Thingstätten, Maria Vedder.

Exhibition:19.11 - 09.12.2022
Location: Markgrafenstraße 86, 10969 Berlin

View Video documentary of the exhibition (Six Videos)

The artistic documentation of National Socialist THINGSTÄTTEN in Berlin, Brandenburg and Saxony-Anhalt was made possible by the NEUSTART Kultur funding program.
Throughout Europe, votes for radical right-wing positions are on the rise. After the immense catastrophe brought upon the world by the National Socialists in World War II, this fascination is hard to comprehend. It is particularly frighteningly topical in Russia. To understand more, Maria Vedder has used the example of the National Socialist THINGSTÄTTEN to examine one aspect of the propaganda of the time, the places of seduction. In the 1930s, the National Socialists built open-air theaters throughout Germany. 400 were planned, completed were about 60. These so-called Thingstätten were used for propaganda events and marches. At these open-air performances, emotions were to be released, people were to feel their belonging to the Volksgemeinschaft. The rallies were intended to consolidate the Führer cult, to get people in the mood for a war that would be worth going to for the fatherland. In her installation, Maria Vedder traces the hitherto little-known history of the Thing sites.

For the exhibition, Maria Vedder filmed 12 Thingstätten in North Rhine-Westphalia, Berlin, Saxony-Anhalt and Brandenburg. Her goal is to document all of the approximately 40 Thingstätten in Germany. Of the majority of the Thing sites of that time, it is known where they are located. Some are famous, such as the Berlin Waldbühne, built on Hitler's orders for the 1936 Olympics on the Olympic grounds. Or the Kalkberg Stadium in Bad Segeberg, where the Karl May Games have been held annually since 1952. Many former Thing sites are still used for concerts and theater performances. Others are overgrown, destroyed or have disappeared.
With her cinematic search for traces, Maria Vedder also addresses deeper layers of the past. The images draw attention to the ancient Germanic Thing tradition, which the National Socialists appropriated and distorted to suit their own purposes. A Thing site was originally a place where political deliberations took place and justice was dispensed. Thing or Ding was the name given to popular meetings and court hearings held in the open air.

Important: The exhibition includes two other events that will not take place in our gallery. These are:

Artist Talk: 15.11.22, 19:00, at the studio of Maria Vedder, with Julia Rosenbaum/StudioVisits
Screening: 14.12.22, 19:30, Raum für drastische Maßnahmen, Oderstr. 3, 10247 Berlin-Friedrichshain

This exhibition is supported by:

              

HYSTERESIS by Dani Ploeger

14.09.2022 - 15.11.2022

Mixed media installation (modified bumper car, Virtual Reality app, digital video)

The term "car tuning" is used for the practice of independently modifying the technical and aesthetic characteristics of standard, mass-produced cars. Some aspects of the tuning scene seem contradictory. On the one hand, the loud-mouthed converted engines and exhausts - usually accompanied by huge audio systems - often make a crude, sometimes even violent, impression on outsiders, and news media regularly report accidents involving fast-driving tuned cars. At the same time, the optical and technical details of the cars and their presentation suggest a refined and precise creative practice, carried out in a social structure of close cooperation and solidarity.

HYSTERESIS consists of a bumper car which has been modified in collaboration with cartuners in Zeeland, a rural area in the Netherlands. The car is equipped with a Virtual Reality headset and accompanied by a video projection. After a virtual race in a Golf Mk4 over a dike road, a tuner talks about his car. Meanwhile, an endlessly repeating video recording of a burnout with an Mk4 is projected. Burnouts are performed to warm up tires for a drag race, as a spectacular public intervention, and as a memorial for fellow tuners who have crashed.

Hysteresis - "The energy lost and not returned, when tire materials are subjected to stress in any direction. Lost energy is converted to heat through molecular interaction, and since rubber has poor thermal conductivity, internal temperatures of a tire can build up rapidly under repeated flexing." (The Automotive Dictionary)

Figur Variationen, Marc Aschenbrenner

19.08 - 11.11 2022
Location: Markgrafenstraße 86, 10969 Berlin
Opening Hours During Exhibition
Wed-Sat, 12noon-6pm

Consisting of six video art films, one installation and 6 aquarelles. 



Courtesy Art Claims Impulse

Courtesy Art Claims Impulse

Title of the Videoartworks

Torres de Satélite 2019/22
Zaunfigur 2017/22
Figur mit zwei Oberkörpern 2021/22
Figur1
Tagebau
Liegende

Shir Handelsman - Stress Fractures


Exhibition 10.08.2021 - 25.09.2021
Tue-Sat 12noon to 6pm
Markgrafenstraße 86, 10969 Berlin

Stress Fractures - Courtesy of the artists.

Art Claims Impulse presents the Israeli artist Shir Handelsman for the first time in Germany. Nira Pereg artist, describes Shir's perspective as an "anti-hero", from which he constructs aesthetic manifestations meticulously, precisely, and even ostentatiously, that is, deliberately challenging. The term hero thereby juggles between realism and illusion. Shir Handelsman, on the other hand, operates from the stance of the "anti-hero" of the "revolution of daily life," the constant exercise characterized by repetition. It is tiring, tough and it is always a feat of strength to face it. Shir creates paradigms of a worldview not driven by thoughts of effectiveness and thereby send a clear signal of value within a modern society. Shir Handelsman, in our gallery program since November 2020, is an artist who has a particularly good sense of illuminating surreal nuances of everyday life and presenting them in an abstract way.

 The artwork is available in the ACI-Shop

Courtesy Art Claims Impulse.

The exhibition, consisting of a mechanical sculpture and a video work, will also be livestreamed, and presented online. If there is a lockdown, the exhibition can be viewed entirely from the outside. Additionally, we will conduct and record a sign language guided tour to enable inclusion.

The exhibition is supported by:

Marlot Meyer, "Touch Ground. Sim-biocene"
OPENING: 21.01.2022
Exhibition: 21.01.2022 - 26.02.2022 

2 G Plus rules apply.
Recovered or vaccinated plus a negative corona test not older than 24 hours.

Art Claims Impulse presents the South African Artist Marlot Meyer. Touch Ground Sim-biocene is a simulation of a symbiotic relationship between human, nature and technology. In order to refuse our destructive nature, we need to reimagine a way of existing in harmony without hierarchy.
During the exhibition she will create a sensory, participatory ecosystem in our Space that will fill our entire space.
Visitors can walk through the installation, but gallery operations will be blocked.

The exhibition is part of Vorspiel 2022.

*Vorspiel

transmediale and CTM's Vorspiel is a program of distributed partner events in the field of digital art and culture and experimental sound and music, where a variety of partner venues invite local and international audiences to a series of exhibition openings, performances, interventions, artist talks and special events across the city of Berlin.

Courtesy of the artist

Courtesy of the artist. 

Following the exhibition a new project developed. 

Bio-Extended NFT, by Marlot Meyer

Available on Opensea

Installation: Touch Ground Sim-biocene, 2022.

The project Bio-Extended NFT is a continuation, a conclusion, of the installation Touchground Sim-biocene by Marlot Meyer. In the installation, a small ecosystem was created that grew wheatgrass in the end. The help of the visitors was necessary, who activated an irrigational system by their presence and movements alone and thus kept the eco-system alive. In the end, shapes were to be cut out of the grown wheatgrass, which were then offered as works of art. The fact that media art was used to create the wheatgrass shapes inspired us to develop this approach further.

Courtesy Art Claims Impulse

Using NFT (Digital File) to enhance the wheatgrass artwork and convert it to 3D for future reproduction. 

Courtesy of Art Claims Impulse

Bio-Extended NFT

With the purchase of a Bio-Extended NFT, the buyer receives a 3D scan of the original and also a wheatgrass artwork, created from the Touch Ground Sim-biocene installation. If the living artwork no longer exists, there is still the image and the digital 3D scan as an NFT, which could theoretically enable a reproduction from a bio-printer or similar.

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Protection, by Anna Anders

The exhibition Protection by Anna Anders shows artworks that deal with the theme of protection. She uses photographs and video artworks in situations where people find themselves in unsafe threatening circumstances, or in situations where they realize they should be protecting themselves. By juxtaposing familiar protection, familiar because it has been fashionably and stylishly changed and thus become the everyday norm, with a situation of defenselessness and the search for protection, she sensitively opens up a debate, a discussion about our cultural approach to threat and protection.

Protection I

2018/19. photo series

55,0 x 32,2 cm, fine art print on Hahnemühle paper

This portrait series shows construction workers and street vendors in Bangkok. By wearing protective clothing and masking their faces, these people working under harsh conditions protect themselves from injury, strong sun, dust and air pollution. In doing so, they often create fascinating combinations of colors and patterns.

Protection II 

2020, Photo series
55,0 x 32,2 cm, fine art print on Hahnemühle paper

The portrait series was taken from 04 to 08 March 2020 on the Pitztal Glacier in the Austrian Tyrol. The skiers and snowboarders in their mostly brightly colored clothing protect themselves with helmets, goggles, scarves and masks from injuries and sun, from cold, wind and snow. Their fashionable-futuristic look moves between individual design and conformity and features interesting variations.

The Covid 19 pandemic seemed far at the beginning of March 2020, although it was already raging very close in Italy. A few days later, the lockdown also took place in Austria and Germany. Now we wear masks to protect ourselves from viral infection.

RASENDER STILLSTAND - A nighttime ride through beginnings of the Corona Crisis.

2021, 4K video, 2 channel video installation.
Length: 8:12 min (large flat screen monitor 48" to 55") and 41:51 min (small digital photo frame 9") with news from January (11:53 min) and February (29:58 min), 2020.

A wall-mounted flat screen, i.e. the "frosted screen", becomes the windshield of a car that seems to be driving through heavy rainy weather (=tears) in the dark of the night. At regular intervals, the windshield wipers clean the (monitor) window like the blink of an eye. From the car radio one hears reports about the first two months of the Corona Pandemic, i.e. January and February 2020.

The Artworks are available in ACI-Shop

Emotionally Confronted Through Distance
(Group Exhibition)

Exhibition: 07.09.2021 - 19.09.2021

Tue-Sat: 12:00 noon to 6pm

Location: Feldfünf, Fromet-und-Moses-Mendelssohn-Platz 7-8, 10969 Berlin

With their summer exhibition - Emotionally Confronted Through Distance - Pierre Wolter and Melanie Zagrean, gallery owners and curators of the Berlin gallery Art Claims Impulse presents statements, reflections and interpretations of various artists of the gallery on this topic.

Participation and involvement in events from a distance are phenomena that have been growing since the rise of digital media and have reached a new peak with the recent pandemic. On the one hand, one is in the middle of things, emotionally involved, often even digitally active as a live co-creator. On the other hand, the distance and isolation leads to a new quality of experience, to a confrontation with an event that touches, that one sometimes only sees or hears, but cannot tangibly or palpably experience with others on site, and whose impact on perception, on experience, as well as on memory raises new questions. Our starting point for this curation was the following questions: How can one establish emotional empathic communication with the other person if one relies solely on two senses? To what extent has our pandemic approach to digital communication changed our perception?

Aseel AlYaqoub (Kuwait)

Is an artist working in the fields of history, architecture and cultural identity theory. Her work explores themes of nationhood, state apparatus and collective nostalgia to find out why some historical elements fit well into the national narrative while others are deliberately forgotten. Using an ever-growing collection of found objects, documents and media, her work explores the construction of new nations such as Kuwait. Using video, drawing, installation and printmaking, she documents the processes of self-identification and nation-building - which took place under conditions of pressure - following imperial dissolution and reunification.

Mimic Men, Lenticular Print, Video Essay, Sculpture (2021)

Courtesy of the artist

Military spectacles are an ironic amalgam of nation and empire in which nostalgia is the arresting and defining condition. These performances expose the historical contingency of the nation by repeating embodied nationalism and marking it as real again and again. The theatre of power expressed here is so protocolised and hierarchical that it is obviously performed for its own sake.

Courtesy of the artist

Courtesy of the artist

Anna Anders (D)

Anna Anders has been working with video as a means of artistic expression since the end of the 1980s. Initially, she made short films for monitor works, but since the beginning of the 1990s she has increasingly made video objects and space-related projections. The colourful recordings, full of humour and ingenuity, seem unstaged and often get by with only one camera shot. And yet these are highly precisely choreographed images down to the smallest detail, down to every single prop. These mostly show actions in real time, for example everyday rituals or quirks that each of us may know about ourselves. Cleanliness rituals, body care or exercise may serve as examples here.

Anna Anders shows a personal examination of her past in her work "Seen with Distance". We show a series of her first video works from 1986, which she additionally comments from her current perspective, 35 years later (audio).

Videoclips, 1986, PAL, 20 min


Videostills courtesy of the artist

Rückblick auf meine ersten Videoarbeiten, die sich mit Voyeurismus und dem Medium Fernsehen auseinandergesetzt haben.

Marc Aschenbrenner (A)

His process-based works often begin with sketches and make use of heterogeneous material that does not shy away from unusual shells. Mostly as his own protagonist, Aschenbrenner acts in timeless, meaningless spaces in which he allows an unmistakable aesthetic to emerge and creates his individual cosmos by means of performance, which in terms of content allows questions about origins and task in the sense of existentialism.

Figure Single BW Ink: Pattern Figure Single, 2021, ink on Tyweg, approx. 3m x 1.5m

Figure Single mixed media: pattern Figure Single, 2021, mixed media on Tyweg, approx. 3,3m x 1,5m

Courtesy of the artist

Title: "Three states of the figure".

Preparations for video shooting that will take place in mid-September 2021. Body shells will be designed and applied to the fabric in the form of a cutting pattern. The surface will be worked on according to the final appearance of the finished figure. This creates a pattern image. The figure is now in its first state, in the form of a surface. Some of the cut patterns remain in their appearance. Others are cut into their individual parts and reassembled for the further development process. The figure is now in the second state of the 3-dimensional shell. In the third stage of the figure's development, an actor or actress slips into it to animate it performatively. Each figure is thus animated and filmed. Encounters and interactions between the figures are partly realised in the post-production of the video. All three states of the figures and their interaction are part of the work.

Dave Ball (GB)

His work explores absurdity, irrationality and the interaction between sense and nonsense. He asks: How are our rational understandings of the world constructed? What are the consequences of these rational structures? In what ways can it be productive to intentionally avoid rationality? And what alternative understandings of the world can emerge through absurd practices? He often uses humour to explore these ideas, and his work is generally characterised by a philosophical playfulness. Ball works with video, performance, drawing and photography and has worked on participatory projects in collaboration with artists and experts from other fields.

A to Z

Dave Ball presents selected fine art prints on the theme.

Mihai Grecu (RO)

Recurring themes such as environmental crises, political allegories, new technologies and catastrophes articulate the totality of his exploration of mysterious and unconscious beginnings. These visual and poetic journeys blend different techniques and can be seen as proposals for a new, dream-oriented technology. For Emotionally Confronted Through Distance, he shows new works that deal with the theme of the desert. He also shows the video art work Centipede Sun, a statement on global warming.

Unseen, Courtesy of the artist



Centipede Sun, Videostill, 2011, Courtesy of the artist

Centipede Sun focuses on the landscape, the protagonist of his work. The landscape of the Chilean Altiplano, a synonym for remoteness, offers huge "empty" panoramas in which the life forms we know seem to be absent.

Petja Ivanova (D)

The artist Petja Ivanova wants to dismantle patriarchal ideologies through art & design. Therefore, she works with innovative technologies from a feminist technoscientific perspective. In her transdisciplinary practice she combines archaeology, biology, physics, computation and poetry to promote the 'poetic method' as a counterbalance to the socially dominant 'scientific method' and to understand this practice in non-linear relation to Fluxus & Avant-garde. Very early in her artistic work with electronics and sensors, she began to incorporate mythological approaches, the magical and the non-quantifiable to analyse these connections in terms of the deep time of media/technology.

For Emotionally Confronted Through Distance she shows her work:

Thinking of you, 2021.

Thinking of you. 2021, Courtesy of the artist

The artwork is an interactive e-textile and fountain piece that celebrates emotional expression through bodily fluids. It is a series of pants with moisture sensors that trigger the flow of water from a nearby table fountain. The private wetness of the wearer's crotch is expressed in the flow of water from a decorative fountain - a romantic expression of possible longing or thoughts of someone present or absent.

Edition of 3 e-textile pants and 3 fountains bespoke electronics, 3D printing, fabric and embroidery. (2021)

Dani Ploeger (NL)

Dani Ploeger explores situations of conflict and crisis at the margins of the world of high-tech consumption. His objects, videos, and software engage the spectacles of waste, sex, and violence, and question the sanitized, utopian marketing around innovation and its impact on local and global power dynamics.

His work is based on field research into the use of everyday technologies in extraordinary circumstances. Dani Ploeger made VR installation while accompanying troops on the front lines in the Russian-Ukrainian war, and traveled to garbage dumps in Nigeria to collect electronic waste originating from Europe, he had stolen barbed wire from the so-called "high-tech fence" at the EU external border in Hungary, and interviewed witnesses of US drone strikes in Pakistan about the sounds of violent technologies, just to name a few of his projects.

Dani Ploeger shows:

THE CULTS

16mm Film, 6’11”

Cults Videostill, 2021, Courtesy of the artist

A colonial text about a Kenyan anti-European cult has been teleported to a high-tech culture of the future. At a rubbish dump, an unsavoury person still desperately collects raw materials and idolises digital gadgets. At the same time, three women create a utopian, mythical world out of converted electronic waste.

Wolfgang Spahn (D/A)

The work "Patagonian Pattern" by Wolfgang Spahn is an audiovisual exploration of the mathematical theory of chaos. The focus is on Benoit Mandelbrot's ideas of the self-similarity of fractal structures in nature. The sounds of analogue synthesizers and analogue neural networks complement the visual aspect of the self-similarity of Patagonia's nature, both on a large and macro/microscopic scale.

Electrical signals, for both audio and video, have been generated by analogue circuits based on Strange Attractors, Fibonacci series, chaotic oscillations and feedback loops. In addition, the work shows macroscopic and microscopic patterns, textures and structures of lichens, mosses and algae, superimposed on aerial shots from planes and with kites. The texture of lichen and moss was recorded with laser beams. These modulated waves were converted into sound and additionally used as colour information in video signals.



Patagonian Pattern 2021, Courtesy of the Art Claims Impulse

His work includes interactive installations, miniature slide paintings and performances with light & sound. His art explores the field of analogue and digital media, focusing on both their contradiction and correlation. He has therefore also specialised in the re-appropriation and re-use of electronic technologies. In Spahn's immersive audiovisual performances, the technically different production of images and sounds merges. The data stream of a digital projector becomes audible, while the sound produced by electromagnetic fields of coils and motors is visualised. Spahn is fascinated by patterns and structures, whether in graphics, photography, video or electronic technology. He seeks to bring out the beauty of disruption, subverting the perfect surface that the contemporary new media industry tries to achieve.

For his creations, he explores the capabilities of hardware, constantly pushing its limits to put it at the service of his artistic concept. Recently, he has developed analogue synthesizers as well as analogue computers and analogue neural networks and uses them to create abstract light and sound sculptures.

The Age of the Digital Aura?
(Live Talk)

NFT - Don't Mind Me.
(Group Exhibition)

Exhibition: 28.04.2021 – 29.05.2021
We show:
Mihai Grecu, Jörg Piringer, August Parot.
Location: Markgrafenstraße 86, 10969 Berlin

During the exhibition period the artists will produce continuously new NFT Artworks.
Join our clubhouse event during the exhibition. (Date will be announced.)
Listen to a talk by media philosophers targeting NFT and its curiosity.

With the event title NFT - Don't mind me, our gallery Art Claims Impulse takes up the title of a work that is also shown in this exhibition and opens the discourse space on the subject of the NFT exhibition - Non-Fungible Token.

The Non-Fungible Token is a non-exchangeable sign in the digital world and serves as a certificate stamp to verify digital artworks, among other things. The Non-Fungible Token emerged from the crypto scene and works similarly to cryptocurrency with a programmed formula. The only difference is that the cryptocurrency Bitcoin, for example, produces an infinite number of Bitcoins with the same identity, whereas an NFT only exists once. Each NFT is thus unique.

The possibility of digitally securing a media artwork labelled by an NFT results in a new added value for digital art. A digital NFT is like a piece of land. It exists only once. For the first time, media art can sell works in a comparable way to, for example, painters, as the fear of duplication of digital art seems to become null and void. This is a significant step towards the recognition of digital art in the art market. The question at this point is whether and how the NFT can change the art market. Right after the auction sale of Beeple's digital collage artwork at Chrisities, NFT has inflated into a bubble. It remains to be seen where the bubble will go before it bursts.

NFT, Don't Mind Me refers to the state of the NFT bubble. The title could be interpreted in two ways: either the NFT movement does not perceive the artist, or the artist does not want to be perceived by the NFT movement. With its ambiguity, NFT Don't mind me describes exactly the threshold state in which we currently find ourselves with the NFT bubble. The artists in the exhibition move in this space of discourse and get a ticket for the bubble, but not without calculating the bursting of the bubble.

NFT, Don't Mind Me refers to the state of the NFT bubble. The title could be interpreted in two ways: either the NFT movement does not perceive the artist, or the artist does not want to be perceived by the NFT movement. With its ambiguity, NFT Don't Mind Me describes exactly the threshold state in which we currently find ourselves with the NFT bubble. The artists in the exhibition move in this space of discourse and get a ticket for the bubble, but not without calculating the bursting of the bubble.

Mihai Grecu, Ecowar. 2021 (Image)

Jörg Piringer, Generative JS, 2021 (Animation)

Jörg Piringer, Imagine..., 2021 (Image)

Mihai Grecu, Spinders on drugs, 2021 (Animation)

August Parot, NFT, DONT MIND ME, 2021. (Videofilm)

Click on the image to buy the NFT Artwork.

 Verhalten Sie sich leise, leise, leise.
(Live Talk)

Live on Art Claims Impulse, 27.03.2021 8pm (CET)

*Use headphones to watch the trailer.

Video of the exhibition

With Verhalten Sie sich leise, leise, leise, ART CLAIMS IMPULSE focuses on online live streaming exhibitions. Individual artworks by Marc Aschenbrenner, Jörg Piringer and Wolfgang Spahn will be shown. The artists will be present to introduce their latest artworks. The livestream will be streamed on our Facebook and Instagram page at the same time. You will have the opportunity to ask questions and comments during the performance to us, or to the Kulturforum of the Austrian Embassy.

*The event will be held in German.

Supported by

The Kulturforum Berlin is the cultural institute of the Republic of Austria in Germany. It supports Austrian cultural workers with the aim of promoting the dialogue between Austria and Germany in the fields of culture and science and is also available as a service point for establishing contacts and networks in Germany. For example, it offers artists, cultural workers and scientists living in Germany the opportunity to introduce themselves and exchange ideas with each other via the NETWORK AUSTRIA on the website of the Cultural Forum. More information about financial support and the NETWORK AUSTRIA can be found here: www.kulturforumberlin.at

"Welt, gute Nacht" (World, good night.)
(Duo-Exhibition)

05.12.2020 - 19.12.2020 (*Originally until 21.12.2020. Closes earlier due to new Corona lockdown, unfortunately)

Opening 4pm - 7pm
Opening times during exhibition 3pm-7pm (Screening of the artwork)

Due to Corona regulations we will screen the video art work on the large windows.
Drawings and fine art prints will be visible from outside.

Appointments can be made.

Exhibition location:
feldfünf, Fromet-und-Moses-Mendelssohn-Platz 7-8, 10969 Berlin


Shir Handelsman, (Tel Aviv)

Marc Aschenbrenner, (Berlin)

"Recitative", by Shir Handelsman, Video Art. Courtesy of the Artist.

		
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In our last exhibition in 2020, the year which is extremely influenced by Corona, we are showing the exhibition "World, Good Night" with works of the artists Shir Handelsman (Israel) and Marc Aschenbrenner (Austria). Although not all of the works were created during this period, they still well embody some facets of the spirit of the times of this period, which represents a caesura that has lost its lightness. The works embody on the one hand the gravitas of this situation and on the other hand the absurd, the eccentric that more or less shapes all our lives. They are both consolation and warning. What remains is the hope that after the night a bright day will dawn and the nightmares will have vanished.

"Healing" , by Marc Aschenbrenner, video still from the performance in Hau 2 Berlin.

Supported by:

		
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He Told Me to Remain Silent
(Duo-Exhibiton)




Opening: Thu 09.07.2020 | 4:00-7:00 PM
Exhibition: 10 – 30.07.2020 | Tue - Sat 12:00 - 06:00 PM


Supported by:

In our last exhibition before the summer break we show art works by Dave Ball and Jörg Piringer. Both artists deal with the visualization of language. Jörg Piringer calls himself a "digital poet". He programs his computer to generate sound poems, to write independently and creatively. We have had him in our program since he won the ZKM App Art Award 2012. His exploration of language and poetry has now led him to be nominated for this year's Ingeborg Bachmann Prize.

Dave Ball, shortlisted for the Berlin Art Prize in 2016, has taken on an unimaginable performance project: he visualizes a myriad of words of the Concise English Oxford Dictionary according to rules he has established. We followed his path since he first joined the art residency program at Art Claims Impulse in 2008. In this exhibition, we show individual sequences of A, B, C and D.

Our curation shows two different positions (Jörg Piriniger: digital works, Dave Ball: drawings, illustrations and photos), thus creating a dialogue on the subject of language visualisation.

"He Told Me to Remain Silent" is our response to Wittgenstein's last sentence in his treaty "Whereof one cannot speak, thereof one must be silent", which we question with the artworks by Dave Ball and Jörg Piringer, who both offer an open and individual interpretation of language.

partikel, by Jörg Piringer

partikel - an interactive immersive text-sound installation

partikel is a reflection on the attempts to establish pervasive voice control for devices and means of transport on a large scale. In contrast to so-called personal assistants such as Alexa or Siri, however, partikel is not concerned with subordinating one's own speech to the utilitarian computer system and its exploitation models and at the same time adapting one's own language to the machine, but rather with expanding the sound and speech possibilities of the voice and exploring new forms of expression. It is an interactive dynamic text-sound installation in which the audience control the visual and acoustic events through their voices. Everything reacts to each other: the sound influences the image and the image the sound. The audience can control the complex behaviour of the sounding letters with pitch, sound quality and volume of their voice and experiment with them with relish.

Short Bio


Dave Ball

A to Z

A to Z is an umbrella work comprising a series of successive semi-independent projects defined by a particular letter of the alphabet; each introduces some new conceptual parameter or media restriction, whilst adhering to the basic parameters of the overall work. The work originally developed out of an interest in utilising randomness as a generative tool, inspired in part by a well-known technique for encouraging lateral thinking, which is to pick a word at random in the dictionary and apply that to whatever subject-matter is being investigated – thus breaking out of the constraints of conventionally linear, logical thought. A to Z deliberately pushes the rationale behind this technique to an absurd level, where there is nothing left except the non-linear thought; divorced of any context, the efficacy of the operation is called into question. What remains is a farcically large collection of sequential images, whose meaningfulness is undermined by the excessive faith in semiotic cogency that drives the project’s relentless marrying of words and images.

A to Z Letter C, by Dave Ball

Short Bio

Exhibition: 10 - 30.07.2020

On frail ground.
(Duo Exhibiton)

Curated Art Claims Impulse
Exhibition: 19.05.2020 – 31.05.2020
Location: feldfünf Berlin

*Please read the exhibition notes below in the text!


In the exhibition "On frail ground", works by the artists Petja Ivanova and Mihai Grecu are set into a dialogue..

Artists:

Petja Ivanova

Mihai Grecu

The tenor and the undertone that the works of art have, could be described as the 'creation of an existential feeling'; a feeling of fragility, of imminent collapse. Rigid monuments of an ideology expressed in cement are attacked by forces of nature and show their last absurd steadfastness. Barren surfaces show fragile shining traces of human existence. Delicate derma structures are clothed and protected by a polysaccharide material inherent to fungi, arthropods, and molluscs, which leads to the creation of a new hybrid. Are we at the beginning of a changing materialism and repositioning in the Anthropocene?

Bio:
Petja Ivanova

Petja born in Shumen, Bulgaria and based in Berlin, Petja graduated from the University of Arts Berlin in the class for Computational Art/Generative Art in 2015. In her trans-disciplinary practice she combines archaeology, biology, physics, computation and the poetic in order to promote the ‘poetic method’ as a counterweight to the socially dominating ‘scientific method’, understanding this practice in non-linear relation with Fluxus & Avantgarde. She runs Studio for Poetic Futures and Speculative Ecologies out of a little caravan in Berlin. Early in her artistic work with electronics and sensors she began to include mythological approaches, the magical and non-quantifiable to analyses these connections in terms of deep time of media/technology. Being a bit frustrated by the simple causalities in quantification she turned to overcoming the conceptual divide of what is natural and what is technological by working with crystals and electronic circuits and later on also with plants, microorganisms and now insects and bacteria.

Mihai Grecu

Mihai was born in Romania in 1981. After studying art and design in Romania and France, he has been pursuing his artistic research at the Fresnoy Studio of Contemporary Arts. Recurring topics such as environmental crisis, political allegories, new technologies and catastrophes articulate the whole of his exploration of mysterious and subconscious beginnings. These visual and poetic trips mix several techniques and may be seen as propositions for a new dream-oriented technology. His work has been shown and awarded in numerous film festivals (Tribeca, Locarno, Rotterdam, Festival of New Cinema in Montreal) and exhibitions ("Dans la nuit, des images" at the Grand Palais, "Labyrinth of my mind" at the Cube, "Video Short list: the Dream Machine" at the Passage du Retz, "Studio" at "Les Filles du Calvaire" Gallery).

Exhibition: 19.05.2020 – 31.05.2020

Location
Open Map

Projektraum 4

feldfünf
Fromet-und-Moses-Mendelssohn-Platz 7-8

10969 Berlin

Important Information!

Due to Corona regulations and to avoid overcrowding the room, there will be no opening. Attention change! Due to the new relaxation of the Corona regulations, no more bookings will be necessary.

Rules for visiting the exhibition:
Only mouth and nose protection.
No more than 4 persons are allowed in the room at the same time.
The 1.5 meter distance rule to the next visitor applies.

 Self-Similar and Strange, Wolfgang Spahn

Strange Attractors, 2019

Courtesy Art Claims Impulse

a Lorenz System controlled by an other Lorenz System, 2019

Ever since the mathematician Benoit Mandelbrot geometrically described structures in nature as ‘self-similar systems’ in „How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension“ a paper published in 1967, fractal structures have remained a subject of artistic enquiry. Strange attractors in their quality of chaotic fractals constitute together with self-similar structures an important part of chaos research, and feature as core and lead theme of the installation.

Courtesy Art Claims Impulse

„Strange Attractors“ is about a generative system for sound and projections based on the analogue computer Confetti (developed by the artist) that calculates these Strange Attractors.

„Strange Attractors” rises the question if climate can be predicted, described by Julia Slingo, and Tim Palmer in Uncertainty in weather and climate prediction.

The title of the work refers to the mathematical term of the same name (David Ruelle / Floris Takens, 1971) borrowed from chaos theory which describes physical laws of chaotic behaviour in dynamic processes. Based on strange attractors it’s possible to for instance to mathematically describe turbulent currents of liquids or gases that cannot otherwise by analytically captured due to their complexity and level of randomness. In the installation two Lorenz Attractors are used to generate the sound as well as the visuals.

Courtesy Art Claims Impulse


The work raised the question of the artistic definition of boundaries in a space which in fact is determined by coincidence. Strange attractors are defined among others by the fact that they always establish a limiting framework or an according order within which the actual chaos can take place. This means that – at least from a mathematical perspective – haphazardness and chaos are enabled by a framework that creates an order, because without this framework any conceivable chaotic system would rise ad infinitum, and by doing so would escape observation and description. If this thought were transferred to art, it would mean that artistically created chaotic systems would not be visible or audible. Accordingly, the installation raises the question whether the artists themselves create the framework that creates the order, allowing the work to emerge ‘haphazardly’.

 Courtesy Art Claims Impulse

The work was show in the exhibition “Self-Similar and Strange” at Art Claims Impulse in Berlin, 2019.

 The Artwork is avaible in the ACI-Shop.

Its organic if you have a closer look, 2017.

Courtesy Art Claims Impulse

The audio-video installation It's Organic If You Look Close Enough by artist Wolfgang Spahn aims to deconstruct the so-called perfect surface created in the virtual sphere by contemporary digital technology. By exploring the surface of OLED monitors through macro film, the camera makes visible the frayed edges of the Organic Light Emitting Diodes (OLEDs). This creates images that would not be visible to the naked eye: The supposedly homogeneous perfect squares are actually uniquely shaped, frayed and uneven when approached with the macro lens.

A triptych of three OLED monitors, each equipped with a Raspberry Pi camera, shows patterns created and re-created by macro-films of the frayed pixels. Thus, each monitor is both source and display of the patterns generated in an endless feedback loop. These patterns are manifold, as macrofilms magnify their objects, performatively generating changes in terms of structure, color, and dimension of the images.

Courtesy of the Artist

In this respect, the installation speaks both to the organic structure of OLEDs and to the analog technology that is part of the digital interfaces. In doing so, it creates disillusionment: the purely digital surface can only exist as an abstract reality within the virtual sphere. The moment digital data is made accessible - whether through the use of monitors, cameras, or any technology that allows data to be stored, shared, or visualized - the pure digital surface is interrupted by the hardware of the interfaces, which always contains analog technology.

Nevertheless, the installation also includes virtual space. The VGA (Video Graphics Array) input signals of the OLED monitors are tracked and their audio amplified and streamed. In this respect, the imprecise sound resulting from the organic images will be publicly available in the virtual space. The sonification of the data can be understood as interference: organic material interferes with the perfect surface of the abstract virtual sphere.

Courtesy of the Artist

The Artwork is avaible in the ACI-Shop.

Bruch | Stücke


With Bruch|Stücke II ART CLAIMS IMPULSE places a focus on Live Performances. In Contrast to the first edition the second edition shows performance that are carried out live or were recorded and documented during their presentation. While the first edition presented choreography based video art work, this time ACI shows artwork that interacts with its surroundings, incorporates them and therefore contextualises it.

"At Arm's Length"
from the series "minimal interventions"
Recorded Performance
2006, 12.17 min

Infinite Livez
Live Performance
+ Illustrations

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Bruch | Stücke places media art in direct relation to the discursive nature of the theatre without functioning as a supplement of the theatre production.

*Bruch | Stücke is a new series created by ACI | Art Claims Impulse, that we place outside the usual gallery context. We show Media Art, Performance and Installation.
ACI

Bruch | Stücke

On September the 18th ACI | Art Claims Impulse starts a new art experience, a new form of art presentation.
We take the media art in a discursive area. An area that was ever filled with drama, debates and provocation.
Into the theatre.

There have been theatre projects for some time that interweave the boundaries of fine arts with theatre. Interweaving video art and sound art with classical theatre has been very well accepted when it comes to contemporary theatre productions, although video art and sound art was rather used as a supplement for the theatre production.

Bruch | Stücke places media art in direct relation to the discursive nature of the theatre without functioning as a supplement of the theatre production.

*Bruch | Stücke is a new series created by ACI | Art Claims Impulse, that we place outside the usual gallery context. We show Media Art, Performance and Installation.
ACI

BRUCH | STÜCKE

18.September 2014, im Theater im Palais
www.theater-im-palais.de


Per Teljer: "TESS"

2014, 26 min

Schauspiel: Josef Harringer, Hanna Ullerstam
Regie: Per Teljer


Jannicke Laker: "Boggie With You"
2014, 12 min


Mattias Härenstam: "Rekonstruktion"
Regie: Mattias Härenstam
2013, 21 min

Dazzling & Haunted

… the tenor and undercurrents in the art works could be described as reflecting a relentless quest, a haunt for perfection, for splendor, for recognition, for a vague promise for redemption… attrition is accepted as it is fuelled by the kind of humor and hope that defeats futility… the genuineness and intrinsic purity of the protagonists and situations cast a dazzling light on them, without moving them too close to pathos or profanity…

… dazzling & haunted expresses a condition, characteristics of human existence… the artists succeed in addressing them in an intriguing manner, providing a platform for the audience to reflect and self-reflect…

Artists:

Mario Asef, Eberhard Bosslet, Nia Burks, Sérgio Cruz, Flatform, Michelle Handelman, Silvia Lorenz, Jörg Piringer, Tom Schmelzer, Anna-Maria Sommer, Maria Vedder.



Sergio Cruz, H2O, Video, 2012





Maria Vedder, Schwelle/Threshold, 2010




Mario Asef, Golden Nose, Mixed Media, 2009




Nia Burks, Angry Gamers, Video, 2011




Flatform, Movimenti de un Tempo Imposibile, Video, 2012




Tom Schmelzer, but I am a worm, Mixed Media, 2011




Nia Burks, Pretty or Ugly, Video, 2012




Mario Asef, Palindrom, Cheque, Stamp, 2012




Sergio Cruz, Hannah, 2011






Tom Schmelzer, but I am a worm, Mixed Media, 2011




Eberhard Bosslet, Tumult B, Painting, 2012




Michelle Handelman, Dorian - A Cinematic Perfume, Excerpt of the 60min Video, 2009





Silvia Lorenz, Ikarus, Sculpture, 2011






Tom Schmelzer, la danse – or Controlled Flight into terrain (CFIT), Installation, 2010

Reflective Interventions

The series Reflective Interventions is a group exhibition curated by Art Claims Impulse, which presents art pieces that reflect contemporary discourse, which use interventions and interaction to open new perspectives for the audience. Art Claims Impulse is a satellite partner of transmediale for the second time with this exhibition series.

Reflective Interventions 2011 addresses the issues related to navigating and finding orientation within shifting and overlapping virtual and material environments. The expansion of virtual space, the ever more diverse possibilities of shaping it used by an ever larger number of people, and the cross-connections to the material space are sources of inspiration and impulse for many exciting changes that affect every area of society and human interaction. The new orientation that journalism currently experiences, the new definition of interaction between different existing and newly emerging actors, the increasingly interesting debates related to value and user rights that can lead to a potential new world order, are only a few examples. The exhibition shows a selection of artwork that reflects these developments in a particularly inspiring manner.

Marc Lee’s work ‘TV-BOT 2.0’ shows in an impressive and exaggerated manner the flood of multimedia and multi-channel information hitting the viewer at any given time. With this work, the artist takes part in the complex discussion about the role and definition of journalism, the excessive desire for real time or constantly updated information, and comments implicitly on the desire for filtering content and information in a shifting media landscape.

Francis Gomila’s interactive work ‘The Last of England’ also deals with an excessive visual stimulation but sets a trap for the audience that has originally been developed with the help of eye tracking software. The reaction to the visual triggers lead the viewer to a point of no return as he is drawn ever deeper into a world of images while the trap is closing in slowly as the images gradually begin to disintegrate from within.

The interactive installation ‚ Topshot Helmet‘ by Julius von Bismarck also deals with the increasing trend for self-observation and self-reflection in a game-like futuristic manner, at the same time pointing subtly to the traps that come with the limiting bird’s eye perspective that allows only a glimpse of the subject and his/her immediate surroundings.

Similarly, the art work of Mader|Stublic|Wiermann ‚Expanded Space‘ deals with the issue of perspectives and adds a new dimension to it by linking the contemporary debate around energy production with interactive wind-steered technology and mobile units in a way that opens and alters the space and the architecture contained within it in a complex and visually stimulating manner.

The idea of finding orientation in a changing space as well as the effects that can take place at the smallest movement of elements and actors in the space is also a theme that Javier Chozas work ‘Metropolis’ picks up. He offers both an intriguing image for it as well as a memorable tactile experience for the audience prepared to enter and interact with the installation.

Orientation and the unpredictability of the consequences of individual actions in a particular space also informs the sound art piece of Kirsten Reese and Pepe Jürgens Int-AV which on the one hand animates the viewer to use his creativity and play with sound bites while on the other hand allows the objects representing the sounds to develop a life of their own. This leads to the creation of idiosyncratic sound arrangements while engaging in the debate around the complexity of this type of interaction.

The work of Matthias Fitz ‘Streichlicht’ also leaves a surprising audio-visual impression on the viewer who is invited to send out an impulse and witness its development, culminating in moments in which unfathomable and fascinating things happen – a work that offers a poetic interpretation for complex contemporary discussions around transparency and change.

Top Shot Helmet, Julius von Bismarck





‘Metropolis’, Javier Chozas




Streichlicht, Matthias Fitz






The last of England, Francis Gomila



‚Expanded Space‘, Mader|Stublic|Wiermann




‘TV-BOT 2.0’, Marc Lee



Int-AV, Kirsten Reese and Pepe Jürgens

Reflective Interventions 2010


In their multi-media installations, artists use excerpts of digital communication, media or creative contents and discourses, re-align them, reflect and reposition them into different virtual and real media, and create new connections and narrations by way of self-programmed software or performative interventions. The result is on the one hand a critical engagement with the use of time-based communication structures, with the images and contents produced this way and their influence on society. On the other hand, they also show the fascination inherent in the multi-layerdness and complexity of time-based media, the freedom they allow viewers to enjoy the contents in different form and reflection, to enjoy the live created interweavings and connections, to even participate in the creation process itself. The interplay between the tones, the sound compositions and the interventions of the viewers creates an additional level on which the artworks communicate with each other, which in turn leads to the creation of new contexts.


Julius von Bismarck: "Image Fulgurator"

Cécile Colle & Ralf Nuhn: "Digital Communication"

Julius von Bismarck & Benjamin Maus: "Perpetual Storytelling Apparatus"

Tudor Bratu: "Conversation Piece"

Benjamin Maus & Andreas Nicolas Fischer: "Reflection"

Organisation: Goethe-Institut China, Today Art Museum