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This is broadcast In the case of this exhibit, adding up to ten hours, thirty-one and forty seconds which viewers break down and recombine at will.
Historically, the development of video as an art form occurs in tandem with the spread of the electronic image and its interlacing with everyday life, irreversibly altering our perception of time and space.
Even more so in a context in which it is continuously changing, making us anxious to keep up and directly influencing the way capitalism affects our consumer desires and drives.
The virtualization of our world experience and increasing temporal hence subjective compression are the context the artists must deal with to create their work.
Thus, time not only kills passively, it kills a little more every second. The exhibition comprises three halls for large-scale installations on the fifth floor displaying works by Arthur Jafa, Rachel Rose, and Monica Bonvicini, immersive spaces that offer time-based experiences isolated from their surroundings.
Around these spaces, in the circulation areas, other works establish new relationships with one another. In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works.
The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture.
On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons.
Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing.
The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time.
The exhibition constituted the largest presentation of time-based media works in Israel. As a whole, the collection centers contemporaneity as an active engagement with the here and now.
True to this emphasis, this exhibition focuses on the contemporary part of the collection. The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed.
This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists.
These range from performative and theatrical elements in the works to different means of narration. More than half of the artists featured in the exhibition are women.
This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole.
Implicit subtexts of power struggles — between the sexes, between the individual and society, and between different creative traditions — are present throughout, resulting in an exhibition that is contemplative, seductive and reflective.
The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time.
They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium.
It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on.
It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions.
A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today.
A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new.
We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see.
Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.
With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence.
Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance.
Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill.
With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art. As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality.
By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies.
The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present. As of 16 April across a total space of over 2, sq.
The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures e.
The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.
Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq.
Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images.
Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music.
The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn.
Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring.
The Driver by Andreas Korte plays inside a parking building. A person facing away from the viewer is moving towards the exit.
Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history.
Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf. A wild, colourful pictorial history of architecture begins to the rhythm of the music.
In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox.
How to find us. The visit of the JSC Düsseldorf is only possible for adults and children from 6 years with an own mouth and nose protection everyday mask.
Please visit the JSC Düsseldorf only in the company of individuals with whom contact is permissible according to current government regulations. Actual information on the measures currently in force in the State of North Rhine-Westphalia is available at www.
Please keep a distance of at least 1. Groups of people less than 1. Admission to the exhibitions at JSC Düsseldorf is free of charge.
Advance registration for the visit during the opening hours is not required. However, for insurance reasons, we request that you register with your name at JSC Düsseldorf reception desk upon arrival.
Public guided tours in German and any other events cannot be offered at JSC Düsseldorf in the foreseeable future due to current circumstances.
You can also find our offers on Musenkuss , the platform for cultural education in Düsseldorf. Special guided tours in english and any other events cannot be offered at JSC Düsseldorf in the foreseeable future due to current circumstances.
The JSC Düsseldorf is accessible for those with wheelchairs or prams. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.
The distinctive nature of the collection carries over into the space in which it is exhibited. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light.
A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality.
The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson.
The building, which dates to , is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building.
Having served many different purposes over the course of its year existence, the building reflects how industry evolved during the 20th century.
Before it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for — among other things — military purposes.
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Big series with the Padres, who are now just 2. Some bright spots…. JT will return soon, as will Kelly. As they closeout the season, the Dodgers are reverting to their TBD starting rotation….
Will Kenley have any gas left in the gas can for the October drive? Will Muncy and Bellinger awake from their comas and tighten their jock straps for the stretch run?
Why would Dodger Brass allow that to happen? Our Dodgers rolled over and played dead. Padres celebrate over their win against the hapless Dodgers.
Dodgers are soft. A defensive lineup which resembled The Keystone Cops, unacceptable. I unfortunately see a first round elimination for our Doggers,.
Man, you clowns are brutal. Kenley needs to be moved back into middle relief and if he can regain any form possibly be used in setup situation — though I think Graterol or others are more suited to that now.
As far as contracts — they get what the market will bear. I would too, so would you. And you expect any player to walk away and give his remaining salary up.
Well, sorry Dan, but that is what baseball has turned into…. It is not us fans, who give out the contracts, the owners do, but we certainly foot the bill, The owners do not.
Even after shelling out the millions to their players, the owners still laugh to the bank with multi-millions in profits. The money is too huge to just look the other way, and see these players literally steal millions from the fans.
The greedy players, agents, and owners owe it to the fans, to produce. The owners do not care, as long as those turnstiles and concessions keep rolling the cash in.
The players do not care, because their millions are guaranteed. Sure these players may have performed miracles in the past, and I respect that.
But what he has done in the past does not justify the salary he is making today if he does not do his job, it is as simple as that.
If you do not see it Dan, then you are possibly part of the problem. It is a business, so I expect them to do their jobs. What is so wrong about that?
But, I still love the game. I just do not agree with the direction it has taken. You expect them to do their jobs is a lovely sentiment. We very rarely see any shred of evidence to support your views, other than the views you are getting through those dang rose colored glasses.
Well, Maybe it is too late to make any difference. The players are millionaires. I have a hard time feeling sorry for millionaires.
Should we shed a tear for the feelings of multi-millionaires? Do you think the millionaires owners and executives included go through the same problems that you and I do?
I think they can handle a little criticism. If you make millions on the big stage then you should be able to be critiqued harshly by writers and commenters on the internet.
The players make more money then doctors, nurses, soldiers and front line workers. There is overwhelming evidence the players and owners are all greedy.
Should we shed a tear and treat them with kid gloves? There are more paths to getting an MD than getting into the majors.
The medicine profession allows people who go to school at some third rate school in Mississippi to market themselves as a peer to a Harvard Medical School graduate.
This undoubtably creates downward pressure on what a Harvard trained doctor can make. Baseball as a money pit 2.
Players not doing their job. Scott, if you think what BlueFan and I discuss here ever impacts baseball players you are completely insane.
I criticize owners all the time. For adhering to silly luxury tax thresholds for no real reason. Access to games, to stats, to players is more universal than at any time in history.
The number of forums for fans and number of interesting analysis and commentary are at an all-time high. Of course nothing we say here impacts baseball games in any way.
Becoming a doctor or baseball player, which is more difficult? Both are very hard. But for just as many small town quxk doctors, there are just as many terrible baseball players who do make thr majors.
There are hoards of players who bat below the mendoza line and sit on the bench as utility guys. Or middle relievers who become mop-up guys.
There are good and bad to everything. What you are talking about is access to media. Thats great and we live in an age where everything is available to us on demand.
But Bluefan has a point in that the owners, players and game executives do pass the buck to the fans. Ticket prices, concessions, parking, merchandise goes up every year.
THAT IS GREED. Its not market, or inflation, or whatever economic excuse you want to call it. Every year the average salary for a baseball player which is now around half a million and in turn the cost of tickets, food, parking all go up as well.
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