Produits et commandés par LUMA Foundation</p>
<p>Courtesy Maja Hoffmann / Luma Foundation Collection</p>
<p> </p>
<ul>
<li><strong><em>Être Résistances</em> d’Albert Serra</strong> (2016, 198 min.) <br />
« <em>Être Résistances est un film qui résiste à en être un, c'est-à-dire qu'il résiste à la conscience et au langage cinématographique. C'est un film qui traite de théorie, de corps, de bruits, de discours, d'images, de jeu et d'ironie. C'est un film inspiré par son propre sujet invisible : l'exposition inexistante de Lyotard qui devrait résister à la communication. Le film est finalement cette exposition devenue réalité, mais comme un mirage et comme une illusion. » Albert Serra.</em></li>
</ul>
<p><em> </em></p>
<p> </p>
<p><em><em>Séances, samedi 8 juillet 2023, à 13h30 et 17h30</em></em></p>
<p><em> </em></p>
<p><em><i>Introduction par Albert Serra à 17h30</i></em></p>
<p><em> </em></p>
<p><em>Cinéma 2, niveau –1</em></p>
<p> </p>
<ul>
<li><strong>The Rare Event de Ben Rivers et Ben Russell</strong> (2017, 48 min.) sous-titrage en français<br />
Tourné dans un studio d'enregistrement parisien au plancher de bois grinçant, lors d'un « forum des idées » inaugural de trois jours consacré aux multiples possibilités de la Résistance – titre de l'exposition de Jean-François Lyotard qui devait faire suite à son exposition « Les Immatériaux » de 1985 –, les collaborateurs occasionnels Ben Rivers et Ben Russell (avec la contribution de l'artiste américain Peter Burr) ont produit ce qui apparaît d'abord comme un document structuraliste d'une discussion philosophique performée qui se transforme lentement en <em>The Rare Event</em>, un portail qui réunit toutes les dimensions en une seule.</li>
</ul>
<p> </p>
<ul>
<li><strong><em>Resistances</em> de Rachel Rose </strong>(2017-2019, 20 min.) VO en anglais<br />
Ce court-métrage documente la deuxième rencontre sur les « Résistances » qui a eu lieu en février 2017 à New York, offrant ainsi un aperçu des conversations et des réflexions qui se sont déployées au cours de ce « forum des idées » organisé par Maja Hoffmann. Parmi les intervenants figurent Tyrone Hayes, Isabelle Thomas Fogiel, Reza Negarestani, Ariana Reines, Fred Moten, et de nombreux autres invités.</li>
</ul>
<p> </p>
<p><em>Projection, samedi 8 juillet 2023, à 19h30</em></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/csm_moviment-08-les-immateriaux-03.jpg" width="80%" alt="" /></p>
<p>Plan fixe du film "THE RARE EVENT" de <strong>Ben Rivers</strong> et <strong>Ben Russel</strong>l.</p>
<p><em>Courtesy Maja Hoffmann / Luma Foundation Collection. </em></p>
<p> </p>
<p>En lien avec la présentation temporaire au Musée, niveau 4, Espace de consultation des collections vidéos, films, sons et œuvres numériques : </p>
<p>« Les Immatériaux » (1985). Aperçus d'une <em>manifestation</em> postmoderne au Centre Pompidou. Du 5 juillet au 30 octobre 2023</p>
<p> </p>
<p><a href="https://www.centrepompidou.fr/en/collection/film-and-new-media/les-immateriaux-1985" target="_blank">Présentation détaillée</a></p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/csm_daft-punk-random-access-memories-anniversary-affiche.jpeg" width="50%" alt="" /> </p>
<p>Couverture de l'album Daft Punk, "Random Access Memories" © Zaina</p>
<p> </p>
<p> </p>
<hr />
<h2>Daft Punk, Random Access Memories</h2>
<h3>Session d’écoute avec Sonorium</h3>
<p> </p>
<p>Musique  Session d'écoute, rencontre</p>
<p> </p>
<p>5 Grammy Awards et un triomphe instantané, un tube planétaire ("Get Lucky"), une production incroyable de précision et des collaborations prestigieuses (Pharrell Williams, Julian Casablancas, Panda Bear, Giorgio Moroder…), <em style="box-sizing: border-box;">Random Access Memories</em>, le dernier album de Daft Punk, a marqué les esprits et installé le duo comme une figure majeure de la pop contemporaine. </p>
<p>À l'occasion de l'édition 10e anniversaire de l'album culte le 12 mai dernier, le Centre Pompidou et Sonorium vous invitent à une session d'écoute de l'album en intégralité, dans des conditions exceptionnelles grâce à une installation sonore immersive réalisée par l’Ircam et une nouvelle technologie immersive développée par sa filiale Ircam Amplify. </p>
<p> </p>
<p><em>Dimanche 9 juillet 2023 – gratuit sur réservation </em></p>
<p><em>Sessions précédées d'une introduction par Éric Jean-Jean et suivies d'une discussion avec le public</em></p>
<p> </p>
<p><a href="https://billetterie.centrepompidou.fr/selection/event/date?productId=102079581327" target="_blank">Réservation gratuite</a></p>
<p> </p>
<p> </p>
<p> </p>
<hr />
<h3><u>Day-by-day program</u></h3>
<h3>Saturday, 8 July 2023</h3>
<table>
<tbody>
<tr>
<td colspan="2"> </td>
</tr>
<tr>
<td colspan="1">
<p>Continuous</p>
<p>11am-1pm</p>
</td>
<td>
<p>Performance</p>
<p>Christian Falsnaes, <em>First</em> (2016)</p>
</td>
</tr>
<tr>
<td>
<p>Exhibition</p>
<p>Reconstitution virtuelle de l'exposition « Les Immatériaux »</p>
</td>
</tr>
<tr>
<td>1:30pm-2pm</td>
<td>
<p>Meeting</p>
<p>« Beyond Matter »</p>
<p>Présentation de la publication conclusive du projet européen « Beyond Matter: Cultural Heritage on the Verge of Virtual Reality »</p>
</td>
</tr>
<tr>
<td>1:30pm-5pm</td>
<td>
<p>Screening</p>
<p>Après « Les Immatériaux » : Films de pensée</p>
<p><em>Être Résistances</em> d’Albert Serra (2016, 198 min.) <br />
Cinéma 2, niveau –1</p>
</td>
</tr>
<tr>
<td>2pm-4pm</td>
<td>
<p>Meeting</p>
<p>« Beyond Matter »</p>
<p>Présentation d'œuvres conçues dans le cadre de l'exposition « Matter, Non-matter, Anti-Matter »</p>
<p><em>Avec les artistes Jeremy Bailey, Damjanski, fabric | ch (Patrick Keller, Christian Babski, Christophe Guignard), Geraldine Juárez (en visioconférence), Carolyn Kirschner et Anne Le Troter</em></p>
</td>
</tr>
<tr>
<td>4pm-6pm</td>
<td>
<p>Meeting</p>
<p>« Les Immatériaux » : Artistes et historiens en conversation</p>
<p>Avec Andreas Broeckmann, Katerina Thomadaki, Jean-Louis Boissier et Jean-Claude Fall</p>
<p><em>Modérée par Marcella Lista, Philippe Bettinelli et Marie Vicet (Centre Pompidou)</em></p>
</td>
</tr>
<tr>
<td>5:30pm-9pm</td>
<td>
<p>Screening</p>
<p>Après « Les Immatériaux » : Films de pensée</p>
<p><em>Être Résistances</em> d’Albert Serra (2016, 198 min.) <br />
Cinéma 2, niveau –1</p>
<p><em>En présence du cinéaste</em></p>
</td>
</tr>
<tr>
<td>6pm-7:30pm</td>
<td>
<p>Meeting</p>
<p>Après « Les Immatériaux » : Rencontre en partenariat avec LUMA Foundation</p>
<p>Avec Hans Ulrich Obrist, Philippe Parreno, Daniel Birnbaum, Anna Longo, Maja Hoffmann (en visioconférence) et Albert Serra</p>
</td>
</tr>
<tr>
<td>7:30pm-9pm</td>
<td>
<p>>Screening</p>
<p>Après « Les Immatériaux » : Films de pensée</p>
<ul>
<li><em>The Rare Event</em> de Ben Rivers et Ben Russell (2017, 48 min.)</li>
<li><em>Resistances</em> de Rachel Rose (2017-2019, 20 min.)</li>
</ul>
<p> </p>
</td>
</tr>
</tbody>
</table>
<p> </p>
<hr />
<h3><em>Sunday, 9 July 2023</em> </h3>
<table>
<tbody>
<tr>
<td colspan="2"> </td>
</tr>
<tr>
<td colspan="1">
<p>Reconstitution virtuelle de l'exposition « Les</p>
<p>Immatériaux »</p>
<p> </p>
</td>
<td><em>Closing of the gallery 3 at the beginning of the day</em></td>
</tr>
<tr>
<td>
<p>Continuous </p>
<p>3pm-9pm</p>
</td>
<td>
<p>Performance</p>
<p>Christian Falsnaes, <em>First</em> (2016)</p>
</td>
</tr>
<tr>
<td>
<p>4pm-6pm</p>
<p>6:30pm-8:30pm</p>
</td>
<td>
<p>Listening session, meeting</p>
<p>Daft Punk, <em>Random Access memories</em></p>
<p>Introduction par Éric Jean-Jean</p>
<p>Session d'écoute</p>
<p>Discussion avec le public</p>
</td>
</tr>
</tbody>
</table>
<h3> </h3>
<p> </p>
<p> </p>
<hr />
<h3><em>Guests</em></h3>
<table width="50%%" border="0" align="left" cellpadding="2" cellspacing="2">
<tbody>
<tr>
<td>
<p><img src="https://blog.fabric.ch/uploads/image/moviment-hans-ulrich-obrist_portrait-carre.jpg" alt="Hans-Ulrich Obrist - portrait" width="50%" /></p>
<h4><a href="https://www.centrepompidou.fr/en/programme/festivals-soirees/moviment/hans-ulrich-obrist" target="_blank"><strong>Hans Ulrich Obrist</strong></a></h4>
<p>Visual arts </p>
<p> </p>
</td>
<td>
<p><img src="https://blog.fabric.ch/uploads/image/csm_moviment-philippe-parreno_portrait-carre.jpg" alt="Philippe Parreno - portrait" width="50%" /></p>
<h4><a href="https://www.centrepompidou.fr/en/programme/festivals-soirees/moviment/philippe-parreno" target="_blank"><strong>Philippe Parreno</strong></a></h4>
<p>Visual arts</p>
<p> </p>
</td>
</tr>
<tr>
<td>
<p><img src="https://blog.fabric.ch/uploads/image/moviment-jean-louis-boissier_portrait-carre.jpg" alt="Jean-Louis Boissier - portrait" width="50%" /></p>
<h4><a href="https://www.centrepompidou.fr/en/programme/festivals-soirees/moviment/jean-louis-boissier" target="_blank"><strong>Jean-Louis Boissier</strong></a></h4>
<p>New media </p>
<p> </p>
</td>
<td>
<p><img src="https://blog.fabric.ch/uploads/image/moviment-katerina-thomadaki_portrait-carre.jpg" alt="Katerina Thomadaki - portrait" width="50%" /></p>
<h4><a href="https://www.centrepompidou.fr/en/programme/festivals-soirees/moviment/katerina-thomadaki-maria-klonaris" target="_blank"><strong>Katerina Thomadaki</strong></a></h4>
<p>New media</p>
<p> </p>
</td>
</tr>
</tbody>
</table>
<p>Also in the presence of:</p>
<p><strong>Jeremy Bailey</strong>, <strong>Daniel Birnbaum</strong>,<strong> Andreas Broeckmann</strong>, <strong>Damjanski</strong>, <strong>fabric | ch</strong> <span style="color: rgb(51, 102, 255);">(Patrick Keller, Christian Babski, Christophe Guignard)</span>, <strong>Jean-Claude Fall</strong>, <strong>Maja Hoffmann</strong>, <strong>Éric Jean-Jean</strong>, <strong>Geraldine Juárez</strong>, <strong>Carolyn Kirschner</strong>, <strong>Anna Longo</strong>, <strong>Marianne Schädler</strong>, <strong>Albert Serra</strong>, <strong>Anne Le Troter.</strong></p>
<p> </p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Culture & society,
2023-08-03T15:53:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2748
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2748
architecture
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fabric | ch
immaterial
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-
fabric | ch at Centre Pompidou for Moviment (Ch. 9, "Par-delà la matière") | #hybrid #exhibition #centrepompidou #matter #non-matter #LesImmatériaux
https://blog.fabric.ch/index.php?/archives/2750-fabric-ch-at-Centre-Pompidou-for-Moviment-Ch.-9,-Par-dela-la-matiere-hybrid-exhibition-centrepompidou-matter-non-matter-LesImmateriaux.html
<p> </p>
<p><em>Note: <a href="https://www.fabric.ch" target="_blank">fabric | ch</a> presented its recent works at the <a href="https://www.centrepompidou.fr/en/" target="_blank">Centre Pompidou</a> in early July, as part of the <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment" target="_blank">Moviment</a> program of exhibitions/performances/conferences/projections. We took part in <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/beyond-matter" target="_blank">Chapter 9: Beyond Matter</a>.</em></p>
<p><em>The focus of the weekend was a return to the historic exhibition "<a href="https://www.centrepompidou.fr/en/collection/film-and-new-media/les-immateriaux-1985" target="_blank">Les Immatériaux</a>" (1985, cur. T. Chaput & J.F. Lyotard) and the contemporary questioning of the postmodern period. </em></p>
<p><em>Participants included artists who took part in Les Immatériaux (<a href="http://jlggb.net/jlb/" target="_blank">J.-L. Boissier</a>, <a href="https://www.klonaris-thomadaki.net/" target="_blank">K. Thomadaki</a>, J.-C. Fall), as well as contemporary curators such as <a href="https://www.luma.org/en/live/people/Hans-Ulrich-Obrist-27c1c33b-c004-44a4-8359-ce362caafec8.html?lang=en" target="_blank">H.-U. Obrist</a> and <a href="https://www.luma.org/en/live/people/Daniel-Birnbaum-4c28c88b-0598-4472-8ec7-8e6fa8310713.html?lang=en" target="_blank">D. Birnbaum</a>, so as artists and filmmakers P. Parreno, A. Serra and philosopher <a href="https://thenewcentre.org/people/anna-longo/" target="_blank">A. Longo</a>. </em></p>
<p> </p>
<p>Via <a href="https://www.instagram.com/ptrckkllr/" target="_blank">@ptrckkllr</a></p>
<p>-----</p>
<p> </p>
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<p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/Cu17t2TI3ZQ/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Patrick Keller (@ptrckkllr)</a></p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2023-07-18T16:14:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2750
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2750
algorithms
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automation
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exhibitions-fbrc
fabric | ch
history
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-
Atomized (re-)Staging by fabric | ch at Centre Pompidou | #exhibitions #digital #revival #iconoclash #immatériaux
https://blog.fabric.ch/index.php?/archives/2749-Atomized-re-Staging-by-fabric-ch-at-Centre-Pompidou-exhibitions-digital-revival-iconoclash-immateriaux.html
<p> </p>
<p><em>Note: At the invitation of Macella Lista and Livia Nolasco-Roszas (curators), fabric | ch presents <a href="http://www.fabric.ch/pdf/70_atomized_re_staging_m.pdf" target="_blank">Atomized (re-)Staging</a> during the <a href="https://www.centrepompidou.fr/en/program/festival-evening/moviment/beyond-matter" target="_blank">Moviment</a> festival-exhibition at the <a href="https://www.centrepompidou.fr/en/" target="_blank">Centre Pompidou</a> in Paris, as part of a weekend devoted to a return to the landmark exhibition <a href="https://www.centrepompidou.fr/fr/programme/agenda/evenement/cRyd8q" target="_blank">Les Immatériaux</a> (which took place at Beaubourg in 1985).</em></p>
<p> </p>
<p>Via <a href="https://www.instagram.com/ptrckkllr/" target="_blank">@ptrckkllr</a> and <a href="https://www.instagram.com/beyondmattereu/" target="_blank">@beyondmatereu</a> (research project & exhibition: <a href="https://beyondmatter.eu/" target="_blank">Beyond Matter</a>)</p>
<p>----- </p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art,
2023-06-29T16:50:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2749
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https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2749
architecture
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exhibitions-fbrc
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Creation and Curation with Artificial Intelligence, Swissnex China Blog (Shanghai, 2022) | #talk #fabricch #automated
https://blog.fabric.ch/index.php?/archives/2747-Creation-and-Curation-with-Artificial-Intelligence,-Swissnex-China-Blog-Shanghai,-2022-talk-fabricch-automated.html
<p> </p>
<p><em>Note: this was a talk <a href="https://www.fabric.ch" target="_blank">fabric | ch</a> gave online, along with <a href="https://www.aiiiii.com/" target="_blank">Aiiiii Art Center</a> later last year, in the context of <a href="http://swissnexinchina.org/art-science-main" target="_blank">Swissnex Shanghai Art & Science talks</a>. </em></p>
<p><em> </em></p>
<p><em>The online session was moderated by Cissy Sun, Head of Art-Science at Swissnex and the topic was the "hot topic" of the time: "AI" and curation. fabric | ch has recently worked on several experimental or research projects related to this topic, as well as developed in-house tools along the way, and this was an opportunity to explain how we approach this question. In particular by rooting it in architectural thinking and our previous works.</em></p>
<p> </p>
<p>Via  <a href="https://swissnexinchina.org/" target="_blank">Swissnex China</a></p>
<p>-----</p>
<p>By Cissy Sun</p>
<p> </p>
<p>On 6th September, we had an inspiring discussion on curation and artificial intelligence with Mr. Patrick Keller, Architect & Co-founder of fabric | ch - studio for architecture, interaction & research, and Ms. Xi Li, Curator & Director of Aiiiii Art Center.</p>
<p>Mr. Patrick Keller introduced the architecture studio, fabric | ch, where architects and computer scientists work together on a variety of experimental projects that combine architecture, networks, data, and algorithms.</p>
<p>Delving into these projects, Patrick first introduced the work - Platform of Future-Past, which was shown at HOW Art Museum in Shanghai in 2022. “Platform of Future-Past” is an architectural device and monitoring installation, it is equipped in three zones with environmental monitoring devices. The sensors record as much data as possible over time, generated by the continuously changing conditions, presences, and uses in the exhibition space. The data is then stored on Platform Future-Past’s servers and replayed in a loop on its computers. It is a “recorded moment”, “frozen” on the data servers, that could potentially replay itself forever or is waiting for someone to reactivate it. A “data center” on the deck, with its set of interfaces and visualizations screens, lets the visitors-observers follow the ongoing recording process. However, as the exhibition was interrupted by the pandemic, the museum was closed for a few months, and the data from the real exhibition space was very limited. Thus the artists fed the platform the prepared data to generate the moving images. With the touch on artificial data, Patrick reminded us to think about massive ways to treat datasets while talking about artificial intelligence.</p>
<p> </p>
<p><img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/96d6f862-b827-4140-8971-4bdf5ab3c472/01.png?format=500w" width="49%" alt="" />   <img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/6a9dc7f6-87e9-4c49-aed5-31ce941a77e2/02.png?format=500w" width="49%" alt="" /></p>
<p>Platform of Future-Past, fabric | ch, 2022</p>
<p> </p>
<div>
<div>
<p>The practice of using networks, data, and algorithms led the artists to develop a systematic approach to combining digital information with physical elements according to certain rules. Furthermore, such practices brought the artists to the exhibitions and curation projects. In the context of Entangled Realities, Living with Artificial Intelligence at the House of Electronic Arts (Basel), 2019, fabric | ch developed the work of Atomized (curatorial) Functioning (A(*)F), which was later also exhibited during Art and Science in the Age of Artificial Intelligence at the National Museum of China (Beijing), 2019.</p>
<p>A(*)F is an architectural project based on automated algorithmic principles, to which a machine learning layer can be added as required. It is a software piece that endlessly creates and saves new spatial configurations for a given situation, converges towards a “solution”, in real-time 3d and according to dynamic data and constraints. During the exhibition at HeK, the sensors collected data both from the artworks and the physical environment, including the walls and the lighting. The information collected by the sensors mapped out the space and helped the curators to organize the exhibition flows.</p>
<p> </p>
<p><img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/f3dafca0-c893-42ac-93aa-831515597cba/03.png?format=1000w" width="100%" alt="" /></p>
<p>Atomized (curatorial) Functioning, fabric | ch, 2019</p>
<p> </p>
<p>As an ending note, Patrick shared with us the ongoing research project between fabric | ch, the Nam June Paik Art Center (Yongin, South Korea), and ECAL / University of Art and Design, Lausanne (HES-SO), on "viewing rooms" and "digital exhibitions". The research is to give access to the collection of the art center in new ways and forms, out of the physical museum and through digital means. In addition to the research project, fabric | ch is also working on a new project about the digital presentation of the past exhibitions at ZKM (Center for Art and Media, Karlsruhe), the exhibition is planned to open at ZKM at the end of the year.</p>
<p> </p>
<p><img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/512fcecd-00ca-4fc3-a811-998ee038b2f8/04.png?format=1000w" width="100%" alt="" /></p>
<p> Ongoing project by fabric | ch</p>
<p> </p>
<p>The International Conference on AI Art was co-organized by the Aiiiii Art Center and the Art and Artificial Intelligence Lab of Tongji University. With the theme of “AI and Authorship” (2021) and “Artificial Imagination” (2022), the conference combines the most radical of research from a diverse international curation of fields ranging from art, design, computational science, cultural critique as well as political philosophy. This network is established to pioneer and push the boundaries of artificial intelligence and creative production.</p>
<p> </p>
<div>
<div>
<p><img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/80bd4473-fc7e-43d2-8e62-4d2eb0d83ea4/05.png?format=1000w" width="100%" alt="" /></p>
<p>Exhibition space of Aiiiii Art Center</p>
<p> </p>
<p>While looking at the exhibition space, two questions came to Xi’s mind: how to physicalize the digital artwork into the space and how to visualize AI art. The two questions lead Xi and her team to the curation concept of <em>the Book of Sand.</em> She chose literature to narrate the exhibition to catch the public attention and tell a good story of AI art. The exhibition starts by employing literary imagination to juxtapose seemingly infinite, random generative art and Borges’ “Book of Sand”, a book that possesses neither a beginning nor an end, just like sand. A book in which “I”, the subject, can turn the pages but cannot predict the outcome, just as we cannot fully comprehend the operational logic of the “black box” embedded by and into a neural network. Against the joy of possessing the book grows the fear that the book is not really infinite, just as we fear that the infinite productivity of AI will make us its captives, as well as the fear that its “infinite creativity” is simply the outcome of intelligent permutations of existing human ideas.</p>
<p> </p>
<p><img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/58ee1243-3f38-4093-b0a1-80a876449d29/06.png?format=750w" width="49%" alt="" />   <img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/5cc9f0e9-6f7d-4ca6-af19-202b7fd4c005/07.png?format=750w" width="49%" alt="" /></p>
<p>Artificial Remnants, Entangled Others Studio (left)  &  The Mind Scrap, Certain Measures (right)</p>
<p> </p>
<p>“The Book of Sand” is an exhibition done by the joint efforts of machines and humans — the output of the machines interferes with human curatorial and artistic practices. By showcasing the works of Jake Elwes and Dabeiyuzhou, Xi explained further how they worked with the artists to turn web-based artwork into spatial installations.</p>
<p> </p>
<p><img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/c85d24d0-707b-4380-89e4-ca12e1715ed2/08.png?format=500w" width="49%" alt="" />   <img src="https://images.squarespace-cdn.com/content/v1/507b7901e4b0954f51d4b097/c3e3eee9-cb2f-4849-8760-5f2397e9e0b9/09.png?format=500w" width="49%" alt="" /></p>
<p>The ZIZI Show, Jake Elwes (left)  &  Text Gene Project, Dabeiyuzhou (right)</p>
<p> </p>
<div>
<div>
<p>It is inevitable to talk about what AI art is and who the author is when curating the programs and research projects at Aiiiii Art Center. However, such questions are not at the core of their curatorial practice but to discover the potential of AI itself and deliver the message appropriately to the target audience. With the involvement of machines in the creation and curation process, the question of the role of the machine became a challenging topic. Moreover, it also leads us to think – is there have to be a curator/creator’s name in the exhibition?</p>
<p>Responding to Xi’s question, Patrick pointed out that there are different cases dealing with the question. Taking their own practices, for example, the algorithm is at the core of their work. With the help of AI, the artists could dig deeper into their works, but the concept and the way of working are developed by the collective over years of research and practice. It is important to have their names in the exhibition as they are the creators of the work. Nevertheless, it might be challenging to define the creator for other works using open-source software and text-image software. However, in Patrick’s view, any machine learning program is fed with a huge dataset, without this, the algorithms could not do anything. The things the machines are trained to do and how they are trained to make it essential to define the creator.</p>
<p> </p>
</div>
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</div>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2023-05-08T16:32:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2747
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2747
architecture
art
art direction
artificial reality
automation
curators
environment
exhibitions
exhibitions-fbrc
fabric | ch
generative
interaction design
publications
publications-fbrc
talks-fbrc
-
Matter. Non-Matter. Anti-Matter @ZKM Webinar on the digital museum | #fabricch
https://blog.fabric.ch/index.php?/archives/2746-Matter.-Non-Matter.-Anti-Matter-ZKM-Webinar-on-the-digital-museum-fabricch.html
<p> </p>
<p><em>Note: <a href="https://www.fabric.ch" target="_blank">fabric | ch</a> is taking part next week in this webinar</em><em> about digital museums,</em><em> organized by <a href="https://zkm.de/en" target="_blank">ZKM</a>. Participants include members from <a href="https://zkm.de/en/about-the-zkm/organization/hertz-lab" target="_blank">ZKM Hertz-Lab</a>, <a href="https://ars.electronica.art/futurelab/en/" target="_blank">Ars Electronica Futurelab</a>, <a href="https://www.cccb.org/en" target="_blank">CCCB</a> in Barcelona, <a href="https://www.aalto.fi/en/aalto-media-lab" target="_blank">Aalto University</a> and <a href="https://futurium.de/en" target="_blank">Futurium</a> in Berlin.</em></p>
<p> </p>
<p>Via <a href="https://zkm.de/en/exhibition/2022/12/matter-non-matter-anti-matter" target="_blank">ZKM | Karlsruhe</a> (research project & exhibition: <a href="https://beyondmatter.eu/" target="_blank">Beyond Matter</a>)</p>
<p>----- </p>
<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cp4qJUYoOd7/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);">
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<p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/Cp4qJUYoOd7/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Beyond Matter (@beyondmattereu)</a></p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2023-03-22T15:13:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2746
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2746
architecture
art
artificial reality
conferences
culture & society
curators
digital
exhibitions
fabric | ch
interaction design
interferences
museum
talks-fbrc
-
Atomized (re-)Staging short video documentation | #fabricch #digital #hybrid #exhibition
https://blog.fabric.ch/index.php?/archives/2745-Atomized-re-Staging-short-video-documentation-fabricch-digital-hybrid-exhibition.html
<p> </p>
<p><em>Note: a brief video documentation about one of </em><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><em>'s latest project – Atomized (Re)Staging – that was exhibited at ZKM during </em><a href="https://www.e-flux.com/announcements/483389/matter-non-matter-anti-matter/" target="_blank">Matter. Non-Matter. Anti-Matter</a>.</p>
<p><i>The exhibition was curated by Lívía Nolasco-Roszás and Felix Koberstein and took place ibn the context of the European research project </i><a href="https://www.instagram.com/beyondmattereu/" target="_blank">Beyond Matter</a><i>.</i></p>
<p><i><img src="https://blog.fabric.ch/uploads/image/fabric_ars_vimeo.png" alt="" width="5" height="3" /><br />
</i></p>
<p> </p>
<p> </p>
<p>Via <a href="https://vimeo.com/fbrcch" target="_blank">fabric | ch's Vimeo</a></p>
<p>-----</p>
<p>  </p>
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/802778085?h=6f5bce91c2&title=0&byline=0&portrait=0&speed=0&badge=0&autopause=0&player_id=0&app_id=58479/embed" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0"></iframe></div>
<p> </p>
<p> </p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Culture & society, Interaction design,
2023-03-13T14:14:08Z
https://blog.fabric.ch/wfwcomment.php?cid=2745
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2745
architecture
art
artificial reality
artists
automation
culture & society
curators
data
design (environments)
digital
display
exhibitions-fbrc
fabric | ch
history
hybrid
immaterial
interaction design
interferences
media
museum
real time
responsive
vr
worldbuilding
-
Atomized (re-)Staging at ZKM, Instagram @zkmkarlsruhe (2023) | #fabricch #digital #exhibition #algorithmic #intelligence
https://blog.fabric.ch/index.php?/archives/2744-Atomized-re-Staging-at-ZKM,-Instagram-zkmkarlsruhe-2023-fabricch-digital-exhibition-algorithmic-intelligence.html
<p> </p>
<p>Via</p>
<p><a href="https://www.instagram.com/beyondmattereu/" target="_blank">@beyondmatter</a> <a href="https://www.instagram.com/zkmkarlsruhe/" target="_blank">@zkmkarlsruhe</a></p>
<p> -----</p>
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fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2023-03-10T11:55:00Z
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Pro Helvetia Visual Arts Beneath the Skin, Between the Machines (2022) | #exhibition #bestof2022 #review
https://blog.fabric.ch/index.php?/archives/2743-Pro-Helvetia-Visual-Arts-Beneath-the-Skin,-Between-the-Machines-2022-exhibition-bestof2022-review.html
<p><em>Note: </em><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><em> is thrilled to be part of Pro Helvetia's Shanghai best of 2022! Thanks for this new post and for the support to the exhibition at the <a href="https://jingculturecrypto.com/how-the-new-how-art-museum-is-beating-all-expectations-with-a-new-museum-model/" target="_blank">HOW Art Museum</a>, as well as it's performances and online lectures program during the pandemic!</em></p>
<p><em>We were glad to see that the architectural installation fabric | ch realized in this context remained useful also for remote interaction, exchange of ideas and collaboration.</em></p>
<p>...</p>
<p><i>And it's also a way – and still the time – to wish everyone a good start in 2023! With, we hope, many successes, exciting projects and creative statements responding to the challenges of our time.</i></p>
<p><em> </em></p>
<p>Via <a href="https://prohelvetia.cn/en/2022/06/23/beneath-the-skin-between-the-machines-2/" target="_blank">Pro Helvetia</a> (<a href="https://prohelvetia.cn/en/category/visual-arts/" rel="category tag">Visual Arts</a>)</p>
<p>-----</p>
<p> </p>
<h2><em><span>Our Best Picks of 2022</span></em></h2>
<p><em>For art practitioners or audiences alike, it has not been an easy year. The path of global encounter seemed distant for a while, but has never vanished. Somehow we know, maybe in the most surprising manner, that we will meet each other again halfway. It could be one of these reassuring moments that convinced us of hope when the world is turned upside down: the flipping of bookpages, the smiles from digital rooms, a concert without performers, a recital without playwrights. We are so eager to present what has excited, motivated, or touched us in the past year. Scroll down and discover a diverse selection of projects highlighted under the three overarching themes -- support, connect, and inspire.</em></p>
<p><em>Wish you a brilliant start and a Happy New Year 2023!</em></p>
<p><em>Pro Helvetia Shanghai</em></p>
<p> </p>
<div><img src="http://i2.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/a1-990000079e028a3c.jpg" width="250" height="224" alt="" /></div>
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<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-t/"><img src="http://i3.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/2-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-i/"><img src="http://i4.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/11-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-d/"><img src="http://i5.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/3-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-h/"><img src="http://i6.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/103-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
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<div><img src="http://i7.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/c1-990000079e028a3c.jpg" width="250" height="224" alt="" /></div>
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<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-k/"><img src="http://i8.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/51-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-u/"><img src="http://i9.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/91-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-o/"><img src="http://i10.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/4-990000079e04513c.jpg" width="500" height="400" alt="" /></a></div>
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<div><img src="http://i1.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/b1-990000079e028a3c.jpg" width="250" height="224" alt="" /></div>
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<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-b/"><img src="http://i2.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/62-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-n/"><img src="http://i3.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/71-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<div style="text-align: center;"><a href="https://prohelvetia-shanghai.cmail19.com/t/i-l-qdtudkt-tjkrtydjc-c/"><img src="http://i4.cmail19.com/ei/i/5B/B99/F5C/145839/csfinal/81-990000079e04513c.jpeg" width="500" height="400" alt="" /></a></div>
<p> </p>
<p class="size-12" style="Margin-top: 0;Margin-bottom: 0;font-size: 12px;line-height: 19px;" lang="x-size-12">Pro Helvetia Shanghai<br />
Swiss Arts Council<br />
Room 509, Building 1<br />
No.1107, Yuyuan Road, Changning District<br />
Shanghai 200050, China<br />
<a style="transition: opacity 0.1s ease-in 0s; color: rgb(224, 0, 134);" data-emb-iscopy="true" href="mailto:shanghai@prohelvetia.cn">shanghai@prohelvetia.cn</a></p>
<p> </p>
<p> </p>
<p>-----</p>
<h2>Beneath the Skin, Between the Machines</h2>
<p><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/01/img-7971-1-940x390.jpg" width="800" height="332" alt="" /></p>
<p> </p>
<h2>Exhibition overview</h2>
<p>---</p>
<h2><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/03/beneath-the-skin-between-the-machines-poster-scaled.jpg" width="500" height="707" alt="" /></h2>
<p>---</p>
<p>“Man is only man at the surface. Remove the skin, dissect, and immediately you come to machinery.” When Paul Valéry wrote this down, he might not foresee that human beings – a biological organism – would indeed be incorporated into machinery at such a profound level in a highly informationized and computerized time and space. In a sense, it is just as what Marx predicted: a conscious connection of machine<a href="https://prohelvetia.cn/en/2022/06/23/beneath-the-skin-between-the-machines-2/#_ftn1" name="_ftnref1"><sup>[1]</sup></a>. Today, machine is no longer confined to any material form; instead, it presents itself in the forms of data, coding and algorithm – virtually everything that is “operable”, “calculable” and “thinkable”. Ever since the idea of cyborg emerges, the man-machine relation has always been intertwined with our imagination, vision and fear of the past, present and future.</p>
<p>In a sense, machine represents a projection of human beings. We human beings transfer ideas of slavery and freedom to other beings, namely a machine that could replace human beings as technical entities or tools. Opposite (and similar, in a sense,) to the “embodiment” of machine, organic beings such as human beings are hurrying to move towards “disembodiment”. Everything pertinent to our body and behavior can be captured and calculated as data. In the meantime, the social system that human beings have created never stops absorbing new technologies. During the process of trial and error, the difference and fortuity accompanying the “new” are taken in and internalized by the system. “Every accident, every impulse, every error is productive (of the social system),”<a href="https://prohelvetia.cn/en/2022/06/23/beneath-the-skin-between-the-machines-2/#_ftn2" name="_ftnref2"><sup>[2]</sup></a> and hence is predictable and calculable. Within such a system, differences tend to be obfuscated and erased, but meanwhile due to highly professional complexities embedded in different disciplines/fields, genuine interdisciplinary communication is becoming increasingly difficult, if not impossible.</p>
<p>As a result, technologies today are highly centralized, homogenized, sophisticated and commonized. They penetrate deeply into our skin, but beyond knowing, sensing and thinking. On the one hand, the exhibition probes into the reconfiguration of man by technologies through what’s “beneath the skin”; and on the other, encourages people to rethink the position and situation we’re in under this context through what’s “between the machines”. As an art institute located at Shanghai Zhangjiang Hi-Tech Industrial Development Zone, one of the most important hi-tech parks in China, HOW Art Museum intends to carve out an open rather than enclosed field through the exhibition, inviting the public to immerse themselves and ponder upon the questions such as “How people touch machines?”, “What the machines think of us?” and “Where to position art and its practice in the face of the overwhelming presence of technology and the intricate technological reality?” Departing from these issues, the exhibition presents a selection of recent works of Revital Cohen & Tuur Van Balen, Simon Denny, Harun Farocki, Nicolás Lamas, Lynn Hershman Leeson, Lu Yang, Lam Pok Yin, David OReilly, Pakui Hardware, Jon Rafman, Hito Steyerl, Shi Zheng and Geumhyung Jeong. In the meantime, it intends to set up a “panel installation”, specially created by <a href="http://www.fabric.ch/">fabric | ch</a> for this exhibition, trying to offer a space and occasion for decentralized observation and participation in the above discussions. Conversations and actions are to be activated as well as captured, observed and archived at the same time.</p>
<p><a href="https://prohelvetia.cn/en/2022/06/23/beneath-the-skin-between-the-machines-2/#_ftnref1" name="_ftn1"><sup>[1]</sup></a> Karl Marx, “Fragment on Machines”, <em>Foundations of a Critique of Political Economy</em></p>
<p><a href="https://prohelvetia.cn/en/2022/06/23/beneath-the-skin-between-the-machines-2/#_ftnref2" name="_ftn2"><sup>[2]</sup></a> Niklas Luhmann, <em>Social Systems</em></p>
<p>---</p>
<p><img src="https://prohelvetia.cn/en/img-8199/" width="800" height="600" alt="" /></p>
<p>fabric | ch, Platform of Future-Past, 2022, Installation view at HOW Art Museum.</p>
<p> </p>
<h3>Work by fabric | ch</h3>
<p>HOW Art Museum has invited Lausanne-based artist group fabric | ch to set up a “panel installation” based on their former project “Public Platform of Future Past” and adapted to the museum space, fostering insightful communication among practitioners from different fields and the audiences.</p>
<p>“Platform of Future-Past” is a temporary environmental device that consists in a twenty meters long walkway, or rather an observation deck, almost archaeological: a platform that overlooks an exhibition space and that, paradoxically, directly links its entrance to its exit. It thus offers the possibility of crossing this space without really entering it and of becoming its observer, as from archaeological observation decks. The platform opens- up contrasting atmospheres and offers affordances or potential uses on the ground.</p>
<p>The peculiarity of the work consists thus in the fact that it generates a dual perception and a potential temporal disruption, which leads to the title of the work, Platform of Future-Past: if the present time of the exhibition space and its visitors is, in fact, the “archeology” to be observed from the platform, and hence a potential “past,” then the present time of the walkway could be understood as a possible “future” viewed from the ground…</p>
<p>“Platform of Future-Past” is equipped in three zones with environmental monitoring devices. The sensors record as much data as possible over time, generated by the continuously changing conditions, presences and uses in the exhibition space. The data is then stored on Platform Future-Past’s servers and replayed in a loop on its computers. It is a “recorded moment”, “frozen” on the data servers, that could potentially replay itself forever or is waiting for someone to reactivate it. A “data center” on the deck, with its set of interfaces and visualizations screens, lets the visitors-observers follow the ongoing process of recording.</p>
<p>The work could be seen as an architectural proposal built on the idea of massive data production from our environment. Every second, our world produces massive amounts of data, stored “forever” in remote data centers, like old gas bubbles trapped in millennial ice.</p>
<p>As such, the project is attempting to introduce doubt about its true nature: would it be possible, in fact, that what is observed from the platform is already a present recorded from the past? A phantom situation? A present regenerated from the data recorded during a scientific experiment that was left abandoned? Or perhaps replayed by the machine itself ? Could it already, in fact, be running on a loop for years?</p>
<p>---</p>
<div class="content-box bg-cd-1 floatright">
<h3>Schedule</h3>
<p>Duration: January 15-April 24, 2022<br />
Artists: Revital Cohen & Tuur Van Balen, Simon Denny, fabric | ch, Harun Farocki, Geumhyung Jeong, Nicolás Lamas, Lynn Hershman Leeson, Lu Yang, Lam Pok Yin, David OReilly, Pakui Hardware, Jon Rafman, Hito Steyerl, Shi Zheng<br />
Curator: Fu Liaoliao<br />
Organizer: HOW Art Museum, Shanghai<br />
Lead Sponsor: APENFT Foundation<br />
Swiss participation is supported by Pro Helvetia Shanghai, Swiss Arts Council.</p>
</div>
<p>---</p>
<p>[Banner image: f<span style="font-size: 1em;">abric | ch, </span><span style="font-size: 1em;">Platform of Future-Past, </span><span style="font-size: 1em;">2022, </span><span style="font-size: 1em;">Scaffolding, projection screens, sensors, data storage, data flows, plywood panels, textile partitions, </span><span style="font-size: 1em;">Dimensions variable.]</span></p>
<p> </p>
<h2>Event I</h2>
<h3><strong>Beneath the Skin, Between the Machines — Series Panel</strong></h3>
<h3><strong>Investigating Sensoriums: Beyond Life/Machine Dichotomy</strong></h3>
<p><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/03/img-7230.jpg" width="300" height="436" alt="" /></p>
<div class="content-box bg-cd-2 floatright">
<h3>Schedule</h3>
<p>Organizers: HOW Art Museum, Pro Helvetia Shanghai, Swiss Arts Council<br />
Date: March 19, 2022<br />
Time : 15:00 -16:30 (CST) / 8:00 – 9:30 (CET)<br />
Host: Iris Long<br />
Guests: Zian Chen, Geocinema (Solveig Qu Suess, Asia Bazdyrieva), Marc R. Dusseiller<br />
Language: Chinese, English (with Chinese translation)<br />
Event on Zoom(500 audience limit)<br />
Link: <a href="https://zoom.us/j/92512967837" rel="nofollow">https://zoom.us/j/92512967837</a></p>
<p>---</p>
<p>This round of discussion derived from the participating speakers’ responses toward to the title of the exhibition, <em>Beneath the Skin, Between The Machines</em>.</p>
<p>What lies beneath the skin of the earth and between the machines may well be signals among sensors. Geocinema’s study on the One Belt One Road initiative and exploration of a “planetary” notion of cinema relate directly to the above concern. Marc R. Dusseiller as a transdisciplinary scholar draws our attention to the possible pathways that skin/machines may generate for understanding to go beyond life/machine dichotomy. Zian Chen’s recent research attempts to bring the mediatized explorations back to our real living conditions. He will resort to real news events as cases to show why these mediatized explorations are embodied experience.</p>
<p>HOW Art Museum in collaboration with Pro Helvetia Shanghai, Swiss Arts Council, invite Zian Chen (writer and curator), Geocinema (art collective) and Marc R. Dusseiller (transdisciplinary scholar and artist) to have a panel discussion, probing into the topic of <em>Beneath the Skin, Between The Machines</em> from the perspectives of their own practice and experience. The panel will be moderated by curator and writer Iris Long.</p>
<p>* Due to pandemic restrictions, the panel will take place online. Video recording of the panel will be played on <em>Platform of Future-Past</em> (2022), an environmental installation conceived by fabric | ch, studio for architecture, interaction and research, for the exhibition.</p>
<p>---</p>
<h4>About the Host</h4>
<div class="accordion active">
<p>Iris Long</p>
</div>
<h4>About the Guests</h4>
<div class="accordion active">
<p>Zian Chen, Geocinema, Marc R. Dusseiller</p>
<p>---</p>
<h2>Event II</h2>
<p><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/04/wechatimg348.jpg" width="300" height="436" alt="" /></p>
<div class="content-box bg-cd-2 floatright">
<h3>Schedule</h3>
<p>Organizers: HOW Art Museum, Pro Helvetia Shanghai, Swiss Arts Council, Conversazione (CVSZ)<br />
Date: April 16, 2022<br />
Time : 14:00-15:30(CST)/ 7:00 – 8:30 (CET)<br />
Host: Cai Yixuan<br />
Guests:Chloé Delarue, fabric | ch, Pedro Wirz, Chun Shao<br />
Language: Chinese, English (with Chinese translation)<br />
Event on Zoom(500 audience limit)<br />
Link: <a href="https://us06web.zoom.us/j/85822263121" rel="nofollow">https://us06web.zoom.us/j/85822263121</a></p>
<p>---</p>
<p class="p1"><span class="s1">In the hotbed to breed new forms of life, the notion of “life” and digital intimacy are under constant construction and development. </span></p>
<p class="p1"><span class="s1">Unfolding the histories of nature and civilization, what kind of interactions could be perceived from the materials, which we constantly used in past narratives, and the environment? How have these interactive relationships, perceivable yet invisible, been evolving and entwined?</span></p>
<p class="p1"><span class="s1">This Saturday from 14:00 to 15:30, HOW Art Museum in collaboration with Pro Helvetia Shanghai, Swiss Arts Council and Conversazione, research-based art and design collective based in China, invite <b>Chloé Delarue</b>, whose ongoing body of work centers on the notion of TAFAA – Towards A Fully Automated Appearance; <b>fabric | ch</b>, studio for architecture and research who present an environmental installation at HOW Art Museum where discussions and events could take place; <b>Pedro Wirz</b> whose practice seeks to merge the supernatural with scientific realities; and <b>Shao Chun</b> whose new media artistic practice is dedicated to combing traditional handicrafts and electronic programming to have a panel discussion. </span></p>
<p class="p1"><span class="s1">The event intends to probe into the topics covered in </span><span class="s2"><i>Beneath the Skin, Between The Machines</i></span> <span class="s1">and participants will share with audience their insights to materials and media from the perspectives of their own practices. The panel will be moderated by curator <b>Cai Yixuan</b>.</span></p>
<p class="p1">---</p>
<h4>About the Host</h4>
<div class="accordion active">
<p>Cai Yixuan</p>
</div>
<h4>About the Guests</h4>
<div class="accordion active">
<p><span class="s1">Chloé Delarue, </span><span class="s1">fabric | ch, </span><span class="s1">Pedro Wirz, </span><span class="s1">Chun Shao </span></p>
</div>
<p>---</p>
<h2>Event III</h2>
<h3><strong>Beneath the Skin, Between the Machines — Online Performance</strong></h3>
<h3><span class="s1"><i>Holding it together*: myself and the other </i></span><span class="s1">by Jessica Huber</span></h3>
</div>
</div>
</div>
<p><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/05/poster.jpg" width="300" height="532" alt="" /></p>
<div class="content-box bg-cd-2 floatright">
<h3>Schedule</h3>
<p>Artist: Jessica Huber, in collaboration with the performers Géraldine Chollet & Robert Steijn, video by Michelle Ettlin<br />
Date: May 31, 2022, 21:00-June 4, 24:00, 2022<br />
Organizer: HOW Art Museum<br />
Performance Support: Pro Helvetia Shanghai, Swiss Arts Council<br />
Technical Support: Centre for Experimental Film (CEF)<br />
Online Screening: <a href="https://h5.artfilmonline.com/#/pages/movieDetail/index?uuid=629088e0d4962">Link</a></p>
<p>---</p>
</div>
<p class="p1"><span class="s1">*Due to COVID-related prevention measures, this projection of the performance will take place online via CEF. </span></p>
<p class="p1"><span class="s1">Performance projection will be played when the museum can reopen on Platform of Future-Past (2022), an environmental installation conceived by fabric | ch, studio for architecture, interaction and research, for the exhibition.<span class="Apple-converted-space"> </span></span></p>
<p class="p1"><span class="s1">HOW Art Museum (Shanghai) will also be temporarily closed during this period.</span></p>
<p class="p1">---</p>
<h4>About the artist</h4>
<p class="p1"><span class="s1"><a href="https://jessicahuber.ch/"><img loading="lazy" class="size-full wp-image-20014 alignleft" src="https://prohelvetia.cn/app/uploads/sites/11/2022/05/img-8716.jpg" srcset="https://prohelvetia.cn/app/uploads/sites/11/2022/05/img-8716.jpg 1080w, https://prohelvetia.cn/app/uploads/sites/11/2022/05/img-8716-300x200.jpg 300w, https://prohelvetia.cn/app/uploads/sites/11/2022/05/img-8716-1024x684.jpg 1024w, https://prohelvetia.cn/app/uploads/sites/11/2022/05/img-8716-768x513.jpg 768w" sizes="(max-width: 1080px) 100vw, 1080px" width="500" height="334" alt="" /></a></span></p>
<p class="p1"><span class="s1"><a href="https://jessicahuber.ch/">Jessica Huber</a> works as an artist in the field of the performing arts and is also together with Karin Arnold a founding member of mercimax, a performance collective based in Zürich. </span></p>
<p class="p1"><span class="s1">After finishing her dance studies in London, she danced for various dance companies and most of her early pieces have been dance pieces too. Though her recent work and the forms and formats she chooses, have become more diverse during the past few years. Recently she has been collaborating with the British artist and activist James Leadbitter aka the vacuum cleaner on the hope & fear project.</span></p>
<p class="p1"><span class="s1">Jessica works with curiosity and has a special interest in the texture of relationships and in how we function as individuals and as communities in society. She regularly gives workshops to professionals and non-professionals (different social groups) and teaches as a guest tutor at the Hyperwerk in Basel (Institut for studies for Post Industrial Design – or as they call it “the place where we think about how we want to live together in the future”) and is one of two artists who are part of the newly founded dramaturgy pool of Tanzhaus Zürich. She deeply enjoys diversity and is fascinated by the many possible aesthetics of exchange and sharing.</span></p>
<p class="p1">---</p>
<h3>About the performance</h3>
<p><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/05/img-8719-768x512.jpg" width="500" height="333" alt="" /></p>
<p>Picture in the dark: Fletcher/Huber, picture daytime: Ettlin/Huber *pictures from “holding it together”: Nelly Rodriguez</p>
<p> </p>
<p class="p1"><span class="s1"><i>Holding it together*: myself and the other</i> is first of all an encounter between the two performers Géraldine Chollet and Robert Steijn – and the underlying questions of what binds us together and how we create intimacy, playfulness and trust by sharing rituals and treatments with each other.</span></p>
<p class="p1"><span class="s1"><i>Two very different and differently old bodies nestle together, doing silent rituals of gentle intimacy. They explain, apparently quite privately, how they met at a party and worked with each other – one with, one without a plan – and what this resulted in. The Dutch performer with a penchant for Shamanism and the dancer from Lausanne offer each other a song, a dance and neither shy away from deep feelings… </i></span></p>
<p class="p1"><span class="s1">“</span><span class="s2">Holding it together” is a series of collaborations, performances and researches Jessica Huber created in collaboration with different artists. The first idea for ‘Holding it together’ sparked during her studio residency in Berlin in 2013. This led to a collection of ideas, approaches to movement and formats under the thematic umbrella: ‘Holding it together’. Four thematic chapters or acts stem from this period: – The Thing; The Mass; Myself; Myself & the other(s).</span></p>
<p class="p1"><span class="s2">“Holding it together” is not only a reference to the series’ overarching theme of cooperation and the question of how we perceive and create our world, but also an announcement of the working method: At the core of this series were reflections about the aesthetics and praxis of exchange and sharing, about rituals, as well as the longing for space and time for encounter.</span></p>
<p class="p1"> </p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2023-01-17T14:43:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2743
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2743
architecture
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fabric | ch
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Past exhibitions as Digital Experiences @ZKM, fabric | ch | #digital #exhibition #experimentation
https://blog.fabric.ch/index.php?/archives/2739-Past-exhibitions-as-Digital-Experiences-ZKM,-fabric-ch-digital-exhibition-experimentation.html
<p> </p>
<p><em>Note: </em></p>
<p><em>The exhibition related to the project and European research </em><a href="https://beyondmatter.eu/news/matter-non-matter-anti-matter-past-exhibitions-as-digital-experiences-3" target="_blank"><strong>Beyond Matter - Past Exhibitions as Digital Experiences</strong></a><em> will open next week at </em>ZKM<em>, with the digital versions (or should I rather say "versioning"?) of two past and renowned</em><em> exhibitions: <a href="https://zkm.de/en/event/2002/05/iconoclash" target="_blank">Iconoclash</a>, at ZKM in 2002</em><em> (with </em>Bruno Latour<em> among the multiple curators)</em><em> and <a href="https://www.centrepompidou.fr/en/program/calendar/event/cRyd8q" target="_blank">Les Immateriau</a>x, at Beaubourg in 1985 (in this case with Jean-François Lyotard, not so long after the release of his </em>Postmodern Condition<em>). An unusual combination from two different times and perspectives.<br />
</em></p>
<p><em>The title of the exhibition will be </em><a href="https://beyondmatter.eu/antimatter" target="_blank"><strong>Matter. Non-Matter. Anti-Matter</strong></a><i>, with an amazing contemporary and historic lineup of works and artists, as well as documentation material from both past shows.</i></p>
<p><i>Working with digitized variants of iconic artworks from these past exhibitions (digitization work under the supervision of Matthias Heckel), </i><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><i> has been invited by </i><a href="https://zkm.de/en/person/livia-nolasco-rozsas" target="_blank">Livia Nolasco-Roszas</a><i>, </i>ZKM <i>curator and head of the research, to present its own digital take in the form of a combination on these two historic shows, and by using the digital models produced by their research team and made available.</i></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/ars_zkm_25.png" alt="" width="712" height="401" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/ars_zkm_58.png" alt="" width="350" height="197" />   <img src="https://blog.fabric.ch/uploads/image/ars_zkm_106.png" alt="" width="350" height="197" /></p>
<p> </p>
<p><i>The result, a new </i>fabric | ch<i> project entitled </i><strong>Atomized (re-)Staging</strong><em>, </em><i>will be presented at the ZKM in Karlsruhe from this Saturday on (03.12.2022 - 23.04.2023).</i></p>
<p> </p>
<p>Via <a href="https://zkm.de/en/event/2022/12/opening-matter-non-matter-anti-matter" target="_blank">ZKM</a></p>
<p>-----</p>
<p><img src="https://zkm.de/sites/default/files/styles/r17_1280/public/bild/zkm_web_1280x800px.png?itok=BbpNvGQW" alt="Color gradient of green and purple." width="750" height="469" /></p>
<p> </p>
<h2>Opening: Matter. Non-Matter. Anti-Matter. </h2>
<p>© ZKM | Center for Art and Media Karlsruhe, Visual: AKU Collective / Mirjam Reili</p>
<p>Past exhibitions as Digital Experiences</p>
<p>Fri, December 02, 2022 7 pm CET, Opening</p>
<p>---</p>
<p><a href="https://zkm.de/en/location/atrium-12-2nd-floor" title="Location: Atrium 1+2, 2nd floor">Atrium 1+2, 2nd floor</a></p>
<p>Free entry</p>
<p>---</p>
<p>When past exhibitions come to life digitally, the past becomes a virtual experience. What this novel experience can look like in concrete terms is shown by the exhibition »Matter. Non-Matter. Anti-Matter«.</p>
<p>As part of the project <strong>»</strong>Beyond Matter. Cultural Heritage on the Verge of Virtual Reality<strong>«,</strong> the ZKM | Karlsruhe and the Centre Pompidou, Paris, use the case studies <strong>»</strong>Les Immatériaux<strong>«</strong> (Centre Pompidou, 1985) and <strong>»</strong>Iconoclash<strong>«</strong> (ZKM | Karlsruhe, 2002) to investigate the possibility of reviving exhibitions through experiential methods of digital and spatial modeling.</p>
<p>The digital model as an interactive presentation of exhibition concepts is a novel approach to exploring exhibition history, curatorial methods, and representation and mediation. The goal is not to create <strong>»</strong>digital twins<strong>«,</strong> that is, virtual copies of past assemblages of artifacts and their surrounding architecture, but to provide an independent sensory experience.</p>
<p>On view will be digital models of past exhibitions, artworks and artifacts from those exhibitions, and accompanying contemporary commentary integrated via augmented reality. The exhibition will be accompanied by a conference on virtualizing exhibition histories.</p>
<p>The exhibition will be accompanied by numerous events, such as specialist workshops, webinars, online and offline guided tours, and a conference.</p>
<p>---</p>
<p><strong>Program</strong></p>
<p><strong>7 – 7:30 p.m. Media Theater<br />
Short lectures by </strong><br />
<a href="https://zkm.de/en/node/6873">Sybille Krämer</a>, Professor (emer.) at the Free University of Berlin<br />
<a href="https://zkm.de/en/node/8552">Siegfried Zielinski,</a> media theorist with a focus on archaeology and variantology of arts and media, curator, author</p>
<p>Moderation: <a href="https://zkm.de/en/node/24153">Lívia Nolasco-Rózsás</a>, curator</p>
<p><strong>7:30 – 8:15 p.m. Media Theater<br />
Welcome</strong><br />
<a href="https://zkm.de/en/node/41558">Olga Sismanidi</a>, Representative Creative Europe Program of the European Commission (EACEA)<br />
<a href="https://zkm.de/en/node/50293">Arne Braun</a>, State Secretary in the Ministry of Science, Research and the Arts of Baden-Württemberg<br />
<a href="https://zkm.de/en/node/11449">Frank Mentrup</a>, Lord Mayor of the City of Karlsruhe<br />
<a href="https://zkm.de/node/401">Peter Weibel</a>, Director of the ZKM | Karlsruhe<br />
<a href="https://zkm.de/en/node/50060">Xavier Rey</a>, Director of the Centre Pompidou, Paris</p>
<p><strong>8:15 – 8:30 p.m. Improvisation on the piano</strong><br />
Hymn Controversy by Bardo Henning</p>
<p><strong>8:30 p.m.</strong><br />
<span>Curator guided tour of the exhibition </span></p>
<p>---</p>
<p>The exhibition will be open from 8 to 10 p.m.</p>
<p>The mint Café is also looking forward to your visit.</p>
<p> </p>
<p>---</p>
<h2>Matter. Non-Matter. Anti-Matter.</h2>
<h2>Past Exhibitions as Digital Experiences.</h2>
<p><strong>Sat, December 03, 2022 – Sun, April 23, 2023 </strong></p>
<p> </p>
<h3>The EU project »Beyond Matter: Cultural Heritage on the Verge of Virtual Reality« researches ways to reexperience past exhibitions using digital and spatial modeling methods. The exhibition »Matter. Non-Matter. Anti-Matter.« presents the current state of the research project at ZKM | Karlsruhe.</h3>
<p>At the core of the event is the digital revival of the iconic exhibitions »Les Immatériaux« of the Centre Pompidou Paris in 1985 and »Iconoclash: Beyond the Image Wars in Science, Religion, and Art« of the ZKM | Karlsruhe in 2002.</p>
<p>Based on the case studies of »Les Immatériaux« (Centre Pompidou, 1985) and »Iconoclash: Beyond the Image Wars in Science, Religion, and Art« (ZKM, 2002), ZKM | Karlsruhe and the Centre Pompidou Paris investigate possibilities of reviving exhibitions through experiential methods of digital and spatial modeling. Central to this is also the question of the particular materiality of the digital.</p>
<p>At the heart of the Paris exhibition »Les Immatériaux« in the mid-1980s was the question of what impact new technologies and materials could have on artistic practice. When philosopher Jean-François Lyotard joined as cocurator, the project's focus eventually shifted to exploring the changes in the postmodern world that were driven by a flood of new technologies.</p>
<p>The exhibition »Iconoclash« at ZKM | Karlsruhe focused on the theme of representation and its multiple forms of expression, as well as the social turbulence it generates. As emphasized by curators Bruno Latour and Peter Weibel, the exhibition was not intended to be iconoclastic in its approach, but rather to present a synopsis of scholarly exhibits, documents, and artworks about iconoclasms – a thought experiment that took the form of an exhibition – a so-called »thought exhibition.«</p>
<p>»Matter. Non-Matter. Anti-Matter.« now presents in the 21st century the digital models of the two projects on the Immaterial Display, hardware that has been specially developed for exploring virtual exhibitions. On view are artworks and artifacts from the past exhibitions, as well as contemporary reflections and artworks created or expanded for this exhibition. These include works by Jeremy Bailey, damjanski, fabric|ch, Geraldine Juárez, Carolyn Kirschner, and Anne Le Troter that echo the 3D models of the two landmark exhibitions. They bear witness to the current digitization trend in the production, collection, and presentation of art.</p>
<p>Case studies and examples of the application of digital curatorial reconstruction techniques that were created as part of the Beyond Matter project complement the presentation.</p>
<p>The exhibition »Matter. Non-Matter. Anti-Matter.« is accompanied by an extensive program of events: A webinar series aimed at museum professionals and cultural practitioners will present examples of work in digital or hybrid museums; two workshops, coorganized with Andreas Broeckmann from Leuphana University Lüneburg, will focus on interdisciplinary curating and methods for researching historical exhibitions; workshops on »Performance-Oriented Design Methods for Audience Studies and Exhibition Evaluation« (PORe) will be held by Lily Díaz-Kommonen and Cvijeta Miljak from Aalto University.</p>
<p>After the exhibition ends at the ZKM, a new edition of »Matter. Non-Matter. Anti-Matter.« will be on view at the Centre Pompidou in Paris from May to July 2023.</p>
<p> </p>
<p>>>></p>
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<p><strong>Artists</strong><br />
Josef Albers, Giovanni Anselmo, Arman, Art & Language, Jeremy Bailey, Fiona Banner, DiMoDa featuring Banz & Bowinkel, Christiane Paul, Tamiko Thiel, Ricardo Miranda Zúñiga, Samuel Bianchini, Bio Design Lab (HfG Karlsruhe), Jean-Louis Boissier & Liliane Terrier, John Cage, Jacques-Élie Chabert & Camille Philibert, damjanski, Annet Dekker & Marialaura Ghidini & Gaia Tedone, Marcel Duchamp, fabric | ch, Eric J. Heller, Prof. Dr. Kai-Uwe Hemken (Art Studies Kunsthochschule Kassel / University of Kassel), Joasia Krysa, Leonardo Impett, Eva Cetinić, MetaObjects, Sui, Michel Jaffrennou, Geraldine Juárez, Martin Kippenberger, Carolyn Kirschner, Maria Klonaris & Katerina Thomadaki, Joseph Kosuth, Denis Laborde, Mark Lewis & Laura Mulvey, Kasimir Malevich, Pietro Manzoni, Gordon Matta-Clark, Peo Olsson, Katarina Sjögren, Jonas Williamsson, Roman Opalka, Nam June Paik, Readymades belong to everyone®, Jeffrey Shaw, Annegret Soltau, Daniel Soutif & Paule Zajderman, Klaus Staeck, Anne Le Troter, Manfred Wolff-Plottegg, Erwin Wurm</p>
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<div class="section__content text__content editor-content"><dl class="archive_list"><dt>
<p><strong>Curator</strong><br />
<a href="https://zkm.de/node/24153">Livia Nolasco-Rózsás</a></p>
<p><strong>Curatorial team</strong><br />
<a href="https://zkm.de/node/38740">Felix Koberstein (ZKM)</a><br />
<a href="https://zkm.de/node/38744">Moritz Konrad (ZKM)</a><br />
Marcella Lista (Centre Pompidou, Paris)<br />
Philippe Bettinelli (Centre Pompidou, Paris)<br />
Julie Champion (Centre Pompidou, Paris)</p>
<p><strong>Beyond Matter project team at ZKM</strong><br />
<a href="https://zkm.de/node/49954">Marianne Schädler (managing editor)</a><br />
<a href="https://zkm.de/node/39506">Aurora Bertolli (communication)</a></p>
<p><strong>Exhibition team</strong><br />
<a href="https://zkm.de/node/774">Matthias Gommel (Scenography)</a><br />
<a href="https://zkm.de/node/7239">Janine Burger (Participation)</a><br />
<a href="https://zkm.de/node/30429">Thomas Schwab (Technical project management)</a></p>
<p><strong>Graphic design</strong><br />
AKU.co</p>
<p><strong>Museum and Exhibition Technology </strong><br />
<a href="https://zkm.de/node/10366">Martin Mangold</a></p>
</dt><dt><strong>Organization / Institution</strong></dt><dt>Initiated by the ZKM | Center for Art and Media Karlsruhe and the Centre Pompidou, Paris, in collaboration with the Aalto University, Espoo, the Tallinn Art Hall, and the Tirana Art Lab.</dt></dl></div>
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<p> </p>
<p>>>></p>
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<p><a class="btn btn--fill" href="https://beyondmatter.eu/antimatter"><strong>To the online brochure of the exhibition</strong></a></p>
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<p> </p>
<p class="quote-small"><strong>Further locations and dates:</strong></p>
<table width="553" height="153" cellspacing="1" cellpadding="1" border="1">
<tbody>
<tr>
<td>Mar 14, 2022 – Mar 29, 2022</td>
<td><strong>Väre</strong>, Aalto University, Espoo</td>
</tr>
<tr>
<td>Apr 20, 2022 – Apr 25, 2022</td>
<td><strong>The Cube</strong> /<br />
Helsinki Central Library Oodi</td>
</tr>
<tr>
<td>Apr 25, 2022 – May 5, 2022</td>
<td><strong>Väre</strong>, Aalto University, Espoo</td>
</tr>
<tr>
<td>May 16, 2022 – May 22, 2022</td>
<td><strong>Design Museum Helsinki</strong></td>
</tr>
<tr>
<td>June 25, 2022 – August 28, 2022</td>
<td><strong>Tirana Art Lab</strong>, Albanien</td>
</tr>
<tr>
<td>Dec 3, 2022 – Apr 23, 2023</td>
<td><strong>ZKM</strong></td>
</tr>
<tr>
<td>Summer 2023</td>
<td><strong>Centre Pompidou</strong>, Paris</td>
</tr>
</tbody>
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<p> </p>
<p>---</p>
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<p> </p>
<h3>Project</h3>
<p><a href="https://zkm.de/de/projekt/beyond-matter" target="_blank" title="BEYOND MATTER Cultural Heritage on the Verge of Virtual Reality"><img typeof="foaf:Image" src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/01_main-logo_bm_lockup.png?itok=oszC09YP" alt="" width="217" height="100" /></a></p>
<p> </p>
<h3>Cooperation partners</h3>
<p><a href="https://www.aalto.fi/en" target="_blank" title="Aalto University"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/logo_aalto_university.jpg?itok=_38Vy68C" alt="" width="114" height="100" /></a><a href="https://www.centrepompidou.fr/" target="_blank" title="Centre Pompidou"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/logo-centre-pompidou-1200x320.png?itok=htwo4Q76" alt="" width="225" height="60" /></a><a href="http://www.tiranaartlab.org/en" target="_blank" title="Tirana Art Lab"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/190825_tal_logo.png?itok=JcKx-kYi" alt="" width="228" height="25" /></a></p>
<p><a href="https://www.kunstihoone.ee/en/" target="_blank" title="Tallinn Art Hall"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/tah.png?itok=msMoSic7" alt="" width="100" height="100" /></a><a href="https://www.g-i-m.com/en" target="_blank" title="GIM "><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/gim_logo_d_cmyk_0.jpg?itok=UzD1KgWD" alt="" width="173" height="100" /></a></p>
<p> </p>
<h3>Supported by</h3>
<p><a href="https://ec.europa.eu/programmes/creative-europe/" target="<u>blank" title="Creative Europe Programme of the European Union"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/logosbeneficairescreativeeuroperight_en_0.jpg?itok=OjYWEoF</u>" alt="" width="244" height="50" /></a><a href="https://www.bundesregierung.de/breg-de/bundesregierung/staatsministerin-fuer-kultur-und-medien" target="_blank" title="Federal Government Commissioner for Culture and Media"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/bkm_2017_web2x_en.png?itok=p_qwDJxd" alt="" width="148" height="50" /></a><a href="https://prohelvetia.ch/en/" target="_blank" title="2022-zkm-Pro Helvetia-Logo"><img src="https://zkm.de/sites/default/files/styles/logo_210x90/public/partner/prh_cd_rgb_magenta_en_logo.png?itok=HL7CbNBW" alt="" width="202" height="75" /></a></p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Culture & society, Interaction design, Science & technology,
2022-11-30T13:49:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2739
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2739
3d
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Atomized (re-)Staging, new work by fabric | ch on @beyondmatter and @zkm | #exhibition #digital #autonomous
https://blog.fabric.ch/index.php?/archives/2742-Atomized-re-Staging,-new-work-by-fabric-ch-on-beyondmatter-and-zkm-exhibition-digital-autonomous.html
<p> </p>
<p>Via</p>
<p><a href="http://<p>&nbsp;</p>" target="_blank">@beyondmatter</a> <a href="https://www.instagram.com/zkmkarlsruhe/" target="_blank">@zkmkarlsruhe</a></p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design, Science & technology,
2022-11-30T10:59:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2742
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architecture
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artificial reality
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digital
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-
Matter. Non-Matter. Anti-Matter Exhibition @ZKM | #digital #exhibition #iconoclash #immateriaux #zkm #beaubourg
https://blog.fabric.ch/index.php?/archives/2741-Matter.-Non-Matter.-Anti-Matter-Exhibition-ZKM-digital-exhibition-iconoclash-immateriaux-zkm-beaubourg.html
<p> </p>
<p><em>Note:</em></p>
<p><i>An upcoming exhibition for </i><a href="https://www.fabric.ch" target="_blank">fabric | ch</a><i>, which will open next week at the <a href="https://zkm.de/en/event/2022/12/opening-matter-non-matter-anti-matter">ZKM</a> in Karlsruhe. </i></p>
<p><i>We'll present a new work in this context </i>(<strong>Atomized (re-)Staging</strong>)<i>, about which we'll hopefully find time to post some documentation on this blog later.</i></p>
<p> </p>
<p><i><img src="https://blog.fabric.ch/uploads/image/ars_zkm_65.png" width="750" height="422" alt="" /></i></p>
<p> </p>
<p> </p>
<p>Via @<a href="https://www.instagram.com/beyondmattereu/" target="_blank">beyondmatter</a></p>
<p>---</p>
<p>Matter. Non-Matter. Anti-Matter delves into the significance of digitality and computer-generated environments in the context of the material understanding of art production and the showcasing of it.</p>
<p>The exhibition presents the digital models of Les Immatériaux (Centre Pompidou, 1985) and Iconoclash. Beyond the Image Wars in Science, Religion, and Art (ZKM, 2002) on the newly developed Immaterial Display.</p>
<p>Furthermore, a selection of artworks and artifacts, mainly from the collections of the @centrepompidou and @zkmkarlsruhe, attest to a conceptual dematerialization and digital re-materialization of artworks.</p>
<p> </p>
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fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Art,
2022-11-25T16:04:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2741
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Art x Science Dialogues: Curation In The Context of Artificial Intelligence - fabric | ch & Aiiiii Art Center Shanghai | #AI #exhibition #architecture
https://blog.fabric.ch/index.php?/archives/2740-Art-x-Science-Dialogues-Curation-In-The-Context-of-Artificial-Intelligence-fabric-ch-Aiiiii-Art-Center-Shanghai-AI-exhibition-architecture.html
<p><em><br type="_moz" />
</em></p>
<p><em>Note: </em></p>
<p><strong><a href="https://www.fabric.ch" target="_blank">fabric | ch</a></strong><em> had the pleasure to present our recent works at the invitation of </em>Swissnex China<em>, during an online panel along with Ms. Xi Li, curator and director of the Aiiiii Art Center in Shanghai. </em></p>
<p><em>This was in particular the occasion to introduce </em><a href="https://blog.fabric.ch/index.php?/archives/2738-Platform-of-Future-Past-2022-at-HOW-Art-Museum-in-Shanghai-data-monitering-installation.html" target="_blank">Platform of Future-Past</a><em>, a new installation and environmental device realized for the exhibition at How Art Center (Shanghai) </em></p>
<p><em>The panel was moderated by Cissy Sun, Head of Art-Science, Swissnex in China.</em></p>
<p> </p>
<p>Via <a href="https://swissnex.org/china/" target="_blank">Swissnex China</a></p>
<p>-----</p>
<p><img src="https://swissnex.org/app/uploads/sites/10/2022/08/Banner-ASD-8-9-1-scaled-2160x885.01105379514-c-center.jpg" width="750" height="307" alt="" /></p>
<h2> </h2>
<h2>Art x Science Dialogues: Curation In The Context of Artificial Intelligence</h2>
<p>Join the upcoming Art x Science Dialogue, exploring the topic of curation and artificial intelligence with <strong>Mr. Patrick Keller</strong>, Architect and Co-founder of <strong>fabric | ch</strong> and <strong>Ms. Xi Li</strong>, Curator and Director of <strong>Aiiiii Art Center</strong>.</p>
<p>---</p>
<h3>When</h3>
<div>September 6, 2022</div>
<div>Tuesday</div>
<div>4:00 pm - 5:00 pm</div>
<div>
<h3>Where</h3>
</div>
<div>Online</div>
<div> </div>
<div><strong>Edit: the recording of the online presentations can be accessed </strong><a href="https://us06web.zoom.us/rec/play/sw3w0X3HTXTTWaFyMGYIkd0ZIR8CDA89nLUDjI9uR_0yA0KNXXPanXsQVLgFWsKvdPDhl51arzU-lK8B.lqAihJ3Vx3LSXgn6" target="_blank"><strong>HERE</strong></a>.</div>
<div> </div>
<div>---</div>
<div>
<p>While the question of whether AI will take over the art world has been raised repeatedly, there seems to be a consensus in the art world that AI is a creative tool and that we should make better use of it. And it is the same with curation. Using algorithms in content curation and spatial design, implementing AI systems in museums, curating on generative artworks and etc. are the new issues facing today’s curators. </p>
<p>In the upcoming edition of Art x Science Dialogue, we’ll invite <strong>Mr. Patrick Keller</strong>, Architect and Co-founder of <strong>fabric | ch</strong>, and <strong>Ms. Xi Li</strong>, Curator and Director of <strong>Aiiiii Art Center</strong>, to join the conversation on the topic of curation and artificial intelligence.</p>
<p>Patrick Keller will present the works from their Collective – fabric | ch, featuring Atomized (curatorial) Functioning. It is an architectural project based on automated algorithmic principles, to which a machine learning layer can be added as required. It is a software piece that endlessly creates and saves new spatial configurations for a given situation and converges towards a “solution”, in real-time 3d and according to dynamic data and constraints. While Xi Li will present her research on AI art curation and her perspectives and practices in curating the exhibitions at Aiiiii Art Center. It is a brand new artificial intelligence art institution based in Shanghai, aiming to offer insight into the many challenges, practices, and creative modes of artificial intelligence-based art.</p>
</div>
<div> </div>
<p>
<picture class="lazy entered exited" data-ll-status="entered"><source type="image/jpg" data-srcset="https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-320x212-c-center.jpg 320w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-640x424-c-center.jpg 640w" media="(max-width:1023px)" sizes="100vw" srcset="https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-320x212-c-center.jpg 320w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-640x424-c-center.jpg 640w"></source><img class="lazy entered loaded" data-src="https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-670x440-c-center.jpg" data-srcset="https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-670x440-c-center.jpg 670w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-335x220-c-center.jpg 335w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-1005x660-c-center.jpg 1005w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-1340x880-c-center.jpg 1340w" sizes="47vw" data-ll-status="loaded" srcset="https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-670x440-c-center.jpg 670w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-335x220-c-center.jpg 335w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-1005x660-c-center.jpg 1005w, https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-1340x880-c-center.jpg 1340w" src="https://swissnex.org/app/uploads/sites/10/2022/08/AcF_axo_04-670x440-c-center.jpg" width="750" height="493" alt="" /></picture>
</p>
<p><em><span>Atomized (curatorial) Functioning</span></em>, by <a href="https://www.fabric.ch" target="_blank">fabric | ch</a></p>
<p>---</p>
<h3>PROGRAM</h3>
<div>
<p><strong>16:00 – 16:05          </strong><strong>Opening Remarks</strong></p>
<p>Cissy Sun, Head of Art-Science, Swissnex in China</p>
<p> </p>
<p><strong>16:05 – 16:25           </strong><strong>Presentation</strong></p>
<p>Patrick Keller, Architect, Co-founder, fabric | ch</p>
<p> </p>
<p><strong>16:25 – 16:45           </strong><strong>Presentation</strong></p>
<p>Xi Li, Curator, Director, Aiiiii Art Center</p>
<p> </p>
<p><strong>16:45 – 17:00          </strong><strong>Discussion and Q&A</strong></p>
<p> </p>
</div>
<div>
<h3>SPEAKERS</h3>
<p>---</p>
</div>
<div>
<h3><strong><a href="https://www.fabric.ch">fabric | ch – studio for architecture, interaction & research</a></strong></h3>
<p>Combining experimentation, exhibition, and production, fabric | ch formulates new architectural proposals and produces singular livable spaces that bind localized and distributed landscapes, algorithmic behaviors, atmospheres, and technologies.</p>
<p>Since the foundation of the studio, the architects and scientists of fabric | ch have investigated the field of contemporary space in its interaction with technologies. From network-related environments that blend physical and digital properties to algorithmic recombination of locations, temporalities, and dimensions based on the objective sensing of their environmental data, it is the nature of our relationship to the environment and to contemporary space that is rephrased.</p>
<p>The work of fabric | ch deals with issues related to the mediation of our relationship to place and distance, to automated climatic, informational, and energetic exchanges, to mobility and post-globalization, all inscribed in a perspective of creolization, spatial interbreeding, new materialism, and sustainability.</p>
<p>fabric | ch is currently composed of Christian Babski, Stéphane Carion, Christophe Guignard and Patrick Keller (cofounders of the collective), Keumok Kim and Michaël Chablais.</p>
<p> </p>
<p><img src="https://swissnex.org/app/uploads/sites/10/2022/08/Patrick_01-651x699-c-center.jpg" width="250" height="268" alt="" /></p>
<p>Patrick Keller is an architect and founding member of the collective fabric | ch, composed of architects, artists, and engineers, based in Lausanne, Switzerland.</p>
<p>In this context, he has contributed to the creation, development, and exhibition of numerous experimental works dealing with the intersection of architecture, networks, algorithms, and data, along with livable environments.</p>
<p>---</p>
<h3><strong><a href="https://www.aiiiii.com/" target="_blank">Aiiiii Art Center</a></strong></h3>
<p>Aiiiii Art Center (Est. 2021) is an artificial intelligence art institution based in Shanghai. The organization seeks to support, promote, as well as incubate both international and domestic artists and projects related to intelligent algorithms. Aiiiii Art Center is committed to becoming a pioneer of artificial intelligence through the discovery of exciting possibilities afforded by the intersections of creativity and technology.</p>
<p>Aiiiii Art Center aims to offer insight into the many challenges, practices, and creative modes of artificial intelligence-based art. Such aims will be achieved through academic conferences and published research efforts conducted either independently or in collaboration with domestic and international institutions and organizations. This organization will also actively promote and showcase the exploratory uses of artificial intelligence-based art in practice.</p>
<p> </p>
<p><img src="https://swissnex.org/app/uploads/sites/10/2022/08/Xi-LI-651x699-c-center.jpg" width="250" height="268" alt="" /></p>
<p>Xi Li, curator, director of Aiiiii Art Center. Graduated from Central Saint Martins MA in Narrative Environments and Central Academy of Fine Arts with a BA in Art Management.</p>
<p>Programs: Book of Sand: The Inaugural Exhibition of Aiiiii Art Center (2021); aai International Conference on AI Art (2021, 2022); Ritual of Signs and Metamorphosis (2018); Olafur Eliasson: The Unspeakable Openness of Things (2017);Captive of Love: Danwen Xing (2017); Over Time: The Poetic Image of the Urbanscape (2016).</p>
<p>---</p>
</div>
<h3>ART X SCIENCE DIALOGUES</h3>
<div>
<p><a href="https://swissnex.org/china/our-work/art-science/art-x-science-dialogues-series/">Art x Science Dialogues</a> is a new webinar series initiated by Swissnex in China in 2020. The webinar series not only presents artistic projects where scientists and research engineers are deeply involved but also looks into new interdisciplinary initiatives and trends. Through the dialogues between artists and scientists, we try to stimulate the exchange of ideas between the two different worlds and explore opportunities for collaboration.</p>
</div>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design, Science & technology,
2022-10-28T14:02:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2740
0
https://blog.fabric.ch/rss.php?version=1.0&type=comments&cid=2740
architecture
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fabric | ch
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-
Platform of Future-Past (2022) at HOW Art Museum in Shanghai | #data #monitering #installation
https://blog.fabric.ch/index.php?/archives/2738-Platform-of-Future-Past-2022-at-HOW-Art-Museum-in-Shanghai-data-monitering-installation.html
<p> </p>
<p><em>Note: </em></p>
<p><em>The exhibition </em><strong>Beneath the Skin, Between the Machines</strong><em> just opened at HOW Art Museum (Hao Art Gallery) and </em><a href="http://www.fabric.ch">fabric | ch</a><em> was keen to be invited to create</em><em> a large installation for the show, also intented to be used during a symposium that will be entirely part of the exhibition (panels and talks as part of the installation therefore). The exhibition will be open between January 15 - April 24 2022 in Shanghai.<br />
</em></p>
<p><em>Along with a selection of chinese and international artists, curator Liaoliao Fu asked us to develop a proposal based on a former architectural device, </em><a href="http://blog.fabric.ch/index.php?/archives/2668-Public-Platform-of-Future-Past,-extended-study-phase.-Bots,-Ar.I.-tools-data-monitoring-architecture.html">Public Platform of Future-Past</a><em>, which in itself was inspired by an older installation of ours... </em><a href="http://blog.fabric.ch/index.php?/archives/2315-Heterochonie-Heterochrony.html">Heterochrony</a><i>.</i></p>
<p><em>This new work, entitled </em><strong>Platform of Future-Past</strong><em>, deals with the temporal oddity that can be produced and induced by the recording, accumulation and storage of monitoring data, which contributes to leaving partial traces of "reality", functioning as spectres of the past.</em></p>
<p><em>We are proud to present this work along artists such as Hito Steyerl, Geumhyung Jeong, Lu Yang, Jon Rafman, Forensic Architecture, Lynn Hershman Leeson and Harun Farocki.<br />
</em></p>
<p><em>...</em></p>
<p><em>Last but not least and somehow a "sign of the times", this is the first exhibition in which we are participating and whose main financial backers are a blockchain and crypto-finance company, as well as a NFT platform. Both based in China.</em></p>
<p><i>More information about the symposium will be published</i><em>.</em></p>
<p> </p>
<p>Via <a href="https://prohelvetia.cn/en/2022/01/15/beneath-the-skin-between-the-machines/" target="_blank">Pro Helvetia</a></p>
<p>-----</p>
<p> </p>
<p><img src="https://prohelvetia.cn/app/uploads/sites/11/2022/01/platform-of-future-past-940x390.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/beneath_skin.png" width="100%" alt="" /></p>
<p> </p>
<p>-----</p>
<p><strong>Curatorial Statement</strong></p>
<p><em>By Fu Liaoliao and the curatorial team</em></p>
<p>"Man is only man at the surface. Remove the skin, dissect, and immediately you come to machinery.” When Paul Valéry wrote this down, he might not foresee that human beings – a biological organism – would indeed be incorporated into machinery at such a profound level in a highly informationized and computerized time and space. In a sense, it is just as what Marx predicted: a conscious connection of machine<a href="https://prohelvetia.cn/en/2022/01/15/beneath-the-skin-between-the-machines/#_ftn1" name="_ftnref1" style="box-sizing: border-box; background-color: transparent; color: rgb(236, 0, 140); text-decoration: none; transition: all 0.25s ease-in-out 0s;"><sup style="box-sizing: border-box; font-size: 12px; line-height: 0; position: relative; vertical-align: baseline; top: -0.5em;">[1]</sup></a>. Today, machine is no longer confined to any material form; instead, it presents itself in the forms of data, coding and algorithm – virtually everything that is “operable”, “calculable” and “thinkable”. Ever since the idea of cyborg emerges, the man-machine relation has always been intertwined with our imagination, vision and fear of the past, present and future.</p>
<p>In a sense, machine represents a projection of human beings. We human beings transfer ideas of slavery and freedom to other beings, namely a machine that could replace human beings as technical entities or tools. Opposite (and similar, in a sense,) to the “embodiment” of machine, organic beings such as human beings are hurrying to move towards “disembodiment”. Everything pertinent to our body and behavior can be captured and calculated as data. In the meantime, the social system that human beings have created never stops absorbing new technologies. During the process of trial and error, the difference and fortuity accompanying the “new” are taken in and internalized by the system. “Every accident, every impulse, every error is productive (of the social system),”<a href="https://prohelvetia.cn/en/2022/01/15/beneath-the-skin-between-the-machines/#_ftn2" name="_ftnref2" style="box-sizing: border-box; background-color: transparent; color: rgb(236, 0, 140); text-decoration: none; transition: all 0.25s ease-in-out 0s;"><sup style="box-sizing: border-box; font-size: 12px; line-height: 0; position: relative; vertical-align: baseline; top: -0.5em;">[2]</sup></a><span> </span>and hence is predictable and calculable. Within such a system, differences tend to be obfuscated and erased, but meanwhile due to highly professional complexities embedded in different disciplines/fields, genuine interdisciplinary communication is becoming increasingly difficult, if not impossible.</p>
<p>As a result, technologies today are highly centralized, homogenized, sophisticated and commonized. They penetrate deeply into our skin, but beyond knowing, sensing and thinking. On the one hand, the exhibition probes into the reconfiguration of man by technologies through what’s “beneath the skin”; and on the other, encourages people to rethink the position and situation we’re in under this context through what’s “between the machines”. As an art institute located at Shanghai Zhangjiang Hi-Tech Industrial Development Zone, one of the most important hi-tech parks in China, HOW Art Museum intends to carve out an open rather than enclosed field through the exhibition, inviting the public to immerse themselves and ponder upon the questions such as “How people touch machines?”, “What the machines think of us?” and “Where to position art and its practice in the face of the overwhelming presence of technology and the intricate technological reality?”</p>
<p>Departing from these issues, the exhibition presents a selection of recent works of Revital Cohen & Tuur Van Balen, Simon Denny, Harun Farocki, Nicolás Lamas, Lynn Hershman Leeson, Lu Yang, Lam Pok Yin, David OReilly, Pakui Hardware, Jon Rafman, Hito Steyerl, Shi Zheng and Geumhyung Jeong. In the meantime, it intends to set up a “panel installation”, specially created by<span> </span><a href="http://www.fabric.ch/" style="box-sizing: border-box; background-color: transparent; color: rgb(236, 0, 140); text-decoration: none; transition: all 0.25s ease-in-out 0s;">fabric | ch</a><span> </span>for this exhibition, trying to offer a space and occasion for decentralized observation and participation in the above discussions. Conversations and actions are to be activated as well as captured, observed and archived at the same time.</p>
<p><a href="https://prohelvetia.cn/en/2022/01/15/beneath-the-skin-between-the-machines/#_ftnref1" name="_ftn1" style="box-sizing: border-box; background-color: transparent; color: rgb(236, 0, 140); text-decoration: none; transition: all 0.25s ease-in-out 0s;"><sup style="box-sizing: border-box; font-size: 12px; line-height: 0; position: relative; vertical-align: baseline; top: -0.5em;">[1]</sup></a><span> </span>Karl Marx, “Fragment on Machines”,<span> </span><em style="box-sizing: border-box;">Foundations of a Critique of Political Economy</em></p>
<p><a href="https://prohelvetia.cn/en/2022/01/15/beneath-the-skin-between-the-machines/#_ftnref2" name="_ftn2" style="box-sizing: border-box; background-color: transparent; color: rgb(236, 0, 140); text-decoration: none; transition: all 0.25s ease-in-out 0s;"><sup style="box-sizing: border-box; font-size: 12px; line-height: 0; position: relative; vertical-align: baseline; top: -0.5em;">[2]</sup></a><span> </span>Niklas Luhmann,<span> </span><em style="box-sizing: border-box;">Social Systems</em></p>
<p> </p>
<p>-----</p>
<p><strong>Schedule</strong></p>
<p>Duration: January 15-April 24, 2022 <br />
Artists: Revital Cohen & Tuur Van Balen, Simon Denny, fabric | ch, Harun Farocki, Geumhyung Jeong, Nicolás Lamas, Lynn Hershman Leeson, Lu Yang, Lam Pok Yin, David OReilly, Pakui Hardware, Jon Rafman, Hito Steyerl, Shi Zheng <br />
Curator: Fu Liaoliao<br />
Organizer: HOW Art Museum, Shanghai<br />
Lead Sponsor: APENFT Foundation<br />
Swiss participation is supported by Pro Helvetia Shanghai, Swiss Arts Council.<br />
(Swiss speakers and performers appearing in the educational events will be updated soon.)</p>
<p> </p>
<p>-----</p>
<p><strong>Work by fabric | ch</strong></p>
<p>HOW Art Museum has invited Lausanne-based artist group fabric | ch to set up a “panel installation” based on their former project “Public Platform of Future Past” and adapted to the museum space, fostering insightful communication among practitioners from different fields and the audiences.</p>
<p>“Platform of Future-Past” is a temporary environmental device that consists in a twenty meters long walkway, or rather an observation deck, almost archaeological: a platform that overlooks an exhibition space and that, paradoxically, directly links its entrance to its exit. It thus offers the possibility of crossing this space without really entering it and of becoming its observer, as from archaeological observation decks. The platform opens- up contrasting atmospheres and offers affordances or potential uses on the ground.</p>
<p>The peculiarity of the work consists thus in the fact that it generates a dual perception and a potential temporal disruption, which leads to the title of the work, Platform of Future-Past: if the present time of the exhibition space and its visitors is, in fact, the “archeology” to be observed from the platform, and hence a potential “past,” then the present time of the walkway could be understood as a possible “future” viewed from the ground…</p>
<p>“Platform of Future-Past” is equipped in three zones with environmental monitoring devices. The sensors record as much data as possible over time, generated by the continuously changing conditions, presences and uses in the exhibition space. The data is then stored on Platform Future-Past’s servers and replayed in a loop on its computers. It is a “recorded moment”, “frozen” on the data servers, that could potentially replay itself forever or is waiting for someone to reactivate it. A “data center” on the deck, with its set of interfaces and visualizations screens, lets the visitors-observers follow the ongoing process of recording.</p>
<p>The work could be seen as an architectural proposal built on the idea of massive data production from our environment. Every second, our world produces massive amounts of data, stored “forever” in remote data centers, like old gas bubbles trapped in millennial ice.</p>
<p>As such, the project is attempting to introduce doubt about its true nature: would it be possible, in fact, that what is observed from the platform is already a present recorded from the past? A phantom situation? A present regenerated from the data recorded during a scientific experiment that was left abandoned? Or perhaps replayed by the machine itself ? Could it already, in fact, be running on a loop for years?</p>
<p><span>Platform of Future-Past, Scaffolding, projection screens, sensors, data storage, data flows, plywood panels, textile partitions</span></p>
<p>-----</p>
<p><strong>Platform of Future-Past (2022)</strong></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/36AF4124@481D861E_13C5E761.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/E63FAE89@F386BB4D_13C5E761.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/E637521D@0E207D31_13C5E761.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/8247AC5D@C90AFD56_13C5E761.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/E7DC8547@FE17FB2C_13C5E761.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/11187929@BF782828_13C5E761.jpg" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/0D86F64C@154BDC46_13C5E761.jpg" width="100%" alt="" /></p>
<p> </p>
<p>-----</p>
<p><strong>Beneath the Skin, Between the Machines (exhibition, 01.22 - 04.22)</strong></p>
<p> </p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_20.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_15.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_00.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_41.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_37.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_24.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_29.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_45.png" width="100%" alt="" /></p>
<p><img src="https://blog.fabric.ch/uploads/image/Screenshot 2022-01-26 at 16_48_10.png" width="100%" alt="" /></p>
<p> </p>
<p>-----</p>
<p>Platform of Future-Past was realized with the support of Pro Helvetia.</p>
<p> </p>
fabric | rblg
fabric | rblg <info@fabric.ch> (Patrick Keller)
fabric | ch, Architecture, Art, Interaction design,
2022-01-26T16:49:00Z
https://blog.fabric.ch/wfwcomment.php?cid=2738
0
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