Bioelectric Experience (working title)

Official launch of the “Bioelectric Experience” project collaboration between Fraunhofer IZM, Art Claims Impulse, and Marlot Meyer.

The connection between art and science is often shaped by different working methods, which means that a harmonious mutual understanding does not always arise automatically. This makes it all the more valuable when both fields come together as equal partners to explore new pathways.
Under the working title “Bioelectric Experience”, artist Marlot Meyer, the gallery Art Claims Impulse, and Fraunhofer IZM researchers Prof. Dr. Vasiliki (Vasso) Giagka and Dr. Max Marwede are shaping this collaboration from the very beginning on equal terms. Their innovative, collaborative approach has already received recognition through a successful funding approval and illustrates the added value that genuine partnership can bring to interdisciplinary projects.
The project is still in its early stages and aims to create an interactive installation. The final title will emerge during the shared artistic and scientific process—reflecting the idea that naming itself is part of the creative journey. The participants invite you to accompany this exciting exploration at the intersection of technological innovation and aesthetic experience.

Team:
Fraunhofer IZM: Technologies for Bioelectronics
Prof. Dr. Vasiliki (Vasso) Giagka, Konstantina Kolovou Kouri, Raphael Panskus.
Fraunhofer IZM: Circular Design Lab
Dr. rer. nat. Max Marwede, Kim Eschenbach.

Artist: Marlot Meyer
https://marlotmeyer.com
Gallery: Art Claims Impulse
Contact: Pierre Wolter

For more information and exchange, please contact Gallery Art Claims Impulse

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Dani Ploeger at Ars Electronica 2025: PANIC MODE: ON  shown by V2_, Lab for the Unstable Media 

Artist and cultural critic Prof. Dr. Dani Ploeger, presents his latest project as part of the exhibition PANIC MODE: ON at V2_, Lab for the Unstable Media (Rotterdam, Netherlands) at Ars Electronica 2025

In a world characterized by a constant state of emergency, the exhibition features controlled, deliberate “explosions” expressing various states of urgency. Ploeger’s work critically engages with technology, power, and societal conflicts.

A key highlight is his 1:1 scale inflatable replica of the “Fat Man” atomic bomb—equipped with a trigger system linked to a Nokia 105 mobile phone, the preferred device of non-state actors in conflict zones. Ploeger invites the audience to interact with the explosive installation and reflect critically.

Founded in 1981, V2_ is an interdisciplinary center for art and media technology, providing a platform for critical dialogue on the social impact of technological developments.

END TIMES 

Technologies of waste, violence and sex in almost possible futures
3 sci-fi short films and lecture performance by Dani Ploeger at MOVIEMENTO CINEMA 3, 6.9.25, Linz. 

The Cults (2021) teleports an early 20th century colonial text about a Kenyan anti-European cult to a future technoculture. In a dystopian landscape of endless waste - shot on Dandora dumping site in Nairobi - a European is still scrounging for resources and worshipping standardized digital gadgets. Meanwhile, three women create a mythic lifeworld with reappropriated waste technologies.
16mm, 4:3, 6’12”
In Bunkeridylle (2024), militants hiding in a WW2 bunker in the Dutch countryside build a weapon from the left overs of high-tech culture. Communicating in a regional dialect with foreign accents, they run a techno-folkloristic resistance movement against a centralist government. Inspired by theories on violence by Paul Virilio and Jean Baudrillard, they prepare an ultimate act of symbolic terrorism.
digital video, 2.39:1, 11’57”
The Source (2025) re-imagines a nuclear accident that took place in Georgia in the early 2000s. Members of a matriarchal cult find a mysterious metal object in the forest, which becomes the centre piece of an intimate ritual. At the end of time, a recovery team attempts to extract the lost object from the inferno.
digital video / MiniDV, 4:3, 15’50”

Pierre Wolter will be also at Ars Electroica 2025. Feel free to contact him if you would like to connect with Art Claims Impulse.

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Again and Again and Again at HilbertRaum, Berlin.
Curated by Dave Ball in cooperation with Gallery Art Claims Impulse.
Opening 05.09.25,  6pm -10pm,  till 14.09.25
Again and Again and Again is an exhibition that brings together a group of artists who work with repetition. While the speed and ease of AI impresses us with its ever-more accomplished output, its words, images, and sounds move within ever-decreasing circles of statistically probable, bland, and repetitive imitations of what already exists. The artists in this exhibition work with a different kind of repetition, whose recurring and recursive themes and practices spiral outwards in possibility.

Contact: Dave Ball

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C²DH HISTOFEST. History on Full Blast

Mihai Grecu at the first C²DH History Festival: „Nicolae“ and the eponymous hologram.

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Internship (m/f/d) – Contemporary Art & Digital Media

Are you passionate about storytelling and social media, and would you like to network with the art world? Do you enjoy developing ideas and producing in-depth content? We are looking for dedicated interns to join our team in a vibrant, contemporary art environment.
More Info

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Post Eden

Contemporary video art with a critical gaze.

Presented by Gallery Art Claims Impulse, Markgrafenstraße 86, 10969 Berlin
Wed-Sat 12:00 - 18:00, till 30.08.25

At a time when screens have become the dominant lens through which we experience both intimacy and crisis, Post Eden—a contemporary video art exhibition—brings together a selection of powerful new works that question, reframe, and reimagine the current state of human progress. Curated by Gallery Art Claims Impulse, this exhibition presents works by renowned contemporary video artists Anna Anders, Mihai Grecu, Kathrin Hunze, Nadja Verena Marcin, and Jörg Piringer. Rather than prescribing dystopia, Post Eden positions itself in the aftermath of an ideal that never fully materialised. These video works are less concerned with declaring decline than with exploring what emerges in its wake—spaces of friction, beauty, resistance, and transformation.

Anna Anders’ Old Days Clip reflects on the transition from professional identity to a less defined role in later life, questioning the societal invisibility and latent potential of aging through a quiet, poetic lens. Mihai Grecu’s Shockwave renders digital space as both spectacular and unstable—an aesthetic of echo and collapse.

The contributions by Kathrin Hunze, wellNet and Two legs or six: dec-ANT-structing social behavior, dissect patterns of control, cooperation and surveillance through immersive digital choreography. Nadja Verena Marcin's Orphelia and Zero Gravity engage in a kind of feminist myth-making, combining art and philosophy to question the cultural systems that shape identity and desire.

Finally, Jörg Piringer’s Klangfarben des Zufalls explores the intersection of language, algorithm, and chance—creating audiovisual compositions where randomness becomes structure, and structure becomes open to chance.

Together, these works inhabit a liminal space between critique and imagination. They do not simply ask what went wrong, but how contemporary video art can render the complexity of our condition both visible and audible.

Post Eden offers a space of resonance for those seeking not just commentary, but the kind of abstraction and articulation that only art can create.

 Old Days Clip, Anna Anders, 2025, 4,25min

Shockwave, Mihai Grecu, 2022, 4,45 mins.

wellNet, Kathrin Hunze, 2025, 7,06 mins.

wellNet, Kathrin Hunze, 2025, 7,06 mins. (Projection)

Ophelia, Nadja Verena Marcin,  2018, 4,51 mins. (Projection)

Zero Gravity, Nadja Verena Marcin,  2013, 2,04 mins. (Projection)

Klangfarbe des Zufalls, Jörg Piringer, 2025, 3,15 mins