Category: Exhibition

Makroscope, Friedrich-Ebert-Str. 48, Mülheim / Ruhr

https://www.hausofxhaos.com/feeva/

https://www.instagram.com/feeva_artforum/

Through its programming, L’Œil d’Oodaaq questions the place of the image in today’s society and the way in which artists take up contemporary problems and issues of society. L’Œil d’Oodaaq is interested in all the stages of existence of the image, from its construction to its reception and circulation, as well as its recent mutations in the digital age. The association has coined the expression “nomadic and poetic image”, reflecting the shifting, multiple and reflexive nature of the images it wishes to highlight.

The Oodaaq Festival aims to be a space for meetings and cross-fertilisation around these reflections on images and their media. For the 2023 edition, the festival will be mainly devoted to video art with a particular interest in works that question contemporary struggles (ecofeminism, feminism(s), social and ecological struggles…). At the heart of its programming, videos will be presented in the context of programme screenings containing several works, exhibitions, autonomous installations, showcases and salons.”

http://www.loeildoodaaq.fr/festival-2023.php

Participating artists:

Writers: Ursula Haas, Sabine Jörg, Augusta Laar, Katharina Ponnier, Franziska Ruprecht, Barbara YurtdaŞ
Music: Masako Ohta.
Visual artists: Stella Bach, Simone Braitinger, Ruth Effer, Brigitte Heintze, Reinhild Gerum, Gabriele Irle, Claude Jones, Erika Kassnel-Henneberg, Margret Kube, Katharina Lehmann, Ina Loitzl, Iris Nölle-Wehn, Anne Pincus, Ulrike Prusseit, Katharina Schellenberger, Katarina Sopčić, Christiane Spatt, Eva Raiser-Johanson, Kathrina Rudolph.

“Artificial intelligence as a key digital technology of the 21st century is already massively influencing the media information landscape. In the age of deep learning, we are increasingly confronted with AI-controlled applications that intervene in production and economic processes, that are used in medicine and opinion research, in techniques of industrial as well as personal surveillance, but also in digital entertainment fields. AI-controlled apps that generate beings that appear human are freely available. The trade-off between usefulness and risk is a central issue. What will a future balance between nature and technology look like, in which humans retain the upper hand as moderators of a humane society?

In a separate exhibition trilogy, three projects of the Neue Galerie im Höhmannhaus explore these questions. The first is by the Augsburg video artist Erika Kassnel-Henneberg. In her artistic research, she is primarily on the trail of the so-called “Uncanny Valley”. The term was coined by the Japanese robotics professor Masahiro Mori (*1927) as early as the 1970s and refers to a hypothesis about our acceptance of artificial, humanoid figures: the more human a figure looks and appears, the higher its acceptance – but only up to a certain point, from which a sudden rejection attitude sets in with the viewer. This phenomenon, known as “Uncanny Valley”, and the feelings associated with it are not the same for everyone. Is there such a thing as an inner social rejection mechanism that intuitively wants to protect us from the “fake” of invented, human-like beings?” https://kunstsammlungen-museen.augsburg.de/uncanny-valley

Exhibition texts in English

Reviews

Vernissage

Artisttalk, 23 February 2023

Inqrvention is a primitive and technological boldness: on the walls as rupestral paintings, on links as the nature of cyber century demands – do not scan, do not touch the walls, do not open the links, do not destroy the posters, do not shoot pictures.

https://inqrvention.pb.online/manifesto

152-year-old soy sauce brewery has been renovated as a screening venue for this film festival. Tatsuno is located 100 km west of Osaka, Japan. This year is the third edition of this film festival. Last year, the people of Tatsuno organized a new experiment: the Tatsuno International Film Festival – Experimental & Animation Without Dialogue. This film festival is developed from the “Tatsuno Art Project” that started in 2011, and will be managed by the “Tatsuno Art l Executive Committee” in 2022. (In 2021, the festival was managed through a local non-profit organization.) We are working to utilize the cultural heritage that remains in the region, to disseminate excellent art internationally, and to promote communication with local residents.

https://tiff.tatsuno-fest.com/ABOUT

Participating Artists

Lioba Abrell, Marie-Luise Anten-Dittmar, Verena Blunck-Mader, Anita Braxmeier, Florina Coulin, Lycien-David Cséry, Brigitte Dorn, Ekaterina Dronova, Dorothea Dudek, Maxwell Dunlop, Jochen Eger, Isolde Egger, Eva Engelien, Thomas Fackler, Gisela Frank, Wolf Gruber, Gabriele Gruss-Sangl, Ebby Hauser, Christian Hof, Bernd Hohlen, Jürgen Hörauf, Gabriele Hornauer, Ulrike Hüppeler, Heike Hüttenkofer, Peter Junghanss, Rainer Kaiser, Daniela Kammerer, Erika Kassnel-Henneberg, Mariella Kerscher, Wolfgang Keßler, Georg Kleber, Friederike Klotz, Thomas Kroeger, Inge Lemmerz, Hélène Lindqvist, Gabriele Lockstaedt, Henriette Macalik, Christa Maria Marschall, Karl Maure, Liliana Mesmer, Christine Metz, Sigrid Münch-Metzner, Tanja Popp, Maria Prinz, Werner Prinz, Andrea Reiners, Christine Reiter, Gerhard Ribka, Marc Rogat, Erwin Roth, Jochen Rüth, Sandra Samal-Anzer, Andrea Sandner, Jeannette Scheidle, Ilan Scheindling, Katharina Schellenberger, Otto Scherer, Alice Schöndorfer, Stephanie Sixt, Gabriele Stolz, Ting Tan-Mayershofer, Andreas Vogler, Stefan Wehmeier, Josef Wehrle, Elke Wieland, Gertrud von Winckler, Hildergard Winkler, Nina Zeilhofer, Rudolf Zimmermann.

https://kunstsammlungen-museen.augsburg.de/74-grosse-schwaebische-kunstausstellung

http://www.a3kultur.de/nachrichten/74-grosse-schwaebische-kunstausstellung

https://www.kunst-aus-schwaben.de/grosse-schwaebische-aktuell

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