Animals. Cognition, Senses, Play
Mayeri Maja Smrekar
May, 2016, 8PM
Artists talk: 29 May, 2016, 3PM
runs: 28 May 17 July, 2016, Fri-Sun 2-6PM and by appointment.
June open until 9PM)
Left: Maja Smrekar, I Hunt Nature and Culture
Hunts Me, 2014, performance and video; right Rachel Mayeri,
Apes as Family, 2012, Film
Laboratory Berlin is pleased to present the new series Nonhuman
Subjectivities. Based on current philosophical theories of
the object and a critique of anthropocentrism, our attention is
focused on non-human actors. This show presents recent works on
the two groups of animals that are closest to us: primates, our
nearest 'relatives', and dogs, with whom we have made a symbiotic
contract. The works share Donna Haraway's con-cept of "cooperative
actions": overcoming conventional dichotomies of nature/culture,
human/animal or subject/object is all about joint action.
exhibition On Animals. Cognition, Senses, Play presents
two strong artistic positions on primates and on the wolf-dog-human
continuum, making use of certain narrative strategies and the
phenomenon of immersion, to approach the perspective of a nonhuman
counterpart. The works of both artists place the instinct and
the senses of the nonhuman at the centre of artistic research,
while aiming to translate the nonhuman cognitive ability by means
of the performance, film and art/science collaboration.
Maja Smrekar's performance I Hunt Nature and Culture
Hunts Me was developed during a research residency at the
Jacana Wild Life Studios in St. Montaigne, France. It forms the
second part of the artist's project K-9_Topology in which
the artist investigates the phylogenetics of the wolf, the wolf-dog-human
relationship and animal ethics. During the performance, the implied
risk and intimacy of Smrekar's contact with two wolfdogs and one
wolf is contrasted by a voice reading texts from Joseph Beuys,
Oleg Kulik, Susan Silas and Smrekar herself. In addition, a documentary
film, part of Smrekar's research, also explores the complex evolutionary
story of the canine.
her work Ecce Canis, the first work of her series K-9_Topology,
she explores the metabolic pathway processes that trigger emotional
motifs, and bind humans and dogs enabling them to successfully
coexist together. The installation, some parts of which are exhibited
here, contains serotonin from both the artist and her Scottish
border collie Byron. This has been transformed by chemical protocols
into an odour - the chemical essence of their human-canine relationship.
two tubes on the wall are normally used in biochemstry as protein
columns, but in Smrekar's installation Ecce Canis they
function as serotonin filters: the two tubes, labeled "K9"
and "M7," were used to filter the individual serotonin
out of the blood platelets of Byron and Smrekar respectively.
On the plinth we encounter different samples of a scent derivative
of human and dog metabolism. Indole, an aromatic organic compound
used in the perfume industry, is also (as tryptophan) the final
derivative of the serotonin pathway (and exists not only in the
brain, but also in flowers). In this case it is the mixture of
Maja's and her dog's serotonin, combined and synthesized with
interaction of biology and culture is the central concept in the
understanding of human evolution, geographical dispersion, diversity
and health", says Smrekar: "Within this frame, I am
interested in metabolic pathway processes that trigger the emotional
motifs which connect two species,
humans and dogs, [and allows them] to successfully coexist together."
films of Rachel Mayeri are the result of years of collaboration
with primatologists. In her series Primate Cinema, Mayeri
has made films for (and about) chimpanzees and other primates.
The fact, that captive chimps commonly watch video as a form of
enrichment has not previously been explored by artists. In Apes
as Family we watch a drama based on a tale of both chimpanzee
social customs and domestication. While, as humans, we find the
plot emotionally compelling, we also become caught up with watching
the reactions of a chimpanzee audience watching the same film
on a large TV (the first time the film was shown to chimps in
the Edinburgh Zoo). Indeed the film is both an example of 'Primate
Cinema' - a film made for nonhuman primates, and the complexities
of cross-species understanding.
intensely researched chimpanzees' reactions to different television
genres and consulted primatologists, and came to the conclusion
that: "Chimps seem to like to watch the same things as human
primates - dramas around food, territory, social status, and sex.
By watching a movie through chimps' eyes, we can imagine what
think and feel. Chimps are, after all, our closest relatives.
Known for their complex social, cognitive and emotional lives,
they also share with us a fascination with cinema."
film Baboons as Friends juxtaposes footage of baboons with
a re-enactment by human actors, who translate a tale of lust,
jealousy and deceit from the animal to the human. On the left
we watch field footage of baboons in Kenya, that was shot by primatologist
Deborah Forster, who explains this tale of desire and betrayal.
On the right monitor, Mayeri has filmed a sort of Human re-enactment
with professional actors in a film noir setting.
her video Movies for Monkeys Mayeri intended to produce
a film that would appeal to a more distant audience: the squirrel
monkey. This primate is thought to have a very short (two second)
attention span. After a number of experiments, Mayeri found the
right subject matter, exploring the magic connection between time,
visual based media and primates along the way.
Regine Rapp & Christian de Lutz (curators)
on the Nonhuman Subjectivities series
possible in part by a generous gift from Michael Schröder.
The Other Selves. On the Phenomenon of the Microbiome
Lapointe, Saa Spačal with Mirjan vagelj
and Anil Podgornik, Tarsh Bates, Joana Ricou
- 1000 Handshakes: 3 February, 7-10PM during the opening of transmediale,
House of World Cultures
Opening of the exhibition: 26 February, 2016, 8PM
Artists' Talk: 28 February, 2016, 3PM
Berlin Science Hack Day Stammtisch: 23 March, 7PM (More
Scientist and artist talk with PD Dr. Annette Moter and Tarsh
Bates: 23 April, 2016, 6PM (more
Finissage with talk by Felix Navarrete: 30 April, 2016, 3-6PM
runs: 27 February 30 April, 2016, Fri-Sun 2-6PM and by
appointment. (29 April open until 9PM)
Lapointe, Microbiome selfie, 2014, center & right:
Mirjan vagelj, Anil Podgornik Mycophone Unison, Responsive
installation: electronics, sound, and biological material, 2013;
Petri dish, detail of installation 2013
Art Laboratory Berlin is pleased to present the new series Nonhuman
Subjectivities. Based on current philosophical theories
of the object and a critique of anthropocentrism, our attention
is focused on non-human actors.
The exhibition, the first of our new exhibition series Nonhuman
Subjectivities, presents various artistic reflections on the
complex microbial environment found on and within the human body.
Scientists say that bacterial cells are as numerous as human cells
in our body. The phenomenon of the microbiome also brings forth
many complex questions about human identity and our relation to
our multiple selves.
François-Joseph Lapointe connects his biological
research with performance art. His latest works of art deal with
the microbiome in our daily lives and physical connections to
others. Lapointe sequences his microbiome to produce metagenomic
self-portraits, Microbiome Selfies, which illustrate the
metamorphosis of his bacterial self.
The exhibition features new works from his performance in 1000
Handshakes which was realised on 3 February, 2016, the opening
night of transmediale. During the evening Lapointe shook 1001
hands at the Berlin House of World Cultures. Every 50 or so handshakes,
samples were collected from his palms for DNA analysis of the
microbiome. The results demonstrate how the contact with others
shapes our microbiome and changes us.
To create his artistic works Lapointe has used a next generation
sequencing platform and network visualisation software developed
for bioinformatics. In contrast to the analog microscopic analysis
of previous generations, Lapointe is working here with a digital
DNA record. Both the video work and the six prints constitute
the final step of the analysis: the network analysis, It is noteworthy
that Lapointe, in his artistic aesthetic production, deletes the
systemic context (numbers, data). The pictures show a microbial
profile during the interaction with the microbiomes of others.
It is fascinating to think back to the essential gesture of his
performance: the handshake, a basic and ancient act of networking.
together with Mirjan vagelj
and Anil Podgornik are interested in the contrast between
the oneness of the human body as biological entity and the multiplicity
of the human microbiome. In their installation Mycophone_unison
the artist-scientist-designer collective has developed a sound
map of intra-action between their microbiomes and the recipient.
By leaving a fingerprint the viewer sends a signal to the map
that processes it through the central 'celestial plate' to the
microbiomes. The polymodal sonification stresses the multiplicities
of the makers.
The three petri dishes on the 'celestial plate' are cultured with
samples from the work's three creators. These cultures, in their
multiplicity and complexity, defy any monolithic or unitary definition
of being. But in their ever-changing resistance to an electrical
current, these cultures microbiomes create, together, a unison
of tone with the participatory aid of visitors.
Left: Tarsh Bates working in the science lab for
artistic production, School of Pathology and Laboratory Medicine,
The University of Western Australia, 2015
Right: Joana Ricou, Other landscape no. 1, microbiome of the
artist and environment, C-print, 89 × 140 cm, 2014
Joana Ricou's works blur the fundamental boundary
between organism and environment, taking the shape of photographs
of microbial paintings or performance. Ricou collected samples
of her own microbiome and that of her environment and cultured
these in the lab to visualise them. Out of this two portraits
emerged: Other-self Portrait, a composite of cultures derived
from her body, and Non-self Portrait, a composite of environmental
cultures. Ricou, an émigré, began this work questioning
whether her new environment was changing her microbiome, and if
so, asking what is the border between self and 'non-self'.
Her series Other Selves is a series of microbiome portraits
that Ricou has carried out over the last few years, in which she
has cultured samples from the belly buttons of over 400 people,
resulting in an amazingly diverse range of bacteria, fungi and
archaea. These portraits, in turn, challenge our traditional view
of the self as solitary, or solely human.
Tarsh Bates artistically explores what it means to be human
when we recognise our bodies as composed of over one trillion
cells, of which only around half are human. This new work Surface
dynamics of adhesion, created here in Berlin, resembles a
model of flocked wallpaper. Sealed in a series of acrylic boxes
in agar based on the blood of the artist, living Candida parapsilosis
grows in a pattern based on the first drawing of its relative,
Candida albicans, by Charles Philippe Robin in 1853. It
was also the Victorian era when awareness of hygiene was rapidly
increasing. This complex installation includes furniture from
that time and invites visitors to sit down and read more about
Tarsh Bates and her artistic research on Candida.
Her video work Ereignis, Gelassenheit und Lichtung: A love
story shows, in time-lapse video, Candida albicans
developing in the laboratory, whilst mixing with serum collected
from the artist.
Regine Rapp & Christian de Lutz (curators)
on the Nonhuman Subjectivities series
With the generous support of:
possible in part by a generous gift from Michael Schröder.
Laboratory Berlin Projects 2010-2016 as .pdf
Laboratory Berlin Projects 2007-2009 as .pdf
Transhuman Life Forms
The exhibition explores the phenomenon of the prosthesis as
bodily extension in the 21st century. Exploring new technologies
and recent developments in neuroscience and biology, Susanna
Hertrich proposes new transhuman sensory extensions of
what may eventually become 'human 2.0'. The exhibited works
are part of her long-term artistic research project Bodies
& Technology. In Susanna Hertrich's work a narration
is constructed in which the human sensory apparatus is extended
through computer controlled prostheses. The results can be
understood as crossing the boundaries between artistic hypothesis
and technological experimentation. The artworks reflect our
current living environments, as well as critically question
the social, political and physical consequences of the new
technologies utilised in their making.
Growing Geometries - Evolving Forms
artist Theresa Schubert conducts research at the intersection of art,
biology, and technology. She has studied Media Arts & Design at
the Bauhaus University Weimar. Her artistic practice combines various
media such as audiovisual installations, photography or work on paper
which deals with the phenomena of nature not only as a source of inspiration,
but as a material and critical process. By means of transdisciplinary
methods, such as the re-enactment of scientific experiments, biohacking,
theoretical analysis and collaborative practices, her work deals with
the themes of self-organization, computational geometry and morphology.
The starting point for her experiments are simple organisms that arranged
in setups have the opportunity to grow and develop - always under
the control of the artist - sometimes in interaction with people and
Immersion into Noise
works by Joseph Nechvatal
Artist Talk & Noise Music Concert: 25. April, 14 Uhr
Nechvatal (born in 1951 in Chicago) is a post-conceptual artist working
in digital art. He is one of the most important pioneers of 'new media
art,' but at the same time makes use of 'old media' (such as painting
and drawing). What is phenomenal, and in our opinion relevant to the
21st century, is that his paintings are created through a use of custom
artificial life software and computer robotics..
II: πρωτεο / proteo - Joanna Hoffmann
23 January, 2015, 7PM
Opening of the [macro]biologies & [micro]biologies Library:
30. January, 2015, 7PM
Curators Talk: 1 March, 2015, 3PM
/ proteo featuring artworks by Joanna
Hoffmann is the fourth and final exhibition of the [macro]biologies
& [micro]biologies series at Art Laboratory Berlin.
The exhibition explores the minute biomolecules that form a basis
for the phenomena of life.
Joanna Hoffmann's transdisciplinary works combine
art, microbiology, physics and technology. Her use of multimedia
installations, 3d stereoscopy, experimental video animation and
other media explore the visualization of sub-atomic and molecular
as well as cosmic space. Her work relates to advanced scientific
research on the phenomenon of life and to the interplay between
scientific and cultural, sensual and illusive, digital and biological,
natural and synthetic.
I: the bacterial sublime
talk: 28 September 2014, 3PM
with Anna Dumitriu: 30 November,
The third exhibition will be a solo retrospective of British artist
Anna Dumitriu, whose work in the field of art and science
brings together historical narratives, cutting edge biomedical research
and an interest in ethical concerns.
is well known for creating "The VRSA Dress" & and
"The MRSA Quilt" which were made from so-called 'superbugs'.
To create those works she grew bacteria onto textiles and used natural
and clinical antibiotics to create patterns (sterilised prior to
exhibition will also include works from her "Romantic Disease"
series which explores the history of tuberculosis (TB) from artistic,
social and scientific perspectives and covers subjects such as superstitions
about the disease, TB's literary and romantic associations, the
development of antibiotics and the latest research into whole-genome
sequencing of mycobacteria.
1 June, 3PM
- Artists and curators Talk (all artists are present)
Friday 27 June, 6.30 PM - Integrating Nature's elegant
solutions into the design process - a Talk with Dr. Prateep
Beed, Co-Founder of Biomimicry Germany e.V. (in English)
Sunday 6 July, 3 PM - Tour of the exhibition with the curators
and ALB staff
Saturday 19 July, 2 - 4 PM - Children's Workshop with
Desiree Förster in conjunction with the exhibition (in German)
20 July, 3PM - Artist
talk with Maja Smrekar,
followed by finissage
The second exhibition of the
series [macro]biologies & [micro]biologies, [macro]biologies
II: organisms will highlight the works of artists dealing
with multi-celled organisms. Noteworthy is both the relationship
of these organisms to us, as well as their roles as independent
actors. The exhibition focuses on the works of three remarkable,
internationally recognized artists whose work deals with multicellular
organisms: Suzanne Anker (US), Brandon Ballengée
(US) and Maja Smrekar (SI).
Suzanne Anker has been one of the key figures working at the border
between art and biology for several decades. Her work combines inquiry
into science and the newest technologies with a keen aesthetic sense.
Brandon Ballengée pursues a sustainable form of artistic
research in his metier as a visual artist in the field of bioart
and as a biologist in the field of herpetology.Art
Laboratory Berlin will show video documentation of his ongoing project
Malamp Reliquaries, on which Ballengée has worked in
various forms since 2001. The project's aim is to investigate the
potentially unnaturally high occurrence of morphological deformities
among wild amphibian populations
Maja Smrekar is an emerging young artist from Ljubljana, Slovenia,
connecting the intersections of humanities and natural sciences
with her main interest in the concept of life. For the exhibition
at Art Laboratory Berlin Smrekar will present the installation BioBase:
risky ZOOgraphies focussing on an invasive species, the marble
crayfish (Procambarus fallax forma virginalis), and
its form of asexual reproduction in which growth and development
of embryos occur without fertilization, called parthenogenesis.
I: the biosphere
The Center for PostNatural History
Alexandra Regan Toland
Artist Talk with Katya Gardea Browne: 30 March,
2014 at 3PM
of a unified conception of existence, such as "world"
or "nature", today, in the post-anthropocentric era, we
find ourselves confronted rather with a multiplicity of structures
and a blurring of boundaries. This show is part of a series of exhibitions
- [macro]biologies and [micro]biologies - dedicated to artistic
reflection on current drastic changes to how we connect, relate
and interrelate to the worlds around us.
[macro]biologies I: the biosphere we have chosen four important
international artists dealing with the structures and systems of
our world. The exhibition focuses on the ecosystem and the biosphere
with billions of life forms that interrelate with other systems
(i.a. geologie and climate).
The recent works of Mexico City based artist, photographer and filmmaker
Katya Gardea Browne have stressed the cultural and environmental
tensions between urban and rural in and around the megacity Mexico
D.F. The Center for PostNatural History, based in Pittsburgh
in the U.S., is an art and research project (Director: Richard Pell,
Learning Science Advisor: Lauren Allen, Designer: Mason Juday) dealing
with the history of mankind's manipulation of life forms, from early
agriculture to genetic modification. New York based artist Mathias
Kessler's deals, among other things, with the phenomenon of
changing landscapes caused by human intervention. The Berlin based
artist and ecologist Alexandra Regan Toland works on multiple
levels to create social awareness about urban ecological systems.
Synaesthesia / 4:
Translating, Correcting, Archiving
Bolz, Ditte Lyngkær Pedersen, Andy Holtin
Discussing a Phenomenon in the Arts, Humanities and (Neuro-) science"
5 & 6 July, 2013, Glaskasten Theatre, Prinzenallee 33,
/ 4: Translating, Correcting, Archiving presents works by Ditte
Lyngkær Pedersen (DK), Eva-Maria Bolz (D) and Andy Holtin
(USA). The exhibition devotes itself to selected artistic strategies
for decoding the phenomenon of synaesthesia. It is significant that
all three artists experience different forms of synaesthetic perception.
Lyngkær Pedersen's project Why Is Green a Red Word?
is comprised of interviews with synaesthetes and scientists, but
also includes conceptual video works such as What the Hell does
Purgatory Look Like? and drawings depicting the spatial imagination
of number forms by different synaesthetes. Contemporaneous
with the exhibition opening will be the publication of Ditte Lyngkær
Pedersens artist book Why is Green a Red Word?
The work of the Berlin artist and grapheme and lexical synaesthete
Eva-Maria Bolz is dedicated to an exploration of the relationship
between colour, text and perception. In her individual form of synaesthesia
she feels an unchanging association of colours to numbers, letters,
as well as whole words. The project Der Innere Monitor, which
Eva-Maria Bolz presents at Art Laboratory Berlin, follows her subjective
perception that colours and letters form a specific code through
which a text can be translated into blocks of colour.
Holtin has grapheme synaesthesia, connected with a particular
colour-number association. In his video Corrections (2009)
you can see how a hand colours in the numbers of different signs
and nameplates in photographs. Corrections demonstrates the
gap between the object and subjective sense perception as well as
the personal impressions of the artist himself. In his video Connections
(2013) the artist examines the complications he experiences when
objects share a colour with a particular number due to Holtins
individual synaesthetic experience, creating an extended perceptual
History of the Senses
Rowe & Simon Davenport
Sergio Maltagliati & Pietro Grossi
22 March, 7PM; 23 March, 2PM & 7PM ; 24 March, 2PM & 7PM
of the Senses deals with the phenomenon of synaesthesia from the
point of view of art and media history. The two artistic positions
refer back to different movements from the 20th Century giving Art
Laboratory Berlin's four-part exhibition series on synaesthesia
a historical component, whilst nevertheless dealing with contemporary
Banquet for Ultra Bankruptcy, developed for Art Laboratory Berlin
by Carl Rowe & Simon Davenport, forms the starting point
for a series of performances followed by an exhibition. The overarching
theme of synaesthesia provides a basis for the study of aesthetics,
politics and participation, as well as for the reactions of the
participants. A Banquet for Ultra Bankruptcy is made up of
five performances for six guests. During a six-course menu selected
foods are combined with images, sounds and scents. Each course is
designed as an aesthetic experience, allowing the audience to participate
in simultaneous sensations.
work Circus 8 (1986/2008) by Sergio Maltagliati &
Pietro Gross consists of eight pieces and is based on Grossi's
HomeArt programs from the 1960s and 1970s, which automatically generated
sound. Maltagliati has expanded Grossi's principle with software
programs and added visual graphic variations. The visual data generated
by the computer approximates the graphic score for a sound composition.Whilst
the work Circus 8 adds a media historical dimension to Art
Laboratory Berlin's Synaesthesia series, it also brings an
important new component into the discussion: the computer as artificial
brain with its own form of digital synaesthesia.
Space and Perception
with Madi Boyd 10 March, 2012 at 3PM
into the nature of Space and Perception are the basis of Art Laboratory
Berlin's second exhibition in the Synaesthesia series. Synaesthesia,
the experience of two or more sensory impressionsat the same time,
is both an artistic paradigm and neurological phenomenon. Two installations
by Madi Boyd and Carrie C Firman explore the connection
between perception and experience of mind and body from a synaesthetic
point of view.
Boyd is a synaesthete from Great Britain, whose artistic work
focuses on perception and the brain. In collaboration with neuro-scientists,
Dr. Mark Lythgoe and Dr. Beau Lotto, from University College London
her work incorporates and combines installation, film and sculpture.
Her recent project The Point of Perception explores how much
information the human brain needs in order to know what it is looking
C Firman is an emerging electronic artist from the US. Her work
is inspired by studying and experiencing the crossing of senses.
She sees synaesthesia not only as a sensory phenomenon, but also
a fantastic world interface, responsible for completely unique perceptual
Synaesthesia / 1: The Orange Smell
October, 2012, 4PM - Artist talk and workshop with Barbara Ryan
2012, 3PM Artist talk with Annette Stahme
As part of the new series Synaesthesia, Art Laboratory
Berlin presents the first exhibition The Orange Smell of November
with new works by Barbara Ryan and Annette Stahmer.
The artist Barbara Ryans perceptions of the world are
underpinned by her polymodal synaesthesia which in turn forms the
foundation of her artistic work. She experiences her synaesthesia
»as something that is in her parallel conscious as
opposed to something that is in the subconscious, creating a duality
work of the Berlin typographer and artist Annette Stahmer
revolves around language, the relationship between voice and writing,
the act of writing, palimpsests and synaesthesia. The two videos
in the exhibition - A ist blau and Synästhetische
Bilder I - IV - show the artist's mother, a synaesthete who
connects vowels with certain colours.
Embodiment of Time.
Sakamoto with Iñigo Giner Miranda
Opening: 31 August, 2012, 20 Uhr
of the current exhibition series Time & Technology the
exhibition Embodiment of Time presents new works by
Yasuhiro Sakamoto mit Iñigo Giner Miranda and by Dave
Japanese artist and scholar Yasuhiro Sakamoto and the Spanish
composer Iñigo Giner Miranda have developed the installation
Visible Canon. String Quartet without Strings for Four
Loudspeakers and an Art Machine, shown in the front room, especially
for this exhibition. The work transforms the complex time structures
of contemporary and classical music into an acoustic-visual model.
video installation Monitor by the American artist Dave
Hebb is a video and photographic documentation of an environmental
intervention extending over a one-year period. Hebb placed a computer
monitor outdoors and over the entire year documented changes to
the environment several times a week. His piece is played on old
computers and monitors and is inherently unstable, a common problem
of technology as it becomes obsolete. This self-reference is also
shown through the display of the video on the same type of monitor
that is the subject of the piece itself, which is presented more
as an object of media archaeology than merely a means of presentation
Time & Technology
Fantastic Time Machines
Sam Belinfante & Simon Lewandowski
23 March, 2012, 8PM
Artist talk with Shlomit Lehavi: 30 April, 8PM
The exhibition Fantastic Time Machines presents new works
by Shlomit Lehavi and Sam Belinfante & Simon Lewandowski. The
two contributions deal with the phenomenon of time through synchronicity,
simultaneity and succession. These artists have developed special
forms of imaginary time machine.
British artists Sam Belinfante and Simon Lewandowski produced The
Reversing Machine (A Theatre of Kairos and Chronos) especially
for this exhibition. The installation alludes to the notion of Kairos
as opportune time, as opposed to Chronos, the course of time.
The work Time Sifter is by the Israeli born and New York
based artist Shlomit Lehavi who works primarily with new media and
multi-channel video. Her video installation Time Sifter explores
collective memory, collective forgetting and time based media as
a contemporary time machine.
plan b (Sophia New & Daniel
Belasco Rogers) Navigating
27 January 2012, 8PM
the Everyday presents works by plan b, the British artist duo
Daniel Belasco Rogers and Sophia New, and is their first solo exhibition
in Germany. Since 2003 and 2007 respectively, Daniel and Sophia
have been recording every journey they make every day using GPS
devices. Additionally all areas of their digital communication (e.g.
mobile phone text messages) are evaluated and processed artistically.
Their work represents an artistic research by means of a digital
archiving of their movements.
the years this practice has become part of everyday life, a form
of private and personal 'sousveillance', in which the artists generate
their own data, thereby reflecting the approach of those private
and public agencies who collect all available data.
Time & Technology
Performance and exhibition
performance: 2-12 November, 2011
Opening: 25 November, 2011, 8PM
January, 2012 3.30PM: Tour of the exhibition and Artists' talk
with Gretta Louw
+ plan b (Sophia New & Daniel Belasco Rogers) and Igor tromajer;
moderation: Regine Rapp & Christian de Lutz (curators).
exhibition project Controlling_Connectivity by the Australian
artist Gretta Louw is a reflection of the latest forms of digital
communication. Her online performance (2- 12 November 2011) has
laid the basis for an exhibition which will include screen capture
footage, photographs and an installation. For 10 days the artist
was available 24 hr/day for discussions, emails, comments, or interviews
- of both private and professional nature - for any internet user
wishing to take part in the project.
Controlling_Connectivity. Art, Psychology, and the Internet
by Gretta Louw
Bärbel Möllmann - VISIONS NYC - afterthoughts
Opening: 9 September, 2011 8PM
Release Party - VISIONS NYC by Bärbel Möllmann: 30 September,
VISIONS NYC - afterthoughts the Berlin-based artist and photographer
Bärbel Möllmann has gathered a series of amazing portraits
and interviews with New Yorkers from Summer 2001, recording their
individual plans, goals and dreams, and from Summer 2002 recording
their reactions to the events of the previous year.
she began her unique artistic project in July 2001, Möllmann
could not have imagined the attacks on the Twin Towers that would
occur only two months later. The actual events of 9/11 are not directly
seen in the images, but rather felt as a historic turning point
in the interviews and photos taken both before and after September
11. The project is rather about individual New Yorkers and their
respective fates, which are brought convincingly near in these artistic
photographs and authentic interviews, which shows just how strongly
the city of New York and its residents changed in the aftermath
of September 11.
in Dialog: Al Fadhil & Aissa Deebi
My Dreams Have Destroyed My Life. Some Thoughts on Pain
29 April - 26 June, 2011, Fri - Sun, 2-6PM and by appointment
Opening: Thursday 28 April, 2011, 8PM
table discussion Al Tahrir: The Day After, 1 May, 2011, 3PM
Dreams Have Destroyed My Life. Some Thoughts on Pain was first
conceived by the artists during a common artist residency in Taiwan.
Both artists had lost brothers in respective conflicts in their
countries of origin. Al Fadhil has lost two brothers to the wars
in Iraq. One brother died in the Iran-Iraq war. Fadhil's father,
as the parent of a 'martyr,' were granted an audience with the dictator
Saddam Hussein, which was documented with a photograph.
Aissa Deebi's younger brother Nasim died in Israeli police custody
in 1999. Deebi's works in the exhibition will trace his and his
brother's connection to the land they grew up in. A series of holographic
photographs will depict the route from Deebi's childhood home near
Haifa to the coast, a route Deebi and his brother often took together
when they were younger. The superimposition of geography, memory
and historical space come together in Deebi's installation to form
a palimpsest of the personal and the political.
01.2011 - 13.3.2011
LeWitt: Artist's Books
21 January 2011, 8PM
19/20 February, 2011
American artist Sol LeWitt (1928 - 2007) was an influential figure
in minimalism and is considered one of the most important representatives
as well as co-founder of American conceptual art. The term "conceptual
art" goes directly back to LeWitt: "If the artist carries
through his idea and makes it into visible form, then all the steps
in the process are of importance. The idea itself, even if not made
visual, is as much a work of art as any finished product. All intervening
steps - scribbles, sketches, drawings, failed works, models, studies,
thoughts, conversations - are of interest. Those that show the thought
process of the artist are sometimes more interesting than the final
product." (Paragraphs, Artforum, June 1967)
intensive artist books production was extremely versatile: he used
different designs and formats as well as varied techniques from
color lithography to offset printing. Finally the phenomena of reproducibility
was part of the concept: "Also, since art is a vehicle for
the transmission of ideas through form, the reproduction of the
form only reinforces the concept. It is the idea that is being reproduced."
Tania Antoshina, Mo Foster, Marcela Iriarte, Christian de Lutz, Jane
Mulfinger, Bob & Roberta Smith, Jessica Voorsanger.
curated by Francesca Piovano
29 October 2009 8PM
26 November 2010 8PM
Special event: 30 November 2010 A reading by Mo Foster at the East
of Eden bookstore
Andy Warhol declared that everyone would be famous for 15 minutes,
he probably didn't realized how true that was going to be.
It is no longer necessary to have a particular talent, nowadays
absolutely any one who is prepared by whatever means to be entertaining,
can become a 'celebrity'. Then mass media, along with popular culture,
will see that celebrities are consumed as spectacle giving them
a package of meanings that has nothing to do with their intrinsic
explore the issues of celebrity cult and modern heroes and to put
them in a multifaceted international context, the exhibition Stardust
Boogie Woogie has brought together 7 artists from different
countries and backgrounds. Their work is around the notion of stardom
and its related lifestyle (Jessica Voorsanger, Jane Mulfinger, Marcela
Iriarte), of socialist personality cults (Christian de Lutz, Tania
Antoshina) and of popular culture (Bob & Roberta Smith, Mo Foster).
Toland and Myriel Milicevic -
Wunschgarten: Wild Urban Offshoots
27 August 2010, 8PM
4 September, 2010, 2-6PM
exhibition Wunschgarten: Wild Urban Offshoots is a collaboration
by the artists Alex Toland and Myriel Milicevic and part of the
series Artists in Dialog. Both work on the border between
art and life and environmental sciences. Together they have chosen
the immediate area around Art Laboratory Berlin (the Soldiner Kiez)
as a place to investigate interactions between the local human population
and urban flora and fauna. The exhibition functions as a laboratory
for the production of maps, drawings, models and prototypes. Wunschgarten
is a series of dialogues: between the artists and the local community,
between city dwellers and nature, between urban planning and urban
wilderness. Toland considers the project 'habitat hacking' and Milicevic
describes the project as 'reconstructing cross-species life worlds'.
2-1/4-n/2 x 21/4-n/2
Heidi Hove & Jens Axel Beck
Friday, 28 May, 2010, 8 PM
Performance/ work in progress (open to the public): 31 May - 3 June,
Artist talk: Saturday 12 June, 2010, 6PM
exhibition 2-1/4-n/2 x 21/4-n/2
by the Danish conceptual artists Heidi Hove and Jens Axel Beck is
the first exhibition in our new series Artists in Dialog.
Both are interdisciplinary artists, whose practice includes sculptural
objects and installations as well as architectural, spatial and
social interventions. A point of convergence in their work is a
focus on daily life and the public and private spaces that we daily
travel through. Their work examines how we navigate and organise
ourselves in the world. Through simple and diverse manipulations,
the daily and the recognisable are brought out of their regular
Art on the Californian-Mexican Border
Katya Gardea Browne
Luis G. Hernandez
Friday, 23. April 2010, 20 Uhr
Artist Talk with Michelle Chong: So. 25. April 2010, 4PM
exhibition project OFF FENCE. Art on the Californian-Mexican
Border is an artistic platform with five positions, exploring
the cultural overflow, overlap and tensions in the border region
of Southern California and Northwest Mexico. The artists come from
Los Angeles and Mexico City.
Feizabadi, from Repititions-Revolutions -Rituals
and Law IV
Creative Rights. On Appropriation, Copyright and Copyleft
Feizabadi, Gilbert & George, Christian de Lutz, Triple Candie
The Creative Rights Library with documentation on Shepard
Fairey vs AP, Richard Prince vs Patrick Cariou, Creative Commons,
The Fair Use Projekt, Piratpartiet, etc.
27 November 2009, 8PM
Workshop: "Copyright and related topics for artists.
musicians, filmmakers and other creative producers" with Andreas
Lichtenhahn (lawyer), in German.
28 November 2009, 15h
Rights. On Appropriation, Copyright and Copyleft investigates
questions concerning the use, re-use and misuse of images and information
in the contemporary art world from artistic, legal, political and
the late 1970s appropriation of images and information by such artists
as Sherrie Levine and Richard Prince has become a common and accepted
technique, part and parcel of postmodernism's critical approach.
Indeed it follows a tradition that goes back through pop art and
nouveau realisme to Dada and cubist collage. Not without ethical,
aesthetic and legal controversy, a number of law cases involving
appropriation seems to have increased in recent years involving
artists such as Jeff Koons, Richard Prince and Shepard Fairey. The
exhibition Creative Rights consists of three parts: The exhibition
with four artistic positions, the Creative Rights Library with extensive
material on the presented artists and other recent law cases as
well as a workshop on the theme of copyright.
Art and Law III
- Critical Art Ensemble
& Institute for Applied Autonomy
2. October 2009, 8PM
Artist Talk: 4. October 2009, 4PM
Film Screening: Strange Culture, 2. November 2009,
7.30 PM (see events)
exhibition Seized by Critical Art Ensemble (CAE) and the
Institute for Applied Autonomy (IAA) is the third part of our series
Art and Law. The
exhibition documents the FBI raid on the house of CAE member Prof.
Steve Kurtz in May 2004, following the death of his wife Hope. In
the weeks prior to the raid Steve and Hope Kurtz had been preparing
for an exhibition examining GM agriculture at Mass. MOCA.
emergency worker of the fire department responding to Steve Kurtz's
911 call found materials in their houserelated to the upcoming exhibition
suspicious and informed the FBI. The raid, conducted by FBI-officers
wearing hazmat suits, and blocking off a half block radius of the
home, caused much media attention. (more
copyright 2009 by Michael J. Mulley
Art and Law II
On Media Reality
by Vladimir Turner. Followed by artist talk: 29 May, 8:30pm
Prague based artist collective Ztohoven use their work, often interventions
in public space, to scrutinise the creditability of mass media and
advertising. In their action Media Reality, which took place
on 7 June, 2007, they hacked into the Czech weather
channel ČT 2 and added the image of an atomic explosion to
the live image
of a mountain valley. The channel pressed charges under laws against
indecent behavior and the diffusion of false information.
In two separate legal actions members of the group were acquitted.
At the same time, Ztohoven were awarded the first NG 333 prize for
contemporary art from the Prague National Gallery, in connection
with Media Reality
showing the work Media Reality and related court documents,
Art Laboratory Berlin will present the German premiere of
the film On Media Reality, which documents the legal and
artistic aftermath of the action. The films director Vladimir
Turner will be present at the opening on 29 May.(more
and Law I:
by Maksim Neroda (CAT): 22 March 2009, 5PM
CAT (Contemporary Art Terrorism) collective from Novosibirsk
creates situations in public space, which lay bare the absurdity
of the way in which political power functions. Unprepared passers-by
were drawn into the process of creating critical artistic statements.
For organizing a May Day monstration - a counterpart to a classical
May Day demonstration - in which marchers carried individual banners
with apolitical, often poetic or non-rational slogans, the artists
were sentenced to pay a fine. The exhibition Monstration
shows video works and documents of the public reaction by means
of legal documents and mass media reviews.
Curators from East and Central Europe III:
Hier wäre das Leben leicht
(There, Life Would Be Easy)
exhibition revolves around issues of design, of the construction
of surfaces we are surrounded by in everyday life: from textiles
to texts, to street and city. One of the underlying intentions of
the exhibition is to reflect on how these formal constructions organize
our behaviour, give our lives a scheme, a program, and on the sedimentation
of ideology in forms.
Participating artists: Kadi Estland, Anton Koovit, Sirje Runge,
Killu Sukmit, Tere Recarens and Florian Wüst.(more)
Curators from East and Central Europe II:
Subjective Events, Sometimes Recorded
of the exhibition: 02 November 2008, 3PM
Workshop 24 October 2008, 6PM
everyday language, an event is a notion that embraces two different
meanings - a happening violating limits or, in the opposite, invigorating
them. One is destructive, the other restrictive; one is closer to
the chaos of a revolution, the other to a meticulously performed
ceremony with a set of rules. The work in the exhibition focuses
on the second meaning: initially, it comments on contemporary rituals
or pronounced interest in social codes, which often re-emerge in
times of crisis and insecurity. Through recording, staging, or enacting
some examples of today's ritualistic behavior the artists examine
how the so-called "flexible personalities" engage in a
performance of specific and mainly self-imposed rules. (more)
Art and Science III
Reiner Maria Matysik - Failed Organisms
talk: 31 August 2008, 5PM
Tour of the exhibition: 28 September 2008, 3PM
The Berlin artist Reiner Maria Matysik (born 1967, Duisburg, Germany)
works in manifold ways with concepts for future organisms. In the
course of the last years he has created his own new system of post-evolutionary
life forms at the borderline between art and biology. In his installations,
videos, actions and publications the term "biological sculpture",
coined by Matysik himself, plays a vital role. (more)
and Science II
- Transposed Nodes
talk: 14 June 2008, 5PM
Tour of the exhibition: 29 June 2008, 3PM
The artworks of Marcus Ahlers (born 1974) functions on the borderline
of visual arts and science. On one hand they explore visual metaphors
for the human body in its surroundings, making reference to social
and architectural space. On the other hand they are receptacles
for electro-chemical reactions, which take place within them. (more)
and Science I
Dmitry Bulatov - Senses Alert
talk and workshop:
29 March 2008, 5PM
Tour of the exhibition: 27 April 2008, 3PM
Art already long ago turned away from a solely anthropocentric point
of view. Currently in Science Art, it is concerned, among other
things, with ecological phenomena and is investigating the existence
of newly emerging life forms; Art and Science have been combined.
The Kaliningrad based artist Dmitry Bulatov views the contemporary
art scene as a kind of petri dish of living material for his investigations.
Coming from his own artistic experience he has investigated this
sphere and explored its dynamics and spatial vectors. In connection
with his scientific research and artistic practice, Bulatov has
staged an active evolutionary dramatisation of post-biological
forms whose paradoxical development may completely change our idea
of the surrounding world. (more)
and Central European Curators I:
Denisa Kera and Pavel Sedlak
Cosmopolitics - New Media Art from the Czech Republic
with Denisa Kera (curator): Curating New Media: 27.01.2008 5 PM
Artists Talk 01 February 2008 8PM
Tour of the exhibition 0 2 March 2008 3PM
Czech new media art scene could be characterized by a latecomer
strategy which in recent years is turning its disadvantages into
a source of advantage. As video art and other trends from the 1980s
and 1990s were never strong in the Czech art academies, young artists
feel free to experiment and often develop very promiscuous relations
to different traditions, trends and technologies. (more)
and Text III
Prinzenallee: a Play without Dialog by Birgit Szepanski
talk: Sunday, 06 January 2008, 5pm
installations, the Berlin artist Birgit Szepanski composes an aesthetic
form of urban space using word and image, in which the walls, floor,
windows and doors of the exhibition space become part of the art
work. Taking regular walks through urban localities is a major part
of the artist's production process, during which she collects thoughts,
words and images of the city for her exhibition projects in Germany
and abroad. There is a correlation between the architectural and
bibliophile aspects in her artist's books, photographs, films and
and Text II
Christian de Lutz - Ekphrasis
de Lutz has worked as a photographer and visual artist since moving
to Europe in 1994, after having worked in painting and video in
New York during the late 1980s and early 1990s. During these years
de Lutz has built up a considerable photo archive, which he has
used as the basis to create his current images. The original analogue
photographs have been processed through digital imaging software;
some information has been taken away, while new information has
been added. In the last seven years the artist has increasingly
worked at the periphery of image and text. By means of a digital
montage of photography and source code or algorithmic texts his
pictures have generated a palimpsest-like layering of pictorial
and literary signs.
As part of the exhibition series Art and Text, Art Laboratory Berlin
is presenting a selection of de Lutz's most recent Source Code
Images. (more information...)
Art and Text I
Laboratory Berlin is pleased to present a solo exhibition of book
art, drawings and a digital work by Farkhondeh Shahroudi as part
of the series Art and Text.
Born in Tehran in 1962, Shahroudi has lived in Germany since 1990.
She is both a visual artist working in a variety of media: sculpture,
drawing, painting, photography, video and computer, and a poet writing
in Farsi and German. Her work indeed functions like a series of
hyperlinks between art and text, between tradition and technology.
June- 22 July 07
and Music III
Viktor Alimpiev - Two Songs
Alimpiev, whose work Summer Lightings was shown at the 4th Berlin
Biennale in the Former Jewish Girls' School, combines different
artistic fields in his cinematic work: visual arts, music, theater
and dance. In his films he has worked with the human body and more
recently with song and speech. During the 2005 Venice Theatre Biennale
he directed the play We're Talking about Music in Italian language
together with Marian Zhunin. In Linz in 2006 he created the video
Wie heisst dieser Platz? in German. (more
May - 17 June 07
Art and Music II
3-ROOM-CONFERENCE. A Live Performance with
an Exhibition by the Berlin Tiefenrauschorchester
3-Room-Conference is a performance project, which was organized
by the Berlin Tiefenrauschorchester especially for the rooms of
the artspace Art Laboratory Berlin.
connection with his painting Inbetween (2001) and his film
projection Cloud Pieces (2005) Leo Königsberg will realize
a sound collage on his space cello. This audiovisual production
will be taken further by the live act by Christian Glass' electronic
acoustics. The dance performance by janusz de woyciechowski, in
relation to his film Titania (1970), which will be projected
in the art space, will develop this interdisciplinary experiment
through the human body in movement.
March 07 - 20 May 07
Art and Music I
The Artist Group PG video works
Group PG was founded in 1998. It now consists of Ilya Falkovsky,
Alexey Katalkin and Boris Spiridonov. PG is a play on words that
can be interpreted differently, for example as Criminal Group,
Hydrant or Hand Grenade.
group activity is multifunctional. It publishes its own magazines
and postcards, releases musical albums, makes comics and performances.
23 February 2007
Der Blick des Patriarchen
film by Nicola Hochkeppel
2004, 62 min
and 70's West German vacation idyll. The Hubert J. Wagner family
of Cologne all nine of then trapped between the simple
life romanticism of camping and the educated middle-class
ideal of classics-based scholarship. Tax consultant Wagner, the
arch-catholic clan patriarch, suffers no amendments to his meticulous
plans for the rigorous summer pilgrimages. Using the family's home-movie
footage (1965 1975), the documentary film LEARNING BY CAMPING
also chronicles a chapter of German social history during the heyday
of the flourishing welfare state.(more