unpainted catalogue 2014

CATALOGUE

What emerged in the 1960s with some plotter prints, elaborated by the early pioneers with self-taught skills, has evolved into computer-generated images, videos, and sound installations, until the latest generation of artists who publish their works in the Internet. Wolf Lieser, author of the book “Digital Art” calls this segment “the most exciting segment of art today”.

The city of Munich boasts numerous media and tech-nology firms as well as cultural institutions. It is also known for a variety of antiques and fine art fairs. UNPAINTED looks to fill the gap in the contemporary arena with a specialized art fair that is complementary also in a wider geographical context.

The UNPAINTED Team wishes the visitor an inspiring experience while visiting the fair.

Dear Art Lover,

it is our pleasure to welcome you at the first edition of UNPAINTED media art fair in Munich”s beautiful Postpalast. More than 60 exhibitors have been carefully selected to provide an overview of cutting-edge production in the field of Media Art, and, in particular, Digital Art. Among the exhib-iting parties are galleries, independent artists, and institutions from three continents.

Digital art is a general term for a range of artistic works and practices that use digital technology as an essential part of the creative and/or presentation process. After some initial resistance, the impact of digital technology has transformed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.

INTroDUcTIoN

Artists are lateral thinkers, creatives, visionar-ies. As seismographs of society, they are sensi-tive to change. Technology has taken a central role in our lives. How does the global network affect the creation and reception of art? How do artists react to the digitization of our world?

UNPAINTED is a new art fair which addresses such questions and brings together artists that use digital technology as a tool and a medium since many years. A total of 50 exhibitors from around the world have announced their participation.

A highlight of the programme is the “LAB3.0” show, overseen by multimedia curator Li Zhenhua, with sponsored booths for young artists. In addition, the media artist rafaël rozendaal will hold a BYoB (Bring Your own Beamer) event at the fair. Wolf Lieser (DAM GALLErY, Berlin and Frankfurt) is curating a media art retro spective, ikonoTV is a partner for a unique TV event, the MaximiliansFo-rum, Munich is organizing a satellite exhibition by czech media artist Jakub Nepraš.

“oUr hEADs ArE roUND so oUr ThoUGhTs cAN chANGE DIrEcTIoN.” Francis Picabia

During the upcoming days we will see a lot of new media art, hear discussions with experts of the digital media scene, participate in workshops and concerts, etc.

I would like to express a great thank you to my team, all partners, ambassadors and the numerous volunteers who have done a fantastic job organiz-ing this show.

on behalf of myself and our fantastic team I would like to extend a welcome to all guests. We are looking forward to some exciting days.

Dr. Annette Doms director

© LAb[au], framework f5x5x5, 2009

Truly, Munich is more than its history and forms the perfect symbiosis of tradition and innovation. Munich and its surroundings are characterised by an incredible diversity in media enterprises. The collection Goetz is one of the most well respected video art collections in the world. The German electronic music band Kraftwerk recently performed at the Lenbachhaus (2011), the Biennale artist simon Denny showed at the Kunstverein (2013), and there are wonderful galleries and academies in Munich that are open to new approaches. In addi-tion, for a few years now, hubert Burda Media has put on the internationally renowned DLD – a digi-tal conference, for which global players from the technology and internet sectors travel to Munich every year.

The UNPAINTED is held at the historic Postpalast in Munich. The building complex of the former parcel delivery office in Arnulfstrasse was built in 1926. Its unusual architecture is an ideal environment for the presentation and discovery of new art forms.

heading out from the Postpalast, a network of fur-ther cultural offerings can be discovered through a walking tour across Munich”s bustling city centre.

Postpalast MunichWredestrasse 1080335 Munich | Germany

PosTPALAsTMUNIch

© Postpalast Munich

by car

Drive towards the city center (main station).

The Post palast is located next to Arnulfstrasse 62.

by public transport

With s1-s8 stop hackerbrücke or Tram 16, 17 and N17

stop hackerbrücke

taxis

T: +49 (0) 89 21610

T: +49 (0) 89 19410

T: +49 (0) 89 450540

car service

The UBER app connects you with a driver at the tap of a button.

m.uber.com

car parking

Parkplatz hopfenpost, hopfenstrasse 6

mon — sat

07:00 am — 09:00 pm

2.50 € / per hour

2.00 € / add. hour 15.00 € / 24 hours

getting there:

thursday jan 16 10:00 am — 12:00 pm12:00 pm — 05:00 pm05:00 pm — 09:00 pm10:00 pm

friday jan 17 11:00 am — 01:00 pm

01:00 pm — 09:00 pm01:15 pm — 02:00 pm

02:00 pm — 04:00 pm 05:00 pm — 06:00 pm

07:00 pm 09:30 pm

saturday jan 18 01:00 pm — 09:00 pm01:15 pm — 02:00 pm

02:00 pm — 02:45 pm

03:30 pm — 04:00 pm 03:00 pm — 04:00 pm 05:00 pm — 06:00 pm 06:00 pm — 08:00 pm 06:00 pm — 08:00 pm

08:00 pm09:00 pm / 11:00 pm

UNPAINTED press conferenceUNPAINTED preview (professionals only)UNPAINTED vernissageUNPAINTED VIP party by invitation only

guided tour: Pompeii Life on the Vulcano, Kunsthalle der Hypo-KulturstiftungAccess: VIP card, limited availabilityUNPAINTED fair visit, PostpalastUNPAINTED talk, Postpalast“Bringing digital art into the auction house”With The Paddles On! team: Megan Newcome (Phillips), Lindsay Howard (independent curator), Dave Harper (Paddle8), artist Rafaël Rozendaal and Dr. Thomas Girst (BMW Group, head of cultural Engagement) | moderator: Florian MueckUNPAINTED workshop, PostpalastVolxTV - color shadow - light artUNPAINTED performance, Postpalast In cooperation with Villa Stuck Museum Performance by chicks on speedUNPAINTED satellite, Maximiliansforumopening: JAKUB NEPrAŠUNPAINTED VIP-DinnerBy invitation only

UNPAINTED fair visit, PostpalastUNPAINTED talk, Postpalast“Challenges in collecting new media”With Alain Servais (collector, Brussels), Hampus Lindwall (collector, Paris), Steve Sacks (bitforms gallery, NY), Dr. Stephan Zilkens (ZILKENs | fine art insurance broker), Davide Quayola (arist), Wolf Lieser (DAM gallery)moderator: Florian MueckUNPAINTED satellite: Transformation (Tamiko Thiel, 2012), Reality-ProjektTransformation, in cooperation with Pilotraum01UNPAINTED satellit: guided tour JAKUB NEPRAŠ, MaximiliansforumAccess: VIP card, limited availabilityprivate guided tour: Goetz CollectionAccess: VIP card, limited availabilityUNPAINTED performance, PostpalastTANZ DAs! text performance by Nicola richterUNPAINTED workshop, PostpalastVolxTV - color shadow - light art UNPAINTED BYOB with Rafael Rozendaal, Postpalastcurated by Martine-Nicole rojina and Annette Doms UNPAINTED unique TV night event by ikono TV (broadcast)UNPAINTED concert, PostpalastWith Theinert/Maos/Dähn and incite / “beyond time and space”Access: by invitation, limited availability

ProGrAMME 98Programme |

sunday jan 19 10:00 am — 12:00 pm

11:00 am — 12:00 pm

11:00 am — 09:00 pm 01:00 pm — 02:00 pm

02:00 pm — 02:45 pm

03:30 pm — 04:00 pm

02:00 pm — 04:00 pm

05:00 pm — 06:00 pm

monday jan 20 01:00 pm — 09:00 pm12:00 pm — 02:00 pm 01:00 pm — 02:00 pm

02:00 pm — 02:45 pm

03:30 pm — 04:00 pm 05:00 pm — 06:00 pm

06:00 pm — 08:00 pm

Private tour: Collection Dr. Arnold LöslerAccess: VIP card, limited availability, by invitation onlyVIP tour: In the Temple of the Self. The Artist”s Residence as a Total Work of Art – Europe and America 1800-1948, Villa StuckAccess: VIP card, limited availabilityUNPAINTED fair visit, PostpalastUNPAINTED talk, Postpalast“OFFLINE/ONLINE”With Philippe Riss (xpo gallery, Paris), Aram Bartholl (artist, Berlin), Kim Asendorf (artist, Berlin), Rory Blain s(edition, London), Elizabeth Markevitch (ikono TV, Berlin), Klaus vom Bruch (media art professor)moderator: Florian MueckUNPAINTED satellite: Transformation (Tamiko Thiel, 2012), Reality-ProjektTransformation in cooperation with Pilotraum01UNPAINTED satellite: guided tour JAKUB NEPRAŠ, MaximiliansforumAccess: VIP card, limited availability, rsVP requiredUNPAINTED workshop, PostpalastVolxTV - color shadow - light artUNPAINTED performance, PostpalastBrAINPAINTED by Adi hösle

UNPAINTED fair visit, PostpalastCharity lunch hosted by Fotoworkshop-Operndof, Postpalast“Mach dir ein Bild” Schlingensief charity project, PostpalastAccess: VIP card, by invitation onlyUNPAINTED talk, Postpalast“Fields of new media art & future perspectives”With Prof. Martin Richartz (Professor for Mobile communication and Media, Tech-nische hochschule Wildau [Fh]), Prof. Jürgen Faust (President of MhMK, Munich), Dr. Alexander Wiethoff (member of the MIMA ArT Board at Munich Institute of Media and Musical Arts), Dr. Renate Buschmann (director imai – inter media art institute, Düsseldorf), Dr. Jörg Scheller (cAMP festival)moderator: Florian MueckUNPAINTED satellite: Transformation (Tamiko Thiel, 2012), Reality-Projekt Transformation, in cooperation with Pilotraum01UNPAINTED satellite:: guided tour JAKUB NEPRAŠ, MaximiliansforumAccess: VIP card, limited availability, rsVP requiredHELLO EGO, UNPAINTED performance, PostpalastInteractive performance installation with Arne Felix Magold, in cooperation with Yves Peitzner, MunichUNPAINTED workshop, Postpalast VolxTV - color shadow - light art

ProGrAMME 1110Programme |

Multimedia-Curator Li Zhenhua for the section “Lab 3.0”

A novelty that separates UNPAINTED from other art fairs: artists without access to a gallery may apply for a specially curated section called “Lab 3.0”, where they get the opportunity to obtain a supported berth close to the participating young and renowned galleries. From there, they can sell their work directly to collectors and visitors and invite the local galleries to explore. As a curator for “Lab 3.0”, the organizers of UNPAINTED have been fortunate to get the chinese multimedia artist Li Zhenhua, well-known as a project manager and producer of synthetic Time: Media Art china 2008 in NAMoc (National Art Museum of china), as well as curator of the 3rd Nanjing Triennial.

The notion of “The Work of Art in the Age of Mechanical reproduction” has been influential across humanities. Artworks produced and reproduced in the evolution of contemporary art have proven that this process is not just a “media revolution” (see Marshal McLuhan: The revolution is – Media!). At the same time, a spontaneous habit brought about by both industrialization and daily consumerism has eventually given birth to a new era.

Aside from being reproduced and mass communicated, artworks have also developed a sense of ambiguity, the authenticity of artworks which Benjamin described as “outside of the technical” thus has turned inopportune, especially since Nicolas Bourriaud”s relational Aesthetics and Post Production came to public. The post-Duchamp and post-Warhol art world seems to enjoy more of its own self-reproduction and communication.

In this context, it is worth asking: What is the role of an artist? Or more precisely, who is the artist? …

Lab 3.0 supports artists without a direct gallery connection, which is very common in the particular field of new media art. Lab 3.0 is curated by chinese multimedia curator Li Zhenhua (Zurich / shanghai) and will show over 20 artistic highlights of new media art.

Tours are only allowed through UNPAINTED guide members. Taking one of our tours is an excellent introduction to the fair. our guides will provide you with a full overview of the fair and present a selection of exciting highlights. We have a lim-ited number of private tours available so booking in advance is recommended.

For further information, please contact [email protected]

For more information, a detailed programme overview and possible short-term changes of the programme, please visit:

LAB3.0 ToUrs

www.unpainted.net

1312LAB3.0 | Tours |

PArTIcIPANTs

G01

G13

G14

G15

G16

G17

G18

G19

G20

G21

G22

G23

G24

G25

G26

YOUNGISH Y02

Y03

Y04

Y05

Y06

Y07

Y08

Y09

Y10

Y11

Y12

LAB3.0 L28

L29

L30

L31

L32

L33

L34

L35

L36

L37

L38

L39

L40

L41

L42

L43

L44

L45

L46

L47

L48

L49

L50

INSTITUTIONS I55

I57

I60

I61

I62

I63

SPECIAL GUESTS S27

S51

S52

S56

S58

MUSEUM M54

GALERIE TANIT munich | beirutGALERIE CHARLOT parisBITFORMS GALLERY nycMU eindhovenARTHOBLER GALLERY zurichGALERIE CAROLYN HEINZ hamburgGALERIE ANDREAS BINDER munichGALERIE PEITHNER-LICHTENFELS viennaDAM GALLERY frankfurt | berlinTHE VIEW salensteinSTEVE TURNER CONTEMPORARY l.a.GALERIE CAROL JOHNSSEN munichLOUISE ALEXANDER GALLERY porto cervoGALERIE ANITA BECKERS frankfurtXPO GALLERY parisGALERIE RÜDIGER SCHÖTTLE munich

MERKUR istanbulNUSSER & BAUMGART munichTRANSFER GALLERY nycCIMATICS brusselsGALERIE WOLKONSKY munichCHRISTINGER DE MAYO zurichART AND SPACE GALLERY munichKUNST | KONZEPTE ansbachMERHART istanbulHALEH GALLERY starnbergDH ARTWORKS düsseldorf

JONAS ENGLERT frankfurtYUYANG WANG beijingHU WEIYI shanghaiYUNHAN ZHENG beijingWENKAI XU shaanxiLU YANG shanghaiHU JIEMING shanghaiSCENOCOSME st. etiennePIA MYRVOLD parisJOHANNES KARL munichLAB BINAER & FELIX WEINOLD augsburgBIRTHE BLAUTH munichARNE FELIX MAGOLD munichHOLGER LIPPMANN wandlitzKIM ASENDORF berlinOLE FACH berlinEVA PAULITSCH & UTA WEYRICH stuttgartprojection philipp contag-ladaJANINE MACKENROTH munichLABORATOIRE JARDIN COSMIQUE bexARENT WEEVERS hengeloTHE NEON REX PROJECT mexico cityKLAUS VOM BRUCH & ELLE P. berlinJILL TAFFET sarasota

ZKM karlsruheMAGAZINESPILOTRAUM 01 munichPLATFORM munichS|EDITION| londonCAMP festival

FRIEDER WEISS art and space galleryMIGUEL CHEVALIER hermèsOPERNDORF AFRIKA HU JIEMING shanghaiMIAO XIAOCHUN beijing

UNPAINTED MUSEUM

GALLERIES

1514Participants |

MAP

WREDESTRASSE

TILLYsTrAssE

ArNULFsTrAssE

DEroYsTrAssE

1716Map |

GALLErIEs

20

Galerie Tanit was founded by Naila Kettaneh Kunigk and stefan Kunigk in 1972.

Initial shows included the hoarfrost Editions by robert rauschenberg (1975), Lashonda series by Michael heizer (1976), Fizzles by Jasper Johns (1977), Mimmo Palladino (1978), paintings, draw-ings and graphics by David hockney (1981), to name but a few. Photography shows presented Eadweard Muybridge”s Animal Locomotion, Bernd and hilla Becher”s Industrial buildings, Man ray vintage prints and hamish Fulton”s roads and Paths.The program of the eighties and nineties focused on Minimal Art, conceptual Art, and Arte Povera. The shows featured very strong artists like Dan Flavin, Donald Judd, robert Mangold, carl An-dré, robert ryman, Brice Marden, John Mccracken, Giovanni Anselmo, Michelangelo Pistoletto, Gerhard Merz, John Armleder, olivier Mosset, hamish Ful-ton, helmut Newton, Urs Lüthi and - then newcom-ers on the international scene - Thomas Demand and sylvie Fleury.

In 1989 Tanit started a large cologne branch with a very spectacular show by Dan Flavin. Further exhibitions included hamish Fulton, Michael Biber-stein, siegfried Anzinger, Alan charlton, Gerhard Merz, John Armleder, Thomas Demand, Arcangelo, ricardo Brey, Michelangelo Pistoletto.

In 1996 Galerie Tanit opened in collaboration with Jean Bernier gallery, Athens, the experimental space “Windows” in Bruxelles, with a very young programm showing Jan Albers, cordy ryman, Joyce Pensato, Boyd Webb, Dieter Detzner, Julia Mangold, herbert hamak, Franck christen, James casebere, George Lappas. Two Munich group shows - Looking at painting I (2002) and Looking at painting II (2004) – showcased a selection of contemporary figurative and abstract painting. These exhibi-tions indicated a gradual shift from the program of the 1980/90ies to a younger generation of international artists. The program was extended to include Adrian schiess, Martin Assig, Julia Man-gold, catharina van Eetvelde, Xavier Noiret Thomé.

21

copyright Galerie TANIT 2014

GALERIE TANIT, munich

Gallery | Youngish | Lab 3.0

roY sAMAhA

Artists virtually unknown in Germany in early 2000 like American Jeremy Blake and chinese Michael Lin were introduced to the public. canadian art-ists roy Arden and stephen Waddell as well as the Germans sonja Braas and sarah charlesworth of New York city joined our gallery.

In 2007, Galerie Tanit opened a partner gallery in Beirut, Espace Kettaneh Kunigk (Tanit). Already in 2004, the Gallery”s exhibition “Present Absence. contemporary Art from Lebanon” set an important accent and pre-empted a development within the art community which - in recent years - has increas-ingly been looking towards the Middle East. With growing frequency international museums, collec-tors, art dealers, curators have been drawn to the area to organize exhibitions or to prepare certain projects. Internationally renowned museums such as the Tate Modern, London, the centre Pompidou, Paris, or the Mori Art Museum, Tokyo show their growing interest in the area with visits and purchases. Within this context, Galerie Tanit and

Espace Kettaneh Kunigk in December 2010 and Janu-ary 2011 organized an extensive and very elaborate group show “All about Beirut” in one of Munich most interesting off-spaces, the Kunsthalle white-Box.

At the same time, Galerie Tanit collaborated with French curator caroline smulders (“Ilovemy-job“) and presented “one Minute Beauty“, a group exhibition with works by Valerie Belin, Madeleine Berkhemer, Marion Lachaise, Anee Mann, Marilyn Minter and Kimiko Yoshida.

With the new name “Galerie Tanit - Beyrouth”, in November 2012, our Beirut branch inaugurated a new 500 sqm space in East Village, the new vibrant district in Beirut. In 2012 Galerie Tanit cel-ebrated its 40th anniversary. In celebration of 40 years of successful and innovative work in the art world we are currently showing the exhibition “Mi-chelangelo Pistoletto - A selection of works from our shows 1982 — 2002“.

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Maximilianstrasse 45

80538 München

+49 89 292233

+49 89 295792

[email protected]

www.galerietanit.com

Tuesday - Friday 11:00 - 18:30 h

saturday 11:00 - 14:00 h

22

Gallery charlot was created by Valérie hasson-Benillouche in 2010.

The gallery”s main purpose is to promote different forms of contemporary art, particularly focus-ing on «New Media Art», and to build bridges with classical art forms.

Emerging talents as well as internationally estab-lished artists are presented every year in seven exhibitions in the Parisian space and in different international fairs.

Galerie charlot works with some European galler-ies and artists to develop an international art network.

23

Interactive installation, 2006

copyright GALLErY chArLoT 2014

GALLERY CHARLOT, paris


soMMErEr/MIGNoNNEAULIFE WRITER

|

47 rue charlot

F-75003 Paris

+33 1 42 76 02 67

[email protected]

www.galeriecharlot.com

Tuesday - saturday 13:30 - 18:30 h

Thursday 13:30 - 21:30 h

24

Quayola”s “captives” are a contemporary interpre-tation of Michelangelo”s “Prigioni” series (1513-1534). originally commissioned to Michelangelo by Pope Julius II for his tomb, the “Prigioni” statues were never fully completed. “In my mind I always imagined that Michelangelo decided to leave them unfinished on purpose,” says Quayola. “I”d like to think that during the process he realized that the main subject was not the human figure, but the actual articulation of marble and the metamorphosis of matter itself.”

Transporting this beauty to a virtual realm, the sculptures are accompanied by a multi-channel video installation. In the process of creating the “captives”, Quayola used mathematical functions to describe endlessly evolving geological formations, which morph into classical figures.

Pure geometry and abstraction take over as he reframes his subjects using a computational method of triangulation, leaving the final work “unfin-ished”.

25

high-Density EPs, 78.7 x 55.1 x 27.5” / 200 x 140 x 70 cm, each

copyright BITForMs GALLErY | MU 2014

BITFORMS GALLERY, new york | MU, eindhoven


QUAYoLA

The exhibition of Quayola”s “captives” is pre-sented in partnership with MU art space, Eindoven, The Netherlands.

bitforms gallery was founded in 2001 and is en-gaged in a contemporary focus that specializes in the visual discourse of new media culture. More about the gallery at www.bitforms.com.

CAPTIVES

|

529 West 20th street, New York

UsA-10011

212 366 6939

212 366 6959

www.bitforms.com


26

Arthobler was founded 2001 in Porto-Portugal and moved to Zurich in summer 2012. We are following a distinctive and continuous program, showing na-tional and international positions of contemporary art that covers a wide range of media. As part of our strategy, we focus on artists whose works in an individual and critical language represent the contemporary spirit and are stimulating and encouraging reflections on the experience and per-ception of our time.

Jakub Nepraš (1981, czech republic) is reflecting on the fundamental changes of society and technol-ogy and its dangers and estrangement from human beings and nature. he searches to re-appropriate a more original and purer way of life and to give natural, organic forms to contemporary society and technology.

he draws upon scientific and philosophical knowl-edge as well as personal experience, emotions and intuition. Jakub Nepraš tries to study the actual developmental tendencies and behaviour of our super-organism in relation to the position of the individual within the whole entity and to monitor those natural principles that control or influence all of this.

søren Pors (1974, Denmark) and Aparna rao (1978, India) have been collaborating as Pors & rao for almost 10 years. They develop outstanding high tech art works with electro-mechanical systems and installations that are working partially in interactive ways. The results are animated or even somehow ensouled objects of art that have to be discovered and get to know by the viewer. Pors & rao are reinventing familiar things.

27

134x34x34cm, 2009-2011,

copyright ArThoBLEr GALLErY 2014

ARTHOBLER GALLERY, zurich


Pors & rAo

In their high tech works common objects are chang-ing familiar attitudes.

These art works are personal investigations of the subtle, by the subconscious following patterns and behaviors which are defining our actions and human relations.

Pors & rao are not interested in the technique itself, but in their possible application to cre-ate some kind of a parallel world. Pors & rao use the applied industrial technique for their art works in the same way as they use design to cre-ate an artistic form. Their multi-disciplinary art reveals itself as an idea of electronic and mechanical technique, software programming and handcrafts.

SPLIT KNIFE

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stauffacher-Quai 56

ch-8004 zurich

+41 789 433 988

[email protected]

www.arthobler.com

Wednesday - Friday 12:00 - 18:30 h

saturday 10:00 - 16:00 h

130x120x110cm, mixed media with video projection, 2013

copyright TrANsFEr GALLErY 2014

JAKUB NEPrAŠMILESTONE II

28

Calibration I

Heteronomous Realitiesby Margret Eicher and Adi Hoesle

When obvious surfaces of world understanding mass media are questionable and picture and language contexts become untruthworthy, artistic processes define contexts, consolidate, create visions and reinsurances.

In their own specific aesthetics of work, Margret Eicher and Adi hoesle apply different methods for the connections between visual language and pat-terns from the psychology of perception. The focus is on social and systemic issues in the ever-fast-er-merry-go-round of reality.

29

Digitale Montage/Jaquard,286x323cm, 2013

copyright GALErIE cAroLYN hEINZ 2014

GALERIE CAROLYN HEINZ, hamburg


EIchEr/hoEsLE

Eicher transforms the motifs, the visual language and the “patterns” of the daily media in large-sized tapestries thus quoting the popular picture carriers of power in aristocratic societies. Like a collage these digital portfolios combine sub-stantial stereotypes from politics and advertise-ment, magazines, comics, and movies. The baroque opulence of these digital tapestries is apparently thwarting the media”s inflationary flood of im-ages.

Using specifically designed computer programs, hoesle initiates an artistic-actionist transforma-tion process, which reduces its objects of experi-ence to their very substance. With the aid of a software, the digital binary code of an original image can be converted to its aesthetic “source code”. Adi hoesle speaks here from the “photoge-netic code”. Thus the image will be transformed into “its objectified form”. subsequently, a “digital retrograde process” produces a new form, which shows up to the issue of the picture in itself.

APOKALYPSE UND GENTIANABLAU

|

Eppendorfer Landstraße 10

D-20249 hamburg

+49 40 2878 2919

+49 176 4819 4709

[email protected]

www.carolynheinz.de


saturday 12:00 - 16:00 h

30

Programmgalerie für internationale zeitgenössische Kunst mit den schwerpunkten Malerei, Fotografie, skulptur und Medienkunst, vertreten auf inter-nationalen Kunstmessen. Im Jahr 2011 feierte die Galerie Andreas Binder ihr 20-jähriges Jubiläum.

31

Film-Installation, Filmprojektor, Looper, 16mm Film, 2012

copyright GALErIE ANDrEAs BINDEr 2014

GALERIE ANDREAS BINDER, munich


PhILIPP LAchENMANNUNTITLED (ICEBERG/CRYSTAL_2)

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Knöbelstrasse 27

D-80538 München

+49 89 21 93 92 50

+49 89 21 93 92 52

[email protected]

www.galerieandreasbinder.de


saturday 11:00 - 15:00 h

32

Das besondere an den Arbeiten von Jürgen Paas ist, dass er der Farbe einen Körper verleiht und zugleich lässt er den raum selbst zum Farb-körper werden. Alleine aus Farbe und mit Farbe gestaltet er seine Bilder bzw. objekte. Bei den objekten bedient er sich oftmals der industriel-len Anfertigung, um der Dominanz des Pinselduktus entgegenzuwirken. Die maschinelle herstellung und die reduzierte Ästhetik verdrängen keinesfalls die Möglichkeit der künstlerischen Entscheidungsge-walt. Jürgen Paas reagiert durch und durch subjek-tiv, in dem er im bestimmten raum und mit bestim-mten Materialien und bestimmter Ästhetik agiert.

Anna Werzowa ist auf der Messe mit cybugs ver-treten. sie stellt mit unglaublicher (und zum teil ungeheuerlicher) Akribie aus Teilen der toten In-sekten die sogenannten cybugs her. Dem herkömmli-chen Begriff nach, bezeichnet ein cyborg ein Mischwesen aus lebendigem organismus und Maschine. Zumeist werden damit Menschen beschrieben, deren Körper dauerhaft durch künstliche Bauteile ergänzt werden. Bei Anna Werzowa werden nun die Insekten neu zusammengestellt und mit Technik in eine sym-biotische Verbindung gebracht. Mittels gesteuerten magnetischen Wirkung oder mithilfe von Ventila-toren werden die faszinierenden objekte in den Glaskugeln in Bewegung gesetzt.

33

Multimedia-Installation, ca. 300x600x600cm, 2003

copyright GALErIE PEIThNEr-LIchTENFELs 2014

GALERIE PEITHNER-LICHTENFELS, vienna


JürGEN PAAs50 FARBEN

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sonnenfelsgasse 6

A-1010 Wien

+43 1 236 9 236

+43 1 236 9 236 9

[email protected]

www.peithner-lichtenfels.at


saturday 10:00 - 16:00 h

34

DAM GALLErY is dedicated to the influence of digi-tal media in contemporary art since the 1960s.

35

software, variable Größe, 2013

copyright DAM GALLErY 2014

DAM GALLERY, frankfurt | berlin


cAsEY rEAsSIGNAL TO NOISE NO.3

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Gutleutstraße 17

D-60329 Frankfurt am Main

+49 0 69 24 00 32 80

[email protected]

www.dam-gallery.de


saturday 12:00 - 16:00 h

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The work schrIFTsAETZE from media-artist Boris Petrovsky consists of 2 neon-light towers in which all 26 letters of the alphabet are layered upon one another. The two towers are part of the ongo-ing project Große Erzählungen in kleinen Einheiten (Big Tales in small bits). They are connected to a computerprogram which coreographs the appearance of the letters to form the entire text of homers “Ilias“ on one tower as well as Karl Marx “Kapital Bd.1“ on the other. In the Ilias, every letter is enlighted for one second. so it would take seven days for the entire text to show up. To follow the story this way is made more or less impossible. Tale and language freeze in an unreadable follow-up of autonomous signs.

The constance based artist, who was honoured by the Ars Electronica often visualises the autono-mous ways of language and signs.

Petrovsky tears apart the meaning of signs and discovers the conditions of language and object. he decodes the interrelations of communication, information and interaction. With that, he unrav-els the technical conditions of his articulation in form of (light-)material, cables, etc.

www.petrovsky.de

THE VIEW - Contemporary Art Space … is a new platform for contemporary art and ex-perimental exhibition forms. At exposed locations above the swiss shore of Lake constance, three subterranean exhibition rooms and a studio gallery will offer a profound insight into international contemporary art once a year.

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copyright ThE VIEW 2014

THE VIEW, salenstein


BorIs PETroVsKY

Actual positions on the themes of space, light, sound, photography, media art and moving pictures will be the main focus of the exhibition projects. The historical water reservoir, built in 1900 of massive concrete, has been reconstructed sensi-bly and, in adaption to the requirements of multi media presentation, techniques were implemented, which transform this location into an extraordi-nary exhibition space for spatially based instal-lations. Equally, the clear, reduced architecture of the air-raid shelter in salenstein, built in the late 1980s, allows a unique subterranean encounter with contemporary art. To complete the row of exhibition spaces, there is a cave-like military shelter near the water reservoir in Ber-lingen. As a connection point and visitor center between the subterranean project rooms exists a studio gallery called schrEINErEI14 in Fruthwiler-str. 14 in salenstein.

Artists exhibiting at ThE VIEW usually develop a site-specific project for the spaces and create a new body of work which is displayed in frames of the exhibition for the first time.

since 2010, the following exhibitons have taken place at ThE VIEW:

2010 KOWANZ / LEITNER / LIESHOUT 2011 CHRIS LARSON 2012 CHRISTA SOMMERER & LAURENT MIGNONNEAU 2013 YVES NETZHAMMER

ALTE VERSTECKE IN NEUEN RÄUMEN

SCHRIFTSAETZE

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Fruthwilerstrasse 14

ch-8268 salenstein

+41 71 669 19 93

[email protected]

www.the-view-ch.com

saturday - sunday 14:00 - 19:00 h

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Steve Turner Contemporary is pleased to announce its participation at the inaugural edition of UNPAINTED, the media art fair in Munich, where we will present digital paintings and electronic work by Petra Cortright (Los Angeles) and Rafaël Rozendaal (New York).

Petra cortright began presenting work on the internet at age fifteen and has been one of the best known and most widely exhibited internet art-ists over the last decade. In the last few years, cortright has moved beyond just jpegs, websites and YouTube and has begun to incorporate elements of the online experience into her static works. At UNPAINTED, we will present a selection of webcam videos as well as digital paintings on aluminum. The webcam videos are all self-portraits entirely free of post-production editing and they are priced according to the number of times they have been viewed on YouTube. cortright”s most recent works are paintings that she creates digitally on her computer and has printed on aluminum. her first extensive solo exhibition took place at steve Turner in November / December 2013.

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2013, Lenticular print, 1219x914x3.8cm

copyright sTEVE TUrNEr coNTEMPorArY 2014

STEVE TURNER CONTEMPORARY, los angeles


rAFAëL roZENDAAL

In his multifaceted practice, rafaël rozendaal utilizes the electronic screen to create works that resides somewhere between painting and anima-tion. over the last thirteen years, he has created scores of websites that function as individual works of art, each having a title that also serves as its domain name. Though collectors may buy them, rozendaal stipulates in his Art Web-site sales contract that the sites must remain on public view. More recently, he has extended the imagery of certain websites into lenticular paintings, abstract works that are static when viewed from a fixed point yet become animated when the viewer alters his perspective. At UNPAINTED, we will present a different website each day as well as a selection of new lenticular paintings. rozendaal”s second solo exhibition at steve Turner will open in May 2014.

INTO TIME 13-05-07

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6026 Wilshire Blvd., Los Angeles, cA

UsA-90036

323 931 3721

323 931 3751

[email protected]

www.steveturnercontemporary.com


copyright sTEVE TUrNEr coNTEMPorArY 2014

PETrA corTrIGhT

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Stephan Reusse lives and works in Cologne. We will show his Laser and Thermovisions.

The way I work as a Media artist is of experi-mental/conceptional character with documentarial orientation.

In my work, I place the picture reality in a relationship to the proportional reality. For the lightwork Dominigue I use Laserscanns, to simulate with a moving lightline the real authentic moving samples in our visual conception. The imagination and perception condense themselves and leave in their fleetingness icons.

“Thermovision is a photography of physical ab-sence. The time of the body deals as trace of its projection.” sr

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2013

copyright GALErIE cAroL JohNssEN 2014

GALERIE CAROL JOHNSSEN, munich


sTEPhAN rEUssEMAN WHO BELIEVES TO HAVE A MOTHS IN HIS HEAD

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Königinstrasse 27

D-80539 München

+49 89 280 9923

www.artcarol.de

[email protected]


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Established in 2007, Louise Alexander Gallery is a contemporary art gallery showing mid-career and internationally acknowledged artists from a wide range of origins and with a diverse approach to different types of medium including kinetic, video, sculpture, paint and photography.

The gallery is based in Europe and presents inter-national roving exhibitions throughout the year in Porto cervo (Italy), Paris, London alongside participation to a number of important interna-tional fairs and projects continuously evolving its number of established artists from all around the globe.

Louise Alexander Gallery is also selling select works from the 20th century by artists such as Jean-Michel Basquiat, Georges condo, and Damien hirst.

Louise Alexander Gallery is managed and curated by Frederic and Ayse Arnal.

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copyright LoUIsE ALEXANDEr GALLErY 2014

LOUISE ALEXANDER GALLERY, porto vervo


MIGUEL chEVALIErVERNISSAGE DE L“EXPOSITION POWER PIXELS

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Video on LED screens

copyright LoUIsE ALEXANDEr GALLErY 2014

PAscAL hAUDrEssYSOMEWHERE WE WILL MEET AGAIN

Via del Porto Vecchio, 1

I-07020 Porto cervo

+39 331 9630682

[email protected]

www.louise-alexander.com

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since 1964, Peter Weibel (*1944 odessa) has pioneered an influential and exceptional path-way, namely, to transform language and media into fields of action and to emphasize the participa-tion of the audience. Peter Weibel recognized the political as the decisive field of action. Through the convergence of the political and the artistic action, his work anticipated the artistic activism of the 21st century, as testified in his complex blocks of themes on the constitutional state, the welfare state, terrorism and revolution.

"car Wash Incident“ by Jack+Leigh ruby is dual screen film installation inspired by the artist”s 25 year career as confidence artists carrying out theatrical insurance frauds. Based on a single surviving photograph from one of Jack+Leigh”s earliest scams "car Wash Incident“ uses their original image as a jumping off point to create a cinematically confounding situation of doppelgäng-ers and conflicting story lines. The B3 Biennale in Frankfurt saw the installation”s World Pre-miere.

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2009

copyright GALErIE ANITA BEcKErs 2014

GALERIE ANITA BECKERS, frankfurt


PETEr WEIBELSPIT PAINTINGS BETTER THAN WARHOL

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Uncut film take, transfered to DVD, 30x30x30cm

copyright GALErIE ANITA BEcKErs 2014

JAcK & LEIGh rUBYCAR WASH INCIDENT

Frankenallee 74

D-60327 Frankfurt am Main

+49 69 7390 0967

+49 69 7390 0968

[email protected]

www.galerie-beckers.de


saturday 11:00 - 14:00 h

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convinced that we are now in a post-industrial age in which digital technology offers an infinite number of ways to manipulate and represent the world we live in, Xpo Gallery mission is to try to comment on this new era of comparison, overlays, references where veracity and reality gives way to the efficiency of the digital.

The gallery relentlessly tries to break bounda-ries by mixing mediums and problematics, proving, if needed, that since the digital revolution, art still has its place in an exhibition space. The gallery approach of art is not technologically driven but focuses instead on the relationship our society maintains with the digital world.

The gallery is medium-neutral. We rarely use the labels, digital artists, new media posts, etc but just the artists.

The gallery does not support digital art but art in at the digital era. It is the insertion of this human component that makes the gallery relevant in the digital age.

The gallery supports and defends international artists, born at the end of the last century, during the digital revolution. Xpo Gallery gives priority to those artists who question human na-ture as it faces deep underlying changes, organiz-ing exhibitions and participating to international contemporary art fairs. The objective of the gallery is to build long-term relationships with artists, working with them as they mature in their artistic reflection and develop their expertise.

xpo gallery mixes a program featuring artists it represents with invitations to curators.

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Digital print, 2013

copyright XPo GALLErY 2014

XPO GALLERY, paris


PhIL ThoMPsoNVENUS

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17 rue Notre Dame de Nazareth

F-75003 Paris

+33 9 66 84 37 55

[email protected]

www.xpogallery.com


saturday 11:00 - 14:00 h

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Galerie rüdiger schöttle is pleased to present Dancing couples (after: couples at square dance, McIntosh county, oklahoma, 1939 or 1940), 2008, a work by Belgian artist David claerbout.

The significance of Dancing couples revolves around the presence of “reflected light”. The brutal flashlight that made the photograph pos-sible more than 60 years ago, and the light of the projector through which this image is seen today bear an uncanny resemblance. The inspiration for Dancing couples comes straight from the original photograph”s sweaty, frontal gazes of boys danc-ing with girls whose faces remain hidden from the camera. something of the troubled times ahead can be sensed in this work.

The extremely slow 3D movement from left to right and back can be explained as an attempt at reveal-ing the women”s faces and in so doing breaking down the inherent machism in the male positions. however, the only thing that changes is the fo-cus of the boys” gazes, which alternately look straight into and then to one side of the camera lens.

David claerbout was born in Kortrijk, Belgium, in 1967. he is one of the most important video art-ists alive and his work can be found in numerous large collections. In 2013, the Kunsthalle Mainz honoured him with a large retrospective.

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2008

copyright GALErIE rüDIGEr schÖTTLE 2014

GALERIE RÜDIGER SCHÖTTLE, munich


DAVID cLAErBoUTDANCING COUPLES

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Amalienstrasse 41

D-80799 München

+49 89 33 36 86

+49 89 34 22 96

[email protected]

www.galerie-ruediger-schoettle.de


saturday 12:00 - 16:00 h

50

Frieder Weiss is a Berlin-based video and instal-lation artist and an expert in real-time computing and interactive computer systems in performance art. he is the author of video motion sensing software especially designed for use with dance, music and computer art. As a pioneer in the field of intermedia perfor-mance he became co-director of Palindrome Perfor-mance group, developing media performances which have toured worldwide and received numerous awards (Transmediale, Berlin; cynetArt Dresden). Inspired by his early works with Australian Dancer Emily Fernandez, he developed an aesthetic, which tightly integrates visual media with the moving body. Frieder created the video projections and interactive technologies for chunky Move”s recent works “Glow” and “Mortal Engine”.

For his contribution on “Glow” he was rewarded with a “Green room award” for “Design in Dance”. Mortal Engine was awarded the 2008 Live Perfor-mance Australia helpmann Award for Best Visual or Physical Theatre Production. other recent works were developed with Long Beach opera (Los Angeles), the Moscow state circus, phase7 (Berlin), helga Pogatschar, cesc Gelabert in Munich, Eike von stukkenbrok, Berlin, Kylie Minogue (London), staatsballett Nürnberg, and others. he is working as projection designer on King Kong, a broadway music theater production by Global creatures.

Frieder is developing media installations, which have been temporarily or permanently installed in places like science Museum Phaeno, hygiene-Museum Dresden, Natlab Eindhoven,creativity Unlimited in Gothenburg as well as on numerous other occasions.

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Interactive Installation, 2010

copyright FrIEDEr WEIss 2014

FRIEDER WEISS, nürnberg


FrIEDEr WEIssBLUE FLOW

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Aurachweg 6

D-90449 Nürnberg

+49 911 678538

+49 721 151 491617

[email protected]

www.frieder-weiss.de

YoUNGIsh

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MErKUr Gallery was founded in 2010 by sabiha Kurtulmus. With her 19 years of experience in the art market, sabiha Kurtulmus has released emerg-ing and established artists, in order to shape a new perception“ and to add a new “rhetoric” in the contemporary art circle in Turkey. she works with the most significant artists of Turkey. her aim is to bring new and fresh aura to Turkey”s contempo-rary art scene by introducing the works of young artists.

MErKUr has also created spaces to young artists in the gallery. In the selection of young artists, the gallery considers the notions, concepts, dif-ferent materials and aesthetic perception of the artist”s portfolio. An independent and authentic attitude exists with the different mediums and experimental techniques used by the young artists in the expressive ways they exhibit.

With young artists, MErKUr aims to be open to the innovations brought by today”s industry and tech-nology to share this aim with the audiences via an artistic language is main priority for MErKUr.After being located at the old gallery at Nisanta-si sakayik street, for two years, MErKUr moved to its new venue of 340 square meters at the dynamic and central locations of Nisantasi, Mim Kemal oke street.

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single channel video installation, 9“20““, without sound, 2012

copyright MErKUr 2014

MERKUR, istanbul


VoLKAN KIZILTUNcUNSPECTACULAR

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Mim Kemal Öke cad. Erenler Apt.

No:12 Daire:2 Nişantaşı

Istanbul | Turkey

+90 212 225 37 37

+90 212 231 55 07

[email protected]

www.galerimerkur.com

10:00 - 19:00 h

single channel video installation, 6“, 2013

copyright MErKUr 2014

rEcEP AKArMISDEED

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Dealing mainly with language, Pietro sanguineti”s works bring to mind the aesthetics of logos and advertising, yet they are referring to art his-tory as well. It is especially in the force field between symbolism and economic aspects of our society that sanguineti”s word sculptures are so intriguing.

In contrary to the claims of the 1960ies concept Art that art was pure idea, material and form were considered as mere formalistic aspects of an artwork, what interests sanguineti is this: mate-rial and form (be it paint on canvas ... or the pixels on our computer screens) are unavoidable to give language an appearance, an essential for the constitution of meaning and even for the process of thinking itself.

The aggressive visuality that appears in conjunc-tion with language provides the “pure” meaning of the words with a sense of difference, thereby “adulterating” them in the process. These differ-ences are deliberate: “ceci n”est pas une pipe.”

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Installation, 2013

copyright NUssEr & BAUMGArT 2014

NUSSER & BAUMGART, munich


PIETro sANGUINETITHRILL

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steinheilstrasse 18

D-80333 München

+49 89 22 18 75

[email protected]

www.nusserbaumgart.com


saturday 12:00 - 16:00 h

58

TrANsFEr travels to Munich Germany for the inau-gural UNPAINTED Media Art Fair from January 17-20 2014 to debut “render Garden” new work from rick silva, and a selection of GIFs from Lorna Mills “The Axis of something” exhibition.

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realtime 3D, still courtesy of the artist


TRANSFER GALLERY, new york


rIcK sILVARENDER GARDEN

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1030 Metropolitan Ave

UsA-11205 Brooklyn, New York

[email protected]

www.transfergallery.com

saturday 14:00 - 19:00 h

Animated GIF


LorNA MILLsCHERRY POPPINS

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cimatics aims to challenge traditional approaches of contemporary art by supporting emerging and established artists working on the fringe of art, science and technology.

A strong focus is on long-term cooperations between artists and the arts industry. sustain-able relationships are emphasized especially with cultural institutions, museums, galleries and art collectors. cimatics belongs to an international network gathering groundbreaking artists, cutting edge festivals, and state-of-the art venues. one of our key realizations in the past years, as part of the 54th Venice Biennale, is the im-pressive audiovisual installation “octfalls” by Japanese artist ryoichi Kurokawa, commissioned for the exhibition “one of a Thousand Ways to Defeat Entropy”.

on the occasion of UNPAINTED - media art fair we are delighted to present a solo show of Belgian artist Frederik De Wilde, best known for his pioneering nano engineered blackest black art-work entitled “hostage pt.1”, which won the 2010 Ars Electronica [Next Idea] Voestalpine Grant and the 2011 Best European collaboration Award (1st prize).

Frederik De Wilde is an inter- and transdiscipli-nary artist, researcher and interfacer, acting on the border -and working on the interstice of- art + [science + technology]. De Wilde”s art is often experimental and tries to offer new insights in the nature of art, science and technology, how they interact and how it can take shape. De Wilde”s conceptual crux of his artistic praxis are the notions of the intangible, inaudible, invis-ible.

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copyright cIMATIcs 2014

CIMATICS, brussels


FrEDErIK DE WILDE

It is this interstitial territory that Frederik De Wilde explores in his various works. his artworks have been exhibited in Europe, UsA, Asia and Aus-tralia.

cimatics supports the work of ryoichi Kurokawa (JP), Frederik De Wilde (BE), Alexis Destoop (BE), sébastien rien (BE), Felix Luque sanchez (Es) and Mattia casalegno (IT).

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onderwijsstraat 51

B-1070 Brussels

+ 32 2 520 07 82

+ 32 475 497 110

www.cimatics.com

www.thedigitalnow.be

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Galerie Wolkonsky represents national and in-ternational contemporary artists with an unique recognition value, who are working in a wide range of medium.

The goal of the gallery work is to stimulate and encourage the perception and experience of our time, to change pre-conceived notions of national-ity and cultural identity, to create an environ-ment in which established norms became absolute and characterizations from seemingly contrasting cultures occupy the same visual space.

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3D Projection, 8 min., in loop., Unique piece

copyright Galerie WoLKoNsKY 2014

GALERIE WOLKONSKY, munich


WILLI BUchErARISTOTLE“S BRAIN

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Pacellistrasse 5

D-80333 München

+49 89 24215076 | 7

+49 89 24215078

[email protected]

www.galeriewolkonsky.com


saturday 10:00 - 14:00 h

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The Gallery christinger De Mayo was founded in september 2009.We are mainly interested in artists who focus on issues of our generation, art and architecture, utopian and dystopian questions, find the po-etic and unexpected in everyday life, rethink the mechanisms of art and perception.

our two emphasis lies on swiss and Latin American Artists. We aim to build bridges between the two continents by cooperating with Latin American gal-leries such as A Gentil carioca in rio de Janeiro or Arroniz contemporaneo in Mexico D.F. Last year we were proud to present a show at the gallery curated by Pablo Leon de la Barra and to offer our space to a young off-space in Guatemala Proyectos Ultravioleta. In exchanges like these we see the best possibility to promote a dialogue between two continents by means of contemporary art.

We participate in art fairs around the world - Art Basel Miami Beach, Zona Maco (Mexico D.F.), Arco (Madrid), Art rio (rio de Janeiro) and ArteBo (Bogota).

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Videoinstallation, 17.10 Min., sound, 2012

copyright chrIsTINGEr DE MAYo 2014

CHRISTINGER DE MAYO, zurich


YVEs NETZhAMMErPERIPHERIES OF BODIES

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Ankerstrasse 24

ch-8004 Zürich

+41 44 252 08 08

+41 44 252 08 21

[email protected]

www.christingerdemayo.com


saturday 11:00 - 17:00 h

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Art & space Gallery was set up in 2009 and launched its first exhibition in 2010. Emma Mailova, director of the gallery, dedicates her work exclusively to the representation and support of contemporary artists. The blue-chip exposition space serves as an ideal career forum for emerging and well-known artists to present their work to the large public audience.

The first exhibition held in the gallery was dedicated to the work of russian artist Kirill chelushkin, who is well known for his monumental large-scale graphite drawings. The artist is also renowned for a number of conceptual art projects and video-mapping sculptures.

chelushkin”s works are exhibited in the famous collections such as Bernard Arnault (Louis Vuit-ton Espace), simon de Pury, the Museum Ludwig in cologne, the state Tretyakov Gallery in Moscow as well as the Itabashi Art Museum in Tokyo.

The Art & space Gallery positions itself as a forum for the encounter of Eastern and Western artists as well as a go-between for prominent and young ambitious talents. Emma Mailova properly

selects artists who distinguish themselves through their highly individual creations and life stories as well as their compelling approaches to art itself.

Art & space Gallery was the official partner of the 54th Art Biennale in Venice in 2011 with the project «I MIss MY ENEMIEs“ by curator oxana Maleeva. A huge video- sculpture UPsIDE-DoWN cITY by Kirill chelushkin as well as his two large-scale drawings UPsIDE-DoWN cITY 1 and LAsT sUPPEr were to convey the main idea of the project.

Art & space Gallery participated in the Art Moscow Fairs in 2011, 2012, 2013, showcasing large-scale European and russian contemporary art from Germany, United Kingdom, Italy and russia. Most of the presented artists are permanent partici-pants of the Venice Art Biennale. Among them are: Kirill chelushkin, Gianfranco Meggiato, Konstantin Khudyakov.

The artist to be presented at the Unpainted New media art fair in Munich is Konstantin Khudyakov, Moscow, russia.

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holographic stereogram, LED Lightbox, 72x72x3 cm, 2013

copyright ArT AND sPAcE GALLErY 2014

ART AND SPACE GALLERY, munich


KoNsTANTIN KhUDYAKoVDER WRIGGRIEMEN VON ADAM

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herrnstrasse 12

D-80539 München

+49 176 850 892 90 (eng)

+49 160 9598 5128 (ger)

[email protected]

www.artandspacegallery.com

Tuesday|Thursday|saturday 10:00 - 13:00 & 16:00 - 19:00 h

Wednesay - Friday 16:00 - 19:00 h

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For powerwalk, the two artists from Munich, Thomas huber & Wolfgang Aichner, walked in the course of a one week expedition on Europe”s largest glacier, the Icelandic Vatnajökull as human power stations.

During their undertaking in september 2013, they carried mobile wind generators, producing per-manently electricity. That way generated and in special batteries accumulated wind energy indi-cates the artistic gain of the undertaking. The exploitation of energy and its consumption, staged in this project in two separate paces, evokes a strongly metaphorical quality.

In powerwalk, the artists create an absurd image, which deals with the issue of the current race for resources and energies between the industrial countries and a society orientated towards effi-ciency, profit, and entertainment.

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copyright KUNsT | KoNZEPTE 2014

KUNST | KONZEPTE, ansbach


hUBEr/AIchNErPOWERWALK

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Maximilianstrasse 27-29

D-91522 Ansbach

+49 981 205 96 80

+49 170 966 31 91

www.kunst-konzepte.de

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Founded in early 2013, Merhart Gallery is located on Tophane”s Boğazkesen street, one of Istanbul”s most significant art hubs. The three-storey build-ing that was completely redesigned and restored to meet the specific needs of an art gallery, features a two-floor exhibition area, an artists” workshop, and office space.

Ultimately we aim to show art that is prominent and equally pioneering, the gallery will work with foreign artists as much as their Turkish counter-parts.

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Digital video sequence / Installation

copyright MErhArT 2014

MERHART, Istanbul


EKIN oNATMY SILENCE HAS A REASON

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Tom tom Mah. Boğazkesen cad. No:59 Tophane

Istanbul | Turkey

+90 212 244 84 24

+90 212 244 84 25

[email protected]

www.merhart.com


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LABor 45 was founded in 2007 by Barbara herold and Kat Petroschkat. LABor 45 is about artistical research on today’s technical features and aims to find new possibilities for usage and expression from within the medium.

Topics are the communication between man and ma-chine, textuality of coded information as well as the development of interfaces between the analog and digital spheres.

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Frame-No. 0924, Prints on Alu-Dibond, 68x121cm, 2011/2013

copyright hALEh GALLErY 2014

HALEH GALLERY, Starnberg


LABor45TAKE ME TO YOUR LEADER!

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Aufkirchnerstrasse 4

D-82335 Berg a. starnberger see

+ 49 8151 97 29 860

+ 49 8151 97 22 75

[email protected]

www.haleh-gallery.com

Thursday - Friday 11:00 - 16:00 h

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dh artworks contemporary art wurde 2009 von Dirk hartmann und Michael Dornieden gegründet. Das Aus-stellungsprogramm ist neben etablierten Künstlern auf neue Positionen zeitgenössischer Kunst und die Förderung junger Künstler fokussiert.

Gezeigt wird nationale und internationale zeit-genössische Kunst aus den Bereichen skulptur, In-stallation, Malerei und neue Medien. Künstler wie beispielsweise Bo christian Larsson, Philipp Mess-ner und Frank Balve hatten ihre erste soloausstel-lung im rheinland bei dh artworks in Düsseldorf und zeigen bis heute kontinuierlich aktuelle Arbeiten in der Galerie. regelmäßig werden von dh artworks Künstler eingeladen, die speziell für die beiden Galerieräume Arbeiten entwickeln.

Neben der Ausstellungstätigkeit mit teilweise raumfüllenden Installationen liegt der zweite schwerpunkt der Galeriearbeit von dh artworks in der Produktion von Bronze-, stahl- und holzskulp-turen, Editionen sowie Künstlerbüchern.

Medienkünstlerische Produktionen finden heute im Umfeld einer fortgeschrittenen Mediengesellschaft statt. Vom Künstler verlangt dies auch ein Ver-ständnis anderer Kreativbereiche wie Performance, Literatur und Musik. Aus diesem Grund verlangt der Bereich Medienkunst vom Künstler eine crossmedialen Kreativität und diese Vielschichtigkeit interessi-ert dh artworks vorrangig. Mit der realisierung medial-künstlerischer Arbeiten verbindet sich die reflexion zeitgenössischer ästhetischer Fragestel-lungen, kultureller Diskurse und medientheoretisch-er Positionen und bietet somit eine große Bandbre-ite für eine zeitgeistorientierte Galeriearbeit.

75

copyright Dh ArTWorKs 2014

DH ARTWORKS, düsseldorf


PhILIPP MEssNEr

Die Arbeiten von Philipp Messner, den dh artworks auf der UNPAINTED München vertritt, sind in ihrer Vielschichtigkeit ein besonders gutes Beispiel für diesen Ansatz. Die Kunst passt sich, wie zu allen Zeiten, dem Fortschritt ihrer Zeit an. somit ist die Verwendung digitaler Medien und die Digitalisierung der Kunst ein logischer Entwicklungsschritt. Tablett ersetzt Pinsel und Leinwand. Facebook, Twitter, Ins-tagramm, Flickr ermöglichen eine sofortige Verbrei-tung der Werke online in die ganze Welt.

Da durch die schnelle Verbreitung und den Zugriff auf die Werkansichten von überall her die gängige Galeriearbeit teilweise unterwandert wird, ist eine Messe wie die UNPAINTED ein besonders gutes Forum um die Besucher wieder an das Werk zu brin-gen. Die Medienkunst hat nicht nur auf gängigen Kunstmessen, sondern auch allgemein im Kunstmarkt derzeit noch eine untergeordnete rolle.

Die rolle der Medienkunst ist als aufstrebend zu bezeichnen, wie die Akzeptanz und Verwendung der digitalen Medien im Allgemeinen. Durch die Forschung und Entwicklung der softwareunterneh-men werden sich immer neue Möglichkeiten auftun, auch die künstlerischen Möglichkeiten stetig zu erweitern.

Da Medienkunst oftmals die haptische Qualität fe-hlt, ist es schwieriger, die sinne des Betrachters so vielseitig zu stimulieren, wie es vielleicht andere Werkstoffe und Techniken vermögen.Daher ist gerade bei Medienkunst eine besondere Galerie- und Vermittlungsarbeit notwendig.Der Betrachter muss auf dem Weg zu einem indi-viduellen Zugang zu Medienkunst ein wenig mehr unterstützt werden.

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Bilker straße 34

D-40213 Düsseldorf

+49 211 17836780

[email protected]

www.dh-artworks.com


saturday 12:00 - 16:00 h

LAB3.0

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Unity is an interactive video installation, a study that allows the recipient to be part of the research moment, which is, already conditional upon the format, essential for the video itself. It is a recording of around 170 members of the University of Art and Design offfenbach, which have gathered to be eternalized for two and a half minutes in a self-, socially-and institutionally reflective moment.

Due to the twenty-five-fold deceleration a one-hour silent loop evolves, a recessing visuali-zation, which the viewer can interact with by zooming via touchscreen. Just like the slowdown to the verge of standstill acts microscopically, so does the scaling act on the part of the observ-ers. Nothing escapes them anymore - research on a social psychological aesthetics and observer”s attitude.

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Video Installation, Mixed Media, 60 Minutes, Loop, 2013

copyright Jonas Englert 2014


JoNAs ENGLErTUNITY

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[email protected]

www.jonasenglert.de

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In a conscious act of naiveté, inanimate objects inhale and exhale. Mundane objects that occupy our daily life become alive and breathe in the air just like us. As human beings.

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Installation, 24c×24×32cm, 2013

copyright Yuyang Wang 2014


YUYANG WANGBREATH SERIES

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hu Weiyi is a chinese Artist who studied at the china Art Academy. his work involves different media, such as video, installation, sculpture, action, and sound. he is also good at combining different media in the creative process. he also worked as curator. In 2012, he curated a young artists’ group exhibition titled "The Bad Land“ in shanghai. In this exhibition, every artist had to use their own art works to occupy a public cross-roads: the exhibition discussed the limit between art and life, public and private. his works have been widely exhibited in china and abroad.

The film depicts a confined and hermetic space in which the daily objects and natural scenery are combined with each other. It is a space separated from the real world of what people are familiar with, and is meanwhile an alienated status of non-space.

The film presents the fragments: printer is print-ing the video image of sky while producing repeti-tive mechanical rhythm, a man is trying to talk to his shadow, flying pages are falling on the umbrella like rain drops, a person is smoking in a sealed helmet experiencing the feeling of suffoca-tion.... As you can see, it”s a strange, absurd, and forgotten world.

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Video, 2012

copyright hu Weiyi 2014


hU WEIYILIMITED SCENERY

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The coal Miners research since 2004 has its focus on Ji Xi area, one of the most important indus-trial places in china since 1900, where the artist Zheng Yunhan comes from and both his parents still live both retired 10 years ago. The work is about personal research back and forward with memories since 1995, the coal miners have become a major social issue for china, with a book by Liu Qing-bang , then film maker Li yang”s work in 2003. The project is not a simple narrative of what has hap-pened but also a media piece with interactions.

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Interactive Installation, 2004

copyright Yunhang Zheng 2014


YUNhAN ZhENGJIXI RESEARCH PROJECT

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Aaajiao (XU Wenkai) was born in 1984 in Xi”an, and later moved to shanghai, where he continues to live and work.

Aaajiao is one of china”s foremost media artists, bloggers and free culture developers. In 2003, he established the sound art website: cornersound.com, and in 2006 he founded the chinese take on the blog we-make- money-not-art: We Need Money Not Art. he is devoted to Processing, an open source visual programming software, Dorkbot, a non-profit initiative for creative minds, and eventstructure, an interdisciplinary center for art, media tech-nology and academic research based in shanghai. In his works in general, Aaajiao focuses on the use of data and its various forms of display, and how meaning is understood through the process of transforming the movement from reality, to data, and back again.

his most significant aesthetic contribution to new media in china is a social one, acting as a vector for the interpretation and communication of international and local trends in the usages of software in artistic practice.

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Installation, App, 280×102×30cm, 2013

copyright Wenkai Xu 2014


WENKAI XUPURE

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Born and based in shanghai, Lu Yang graduated from the china Academy of Art in 2010. Using a variety of media: music video, installation, animation, and digital painting, the artist unflinchingly ex-plores existential issues about the nature of life and where it resides.

Armed with a overlaying mix of strategies taken from science, Pop culture and religion, among oth-ers, Lu Yang overrides the often delusional belief that humans are privileged within this universe. Instead, she highlights the biological and mate-rial determinants of our condition reminding us of our transient and fragile existence, but with an edge of dark humor that leaves no room for senti-mentality. Numerous prominent institutions, both in china and abroad, have showcased her work.

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Animation/music video, hD, 11“20“, 2013

copyright Lu Yang 2014


LU YANGUTERUSMAN

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hu Jie Ming lives and works in shanghai, china. he creates media art works and participated in many exhibitions, such as 010101: Art In Technological Times (san Francisco Museum of Modern Art, 2001), Live In Time (Nationalgalerie Im hamburger Bahn-hof-Museum für Gegenwart-Berlin, 2001), The first Guang Zhou Triennial: reinterpretation: A Decade of Experimental chinese Art, 1990-2000 (Guang Dong Art Museum Guang Zhou, 2002), Between Past and Future: New Photography and Video from china (In-ternational center of Photography New York, 2004). he made works by interactive media to participate in Techniques of the Visible 5th shanghai Biennial (shanghai Art Museum shanghai, 2004), etc. he held his solo exhibitions especially for interactive art works “connected to You”, in Bizart shanghai in 2003 and hu Jie Ming Interactive Art,in MAAc hhKK Brussels in 2004.

he participated in the Beijing 2nd international new media art exhibition at china Millennium Mu-seum, solo exhibition <city reverberation> at Di Men Art centre in Beijing 798 factory and partici-pated in < Zooming into Focus> chinese contempo-rary photo & video exhibition at china National Art Museum,<The Thirteen: chinese Video Now>P.s,1 contemporary Art center NY, <china contemporary> Museum Boijmans Van Beuningen rotterdam, Zero one san Jose: A Global Festival of Art on the Edge and the IsEA 2006 symposium, code: Blue 3rd Beijing International New Media Arts Exhibition & sympo-sium “DEAF07 rotterdam” remote control shanghai MocA, Art 38 Basel Professional Day-Focus shang-hai, Art Fair switzerland.

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Installation, 2013

copyright hu Jieming 2014


hU JIEMING

Individual Position 2-Video, Photo, and Installa-tion, shanghArT Gallery h-space,shanghai, rejected collection-More the 40 chinese artists / over 60 rejected proposals, Ke center for contemporary Arts, our future Ullens center for contemporary Art Beijing, vigilance shanghai BizArt, Another scene shanghArt Gallery h space shanghai etc.

A WORLD IS UNDER CONSTRUCTION

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Grégory Lasserre and Anaïs met den Ancxt are two artists who work together as a duo under the name scenocosme. They live in France. They develop the concept of interactivity in their artworks by us-ing multiple kinds of expression. They mix art and digital technology in order to find substances of dreams, poetries, sensitivities and delicacies. Their works came from possible hybridizations between the living world and technology which meeting points incite them to invent sensitive and poetic languages. They also explore invisible relationships with our environment : they can feel energetic variations of living beings. They design interactive artworks, and choregraphic collective performances, in which spectators share extraordi-nary sensory experiences.

They have exhibited their interactive installation artworks at ZKM Karlsruhe (Germany), at Museum Art Gallery of Nova scotia (canada), la Villa romana (Firenze), at Daejeon Museum of Art (Korea), at contemporary Art Museum raleigh (UsA), and in international biennals and festivals : Art center Nabi / INDAF (seoul), Biennial Experimenta (Aus-tralia), BIAcs 3 / Biennial International of con-temporary Art of seville (spain), NAMoc / National Art Museum of china / TransLife / Triennial of Media Art (Beijing), c.o.D.E (canada), Futuresonic (UK), IsEA / International symposium on Electronic Art (Belfast & Istanbul & Albuquerque & sydney), EXIT, VIA, Lille3000, ososphere, scopitone, sec-onde nature (France) at La Gaîté Lyrique (Paris).

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copyright scenocosme 2014


scENocosME

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[email protected]

www.scenocosme.com

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“As an artist I found the new technology platforms available in the early 90ies to be ideal to merge information from my various practices. I became aware of programming-design as cultural interfaces, and could see how important it is to induce creative values of humanity into the pro-grams and interfaces that infiltrate our lives.My research with sculpture 3D animation has given me insights into a future where information and the understanding of complex structures and com-plexities can be grasped as non-linear informa-tion, suggesting that language and transmitting knowledge will reach new levels of abstraction.The 3D animation works and immersive installations I have been presenting recently suggest a fractal bridge from the past to the future.

Art and language are and have always been tools or virtual concepts about procreation, cultural structure and our identities. The fractal instinct to build presents itself with new media; through perception, imagination, participation with indi-vidual and collective creativity. It is now a new moment for the merging of art, psychology, the sciences and spiritual awareness.”

ProJEcT: The Metamorphoses of the Virtual

Pia Myrvold presents 3 separate works for UNPAINTED Lab3.0

1/ A series of 3D motion pictures float on black screens creating a new language of shapes,sculpture as animated form.

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Multiple screen installation showing a loop

copyright Pia Myrvold 2014


PIA MYrVoLD

The sculptural forms that dominate this installa-tion, are slowly transforming both in shape and color, in endless loops. Each form, a transforming sculpture, also a signifier, makes a connection between art and language, and explores how 3D ani-mation moves us into a new era where information and knowledge can be transmitted thought 3 dimen-sional abstraction, as a development from written language into a metamorphoses of virtual signs that can be grasped by the mind with increased speed and complexity. Transforming Buddha, Mother shape, Floating Pil-lar, snow crash, Un-Dress and Venus metamorphose in a permanent luminous and musical choreography. These 3D images are pure sculptures in transforma-tion, made of primitive forms rhymed by a pulsat-ing sound. Pia MYrvoLD focuses here to the idea of sculpture as a possible animated form, viewed through hD video projections.

“The Transformation of Venus”, for example, is a form based on the oldest artifact found in Europe, believed to be a fertility goddess, connecting art to the essence of the survival of the tribe. The 3D animated Venus, will inherently ask us, who is Venus today, when we have new tools that allow us to alter the genome, program DNs, clone and have children though surrogates. starting from primi-tive or organic shapes Pia MYrvoLD actualize and bring them into the digital era, showing at the same time the development of culture and civiliza-tion as a multi fractal overlap of creative con-tinuous. her language is a culture bidge between past-present and future.The Metamorphoses of the Virtual gives us new insight into the important role of virtuality in history, art, language, in construction of society and our cultural beliefs, and shows creativity as a vector identity.

THE METAMORPHOSES OF THE VIRTUAL

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The work of Johannes Karl uses historical artworks as a starting point for looking at how people today view and understand the world. Thereby his practice thematically revolves around the manifold possibilities of living conditions in the 21st century. In addition to the reinterpretation of well known images and art historical motifs, the artist develops an aesthetic transformation of the visual language of the present media age. since images today - especially ones in the art world - are always accessible anytime and anywhere, the artist is interested in mixing them up. he reworks and combines images from different epochs and styles, thus generating new meanings.

In the film The Wanderer Johannes Karl plays with the idea of the romantic age to epitomize a more contemporary understanding of homesickness and wanderlust. At first fixed and then wandering,

the video camera shows the protagonist swinging restlessly between scenes of monumental architec-ture and unspoiled nature, always longing for the promises of the other.

As a visual quotation, the film The Luncheon on the Grass refers to the reshaping of the history of painting and its social conditioning. With his 1863 painting of the same name, E. Manet cre-ated a scandalous “modern Arcadia” as the paint-ing itself was a direct reference to the Venetian renaissance painting “The Pastoral concert,” which was recognized by the contemporary public of the time. For his video animation, Johannes Karl now chooses as his subject a deserted flower meadow. It appears to the viewer like a lovely music box, one that satisfies the longing for flower meadow surrogates. The human as consumer stands outside of this picture.

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Videostill, hD (hochformat), 3:26 min - loop

copyright Johannes Karl 2014


JohANNEs KArLDER WANDERER

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[email protected]

www.ed-water.de

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Even today, in an age of digital music files, many audiophiles still swear by their classic record player for listening to music. The exhibit »White Noise« started in February 2013 with an empty record, meaning that the groove was cut into the blank record without any acoustic information. And yet, if one listens very closely, one can hear an impressive spectrum of frequencies.

External influences, such as dust, result in an mechanical aging process, which create variations within the acoustic nothingness. Therefore, during all the exhibitions the artwork will take part, nothingness generates a complex »Noise«-sculpture.

A projection visualizes what exactly is going on in the groove: When standing in front of the record player, to your left, you will see the conserved primitive state, therefore the record”s first run. To your right, a realtime visualization of the record”s current frequency spectrum.

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2013

copyright Lab Binaer & Felix Weinhold 2014


LAB BINAEr & FELIX WEINoLD WHITE NOISE

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www.felixweinold.de

www.labbinaer.de

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Birthe Blauth holds an M.A. and a doctorate in chinese studies, Ethnology and European Art his-tory from Ludwig-Maximilians-University, Munich, Germany. her specialist areas are iconography, mythology and religious ethnology. Blauth has been internationally shown and her work has been honoured with the Munich haus der Kunst Award, the BundesGEDoK Art Award and the Prinzregent Luitpold stiftung. she currently lives and works in Munich and New York.

her conceptual work looks at the human being and explores the contingent relationship between the individual and the space. Blauth”s art is ex-tremely meditative and limpid, but close scrutiny allows the viewer to grasp the true complexity of its message.

her visual work helps to vary the perception of the difference between fiction and reality, ques-tioning the border between the two through a di-verse range of media: installation, video, sound, text and performance.

The Driftwood installation attempts to represent our thinking in all its fuzziness and with its ubiquitous chains of association, fusions be-tween the momentary experience and memory, and its circling around certain moments subjectively chosen from the ocean of options available. We are captives of our own minds. Inside and outside are indistinguishable. one video shows a route leading through a labyrinth of rooms. on their walls are post cards, which act as doors to new (memory) spaces. Another shows suggestions of objects con-stantly emerging and developing out of a sea of image noise.

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Digital painting after a still from “Driftwood”, 130x230cm

copyright Birthe Blauth 2014


BIrThE BLAUTh

Leaning against the wall is a pile of large-format canvases showing individual moments of detailed, sharp image noise, one chosen, fruitful moment of memory.

DRIFTWOOD

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www.bblauth.de

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Arne Felix Magold (Munich) deals with generative algorithms and interactive (video art) installa-tions.

In 2009 his first solo exhibition tricksal#1 took place in hamburg.

his production “Toast Pixels” attracted a lot of attention and thus was featured in many newspapers and blogs all over the world.

At the entrance of the fair, he presents his creative work “Eloquentia”, a consecutive text. A sophisticated algorithm creates sentence by sen-tence. Neither will there be a last one, nor will one resemble the other. What remains is the sheer form of language, its framework, relieved from its burden of having relevance.

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copyright Arne Felix Magold 2014


ArNE FELIX MAGoLDELOQUENTIA

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[email protected]

www.tricksal.com

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Looking back at my accomplishments over the last years, I recognise apart, from various formal approaches, a continous drive for structural con-densation.

For condensation up to a point where the shapes begin to apparently depart from their usual mean-ings and are not clearly perceptible anymore.In this structural void, an entirely new pattern for composing comes into being – an abstraction of fissuring and reformation.

seen in a sober and technical manner, one may per-ceive the eternal balancing of meaning, magnitude, colours, shades and properties in order to make out a sound in this ravaged chaos.

Most like to walking a tight-rope with concrete and depictive dynamics on one side and the white noise of ambientesque or tranceesque rhytmical harmony on the other.

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75x75x2cm, 2014

copyright holger Lippmann 2014


hoLGEr LIPPMANNPACKINGHACKING

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[email protected]

www.holgerlippmann.de

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America offline is an image series created with 45 degrees Google Maps tiles of selected U.s. cities. A custom Java application was written to download the needed map tiles directly from Google. The script used several proxy connections to bypass the Google ban. The series consists of 12 images including cities like chicago, seattle, Miami and Las Vegas. Each image consists of 2.304 map tiles, of a size of 256 by 256 pixels, that became as-sembled in its original order to reveal a large extract of a satellite photography that can not be seen on Google Maps in its whole.

In the last instance, selected pixels were sorted using a sophisticated algorithm named “Pixel sort-ing”.

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Los Angeles offline, 77x138cm, Diasec, 2013

copyright Kim Asendorf 2014


KIM AsENDorFAMERICA OFFLINE

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www.kimasendorf.com

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ole Fach is an architect and artist who investi-gates the networking of architecture, society and the new media. his projects document and reflect the cultural changes and give an insight into the world of tomorrow.

ole Fach is a trained carpenter, followed by a de-gree at the school for architecture and design in Bremen. he completed a bachelor”s degree in Bremen and the master”s program in stuttgart with a sub-sequent training as an architect in a prestigious architecture office in stuttgart.

since 2011 he runs the Fach & Asendorf online Gallery together with Kim Asendorf. The Gallery presents Internet Art and Net Art. The strong con-nection to the Internet also influences his Art. he creates websites, performances, installations, screenings and Gif s, Prints and media hacking. his work has been exhibited in Berlin, London and in the czech republic.

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southernocean_2A, 2013

copyright ole Fach 2014


oLE FAchDEEP BLUE GOOGLE

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[email protected]

www.olefach.de

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The artistic vision of Eva Paulitsch and Uta Wey-rich is dedicated to the many facets of everyday life. They find their inspiration on the street and on the mobile phones.

They approach young people and ask them for this often forgotten footage to save it from delete - by transferring it from the film maker”s mobile phones to their own via Bluetooth. They are thus interested in “No story Videos”- self made films that are produced incidentally.

since 2006, the two artists have been compiling a worldwide unique digital mobile film archive. With this ongoing collection of mobile phone videos they secure evidence of the present. Also, this archive constitutes the foundation of their artis-tic work.

In the multi-screen installation - titled true fiction - Eva Paulitsch und Uta Weyrich are invit-ing spectators to dip in that cosmos of moving pictures. Up to 40 films are shown simultaneously on seemingly floating screens. By playing the films alongside, over and with each other, true fiction raises fascinating new contexts, but also offers spaces that visitors can complete with experiences of their own biography.

space concept & projection: Philipp contag-Lada.

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Multi-screen Projection

copyright Ferdinand Neumüller 2011


PAULITsch/WEYrIchTRUE FICTION

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[email protected]

www.pw-video.com

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Besides painting, Janine Mackenroth uses concep-tual installation as a medium in her creative expression. The critical examination of people”s lifestyles of our time runs like a golden thread through her process of creation. Therefore she utilizes unexpected tools like garbage bags, enamel for cars and groceries. That the work of an artist always describes the matter nearest to himself is shown by the fact that content drives the artist.

With her happening “BrEAKING BrEAD“ (2012), Janine Mackenroth attracted attention not only in Munich. 194 old loaves of bread (representing 194 coun-tries of the earth) were arranged in the formation of the world”s map and exploded. The total time of the explosion took approximately 10 minutes. on average that meant an explosion every 3 seconds, the same time interval in which a human dies be-cause of the consequences of hunger in our world. her ambition was not to find an approach for solv-ing the world”s hunger, but rather to express the helplessness that we all feel in dealing with such a situation.

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happening, 2012

copyright Janine Mackenroth 2014


JANINE MAcKENroTh

With her installation “oNE sEcoND“ (2013), which she realized in the olympic Park in Munich, she visualized the dimension of climate change on a space of 4,819.9 m.

3,000 liters of white biodegradable paint were needed to apply the capital letter “I“ in the font of Times New roman on the lawn. This sign, which was laid out in a North-south direction, corre-sponds to the amount of ice that is melting in the Arctic per second because of global warming.The “I“, read as the roman numeral for "1“, refers to one second. Likewise, its common meaning as a personal pronoun alludes to the fact that each and every one of us causes and is responsible for man-made climate change.

BREAKING BREAD

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www.onesecond.info

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The swiss artist K-soul is the inventor of the holokinetic painting, the first living light painting in art history. he is currently the only artist to master this technique.

K-soul is developing his research on the edge of art and science. he allies modern technologies and traditional techniques to realize holokinetic artworks, poetic light gardens which he names "Jardin cosmique“.

K-soul is also a mountain guide. This activity may seem paradoxical for an artist, but he has developed a unique artistic approach based on the experience of extreme realities.

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holokinetic sculpture by K-soul

copyright Laboratoire Jardin cosmique 2014


LABorAToIrE JArDIN cosMIQUEHOLOCINEGRAM

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[email protected]

www.jardincosmique.com

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A baby emerges from the deep black, floating very slowly towards you. his open attitude and out-stretched arms invite you to embrace him. The baby then detaches from the void, floating for a moment as a fragile sculpture -- timeless and silent in space. slowly, he disappears back into the darkness. The whole is accompanied by a richly dissonant score, sound and image evoking multiple associations.

Feelings of fragility, beauty and desolation merge for an experience of quiet intensity.

Embrace Me is the world”s first 3D video art with hD high-speed camera.

Music: David Dramm

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3D stereoscopic Video Art Installation, 1“46“, 2012

copyright Arent Weevers 2014


ArENT WEEVErsEMBRACE ME

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[email protected]

www.arentweevers.com

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The Neon rex Project is a curatorial and theoreti-cal space based in Mexico city, created to experi-ment with hypermodern aesthetic languages. NrP is a laboratory open for contemporary art, science and technology. This project is inspired by neon gas, low in the atmosphere but abundant in the universe, this inert gas comes alive when stimu-lated by an electrical impulse in a controlled and enclosed space. NrP is looking for new art propos-als in order to stimulate new artwork and theory as a result of the curatorial process.

NrP is divided in two branches:

Curatorial Lab.This lab focuses on the direct work with artists to create statements about the contemporary art scene.

Theoretical Lab.The Theoretical Lab encourages the writing of new papers based on the theory resulting from the curatorial process, opening spaces to new dialogue between artists, art historians, critics and the audience.

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copyright The Neon rex Project 2014


ThE NEoN rEX ProJEcT

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neonrex.tumblr.com

www.facebook.com/theneonrexproject

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In this performance video, the artist is seen pol-ishing a vertical arrangement of four dimensional red block letters spelling B o r E which are standing on a wooden floor. Elle p.”s work is a pastiche and the female version of Bruce Nauman”s famous art piece “Waxing hot” - Eleven colour Pho-tographs 1966/7-70. Furthermore, she refines his still image into moving images and enhances his tendency to take linguistic puns literally.

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Performance, Video. 4“06“". 2011

copyright Klaus vom Bruch & Elle P. 2014


KLAUs VoM BrUch & ELLE P.BORE

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cosmic Ancestry was inspired by the theory that genetic material from space seeded the earth. It explores abstractly questions of origin, con-sciousness and mortality. The work is time-based and composed of hundreds of digital drawings. The drawings are arranged and composed with sound. They then become a visual language of samples that are duplicated, mixed and remixed to form the final visual and musical composition. The work exists as both a single channel digital animation and a site-specific multi-channel video projection installation.

Jill Taffet is a visual artist who creates im-mersive video installations, digital animation and optical experiences that explore time, motion and consciousness. her work has been exhibited nation-ally and internationally at museums, galleries and art fairs. she holds degrees from two of the most prestigious institutions of fine art; a MFA in New Genres from san Francisco Art Institute and a BFA in Fine Art from The cooper Union for the Advance-ment of Art & science in New York.

Photograph: shane o’Neill

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Digital Animation, multi-channel hD video projection, 2012

copyright Jill Taffet 2014


JILL TAFFETCOSMIC ANCESTRY

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www.jilltaffet.com

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“rEsTArT”, realized between 2008 and 2010, puts forward a series of decisively new approaches. Aspects of the clash of civilizations, the en-tanglement of our technologies in the forms of our desire, the role of cultural – and intercul-tural – memory in commerce with our contemporary situation intersect in a medial attentiveness that lays before us the ambivalence, the seduction, and the disquiet in the experience of the virtual 3-D space and the – transbiomorphic – animation in a completely new manner.

Let”s be clear from the start: “rEsTArT” is frightfully beautiful, unsettling, and entic-ing all at once, and it thereby hits a nerve with our contemporary desires and fears(…)The canon of European classical art history is supplemented by the icons of progress of china”s cutting-edge technological and urban modernization. In toto, it is a mighty undertaking and it is amazing how effortlessly the most varied objects of artistic, architectural, and design reference are combined in the almost 14-minute 3-D animation.

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3D computer animation, 14“22“, 2008-2010

copyright MIAo XIoAchUN beijing 2014


MIAo XIAochUNRESTART

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[email protected]

www.miaoxiaochun.com

INsTITUTIoN

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It is not solely the multiplicity of the museums and research institutes combined under its roof that makes the ZKM | center for Art and Media a unique culture institution worldwide. With the presentation of art and its production on-site by guest artists, the ZKM takes up the interaction of production and research, exhibiting, education and documentation in a fascinating manner. Art and me-dia art are presented in thematic exhibitions with a global focus. The Media Museum and the Museum of contemporary Art show contemporary developments in art and society across an exhibition space cover-ing almost 15.000 sqm and, in doing so, encompass all media forms and processes – from oil painting through App, from classic composition through to sampling. Each year, the interactive installations inviting visitors to participate attract a great number of especially young visitors.

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copyright ZKM karlruhe 2014

Institution

ZKM KArLsrUhE

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Lorenzstrasse 19

D-76135 Karlsruhe

+49 721 8100 0

+49 721 8100 1139

[email protected]

www.zkm.de

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In 2012, in her ongoing Ar art project "Transfor-mation“ the American artist Tamiko Thiel began developing a vision of the urban future, with the Munich neighborhood Lehel as the initial focus. The starting point was the question: how do we want to live in 30 years, and what consequences does that have for us today?

scientists, urban planners, and local residents provided Thiel with a complex web of imagery and information, which she transformed into a fasci-nating journey through time in Lehel. her artworks visualize fantasies or the seemingly impossible as potential solutions for a sustainable and communi-ty-centered future, while also imparting valuable insights on the local sites from the past and in the present.

With our smartphones we can experience animated 3D objects (windmills, waterwheels), images (sun-flowers) and texts on site – as an overlay on our actual surroundings – to show us a potential new reality.

Produced by pilotraum01 e.V. as part of the pro-ject series "overtures Zeiträume“.curators: serafine Lindemann (artcircolo) and christian schoen (kunst | konzepte). Technical collaboration with Thomas Lang and Mar-tin richartz.

With support from esri Deutschland, ArcGIs and the Department of Arts and culture of the Bavarian state capital city Munich.

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copyright PILoTrAUM 01 2014

Institution

PILoTrAUM 01

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PLATForM is a pilot project of the city of Munich - a novel initiative from the Department of Labor and Economic Development that finances PLATForM for contemporary art and culture. PLATForM creates space in Munich for cultural production and pres-entation, as well as to open up new ways of think-ing about what is relevant to contemporary culture and society with the aim to pursue a dialog and exchange between the applied arts, design and architecture as well as contemporary art. In the long run, these creative fields shall be embed-ded in urban development processes, new forms of temporarily using vacant sites located, networks between economics and culture strengthened, as well as the qualification and professionalization of creative professions.

The geographical center of PLATForM resides in a 2000 m2 floor of a building in a former industrial area in the south of Munich. here is the PLAT-ForM office, in which a team of young and engaged cultural managers and curators work. They develop concepts, programs, and new duties and activi-ties as part of a one year long trainee program. The entreé is a hall for exhibitions, installa-tions and presentations. connected is a room for workshops and presentations from international guest artists and curators. currently, 39 artists and designers who work in the applied arts work in 23 studios. PLATForM also utilizes other spots in the city for cultural production and presentation. Among others, in 2014, we will realize a series around the theme “TrANsForMING cITIEs” at Maximil-iansForum.

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copyright PLATForM munich 2014

Institution

PLATForM

We also initiate dialogue between art and econom-ics in the PLATForM satellite, which is located in the foyer of the Department for Labor and Economic Development in the city center. PLATForM is a sort of service agency for the creative sector, which develops and implements cultural concepts for the city, public institutions, and businesses.

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sedition is the world”s leading online plat-form where artists display and sell their art in digital format for connected screens and devices. sedition offers everyone an easy, enjoyable and social way to experience art-collecting at afford-able prices. The company by was founded by harry Blain, the owner of Blain|southern. The mission of sedition is to change the art world by making art affordable and universally accessible.

Art on sedition is presented in digital limited editions that exist in the digital realm. Any purchased artworks can be experienced seamlessly across all of your devices including TVs, smart-phones, tablets and computers. Works are either streamed online or offline using our free apps for iPad, iPhone, Android, samsung smart TV devices.

sedition presents a great selection of artists and artworks – starting from only €6 - with works by leading contemporary artists including Damien hirst, Tracey Emin, Yoko ono, Matt Pyke, Quay-ola and many others. With an abundance of tools at disposal, members can share, gift and invite friends to join the sedition community of artists, collectors, and curators.

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copyright s|EDITIoN| london 2014

Institution

s|EDITIoN|

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www.seditionart.com

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cAMP festival is an innovative forum and interac-tive lab for soundartists, artists dealing with installation, projections, and the new media. It is marked by experimental and electronic music in convergence with visual disciplines. For several days, a selected group of artists, who belong to the international avantgarde in their field, work in a “laboratory of time” on audio – visual projects, which will be presented to the public at the final performances.

Festivals:

1999 sudhaus Tübingen 2003 schirmfabrik Tübin-gen 2005 Montemor Portugal, Wagenhallen stuttgart 2007/09 WKV stuttgart 2010 hfG Karlsruhe 2011 Za-greb croatia, ZKM | hfG Karlsruhe 2012 WKV stutt-gart 2013 cluj, romania, salon suisse | Biennals Venice 2014 ZKM | hfG Karlsruhe

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copyright cAMP festival 2014

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cAMP FEsTIVAL

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MUsEUM

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Retrospective on computer art

In a separate area Wolf Lieser (DAM GALLErY, Berlin and Frankfurt) is curating a retrospective especially for UNPAINTED: plotter and computer graphics from the 60s, 70s and 80s, includ-ing Frieder Nake, Vera Mollner and Manfred Mohr. Lieser is internationally recognized as an expert historical positions in the field of early com-puter art. Lieser is an internationally respected expert on the history of early computer art.

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curated by Wolf Lieser

Museum

UNPAINTED MUsEUM

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courtesyDAM_Molnar_Vera

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artguideeast www.artguideeast.org

monopol www.monopol-magazin.de

sueddeutsche www.sueddeutsche.de

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MAGAZINEs

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www.unpainted.net

99artfairs GmbHMaximilianstrasse 4580538 MunichGermany

99artfairs Gmbh is legally represented by Birte Duggen.

ContactT. 49 89 18908388-30E. [email protected]

Registration:District court Munichregistration Number: hrB 205512

VAT Number:DE289795045

Layout + Design:FELD › www.feld.isATMo › www.atmodesign.de

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unpainted catalogue 2014

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