Search results for ""Author Inke Arns""

This volume is published to mark the 40th anniversary of the artists' collective Rrose Irwin Sélavy and to accompany the exhibition at HMKV Dortmund. Since 1983, IRWIN has been investigating the art history of Eastern Europe, especially the ambivalent legacy of the historical avant-garde and its totalitarian successors, i.e. the dialectic of avant-garde and totalitarianism. Since the 1990s, the focus of the group has been on challenging the art history of Western Modernism in a critical and iconoclastic way. The artists playfully and darkly contrast it with the retro avant-garde and an Eastern Modernism.The book, which can be read from both sides, is made up of two parts: the first chapter explores the black humour that is a consistent element in IRWIN's work. The second chapter examines issues relating to the state and how IRWIN uses them to comment on current topics such as migration.Text in English and German.

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Computer Grrrlz brings together 23 international artistic positions that negotiate the complex relationship between gender and technology in past and present. The book deals with the link between women and technology from the first human computers to the current revival of techno-feminist movements. An illustrated timeline with over 200 entries covers these developments from the 18th century to the present day. The publication presents artists, hackers, makers and researchers who are working on how to think differently about technology: by questioning the gender bias in big data and artificial intelligence, promoting an open and diversified Internet, and designing utopian technologies. The perspectives presented here address a broad range of topics: electronic colonialism, the place of minorities on the Internet, the sexist bias of algorithms, the dangerous dominance of white men in the development of artificial intelligence and digital surveillance, but also ideas on how we can change our traditional ways of thinking. Artists included: Morehshin Allahyari, Manetta Berends, Zach Blas & Jemima Wyman, Nadja Buttendorf, Elisabeth Caravella, Jennifer Chan, Aleksandra Domanović, Louise Drulhe, Elisa Giardina Papa, Darsha Hewitt, Lauren Huret, Hyphen-Labs, Dasha Ilina, Roberte la Rousse, Mary Maggic, Caroline Martel, Lauren Moffatt, Simone C. Niquille, Jenny Odell, Tabita Rezaire, Erica Scourti, Suzanne Treister, Lu Yang. Text in English and German.

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This book focuses on right-wing populist movements that are heavily reliant on the Internet and social media to spread their ideas. It explores the emergence of a (sub)culture of transgression in online forums such as 4chan and on platforms such as Breitbart News. The artists featured in this volume address Internet phenomena such as memes (e.g., Pepe the Frog, probably the most well-known symbol of Trump supporters), figures such as Steve Bannon, flag worship, the prepper scene, white supremacists, and Dark Enlightenment. The catalogue includes a comprehensive introduction to the issue, an interview with the science writer Angela Nagle, entries on all of the works, a critical glossary, and a list of links to relevant online resources. Text in English and German.

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Based on the art project of the Mallinckrodtstraße workshop on Romani building culture of the same name and the redesign of a building façade in the Nordstadt district of Dortmund in September 2019, this publication focuses on a special form of architecture that has arisen in Romania, among other places, in the last 30 years which is characterised by expressive façade designs. Text in English, German and Romanian.

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Every month, the art association HMKV presents the latest videos by international artists in its series “HMKV Video of the Month” which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV. For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labour conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old ‘new’ right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview. Text in English and German.

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Every month, the art association HMKV presents the latest videos by international artists in its series “HMKV Video of the Month” which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV. For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labour conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old ‘new’ right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview. Text in English and German.

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In the popular imagination, artificial intelligence (AI) is usually portrayed as a divine entity that makes “just” and “objective” decisions. Yet AI is anything but intelligent. Rather, it recognises in large amounts of data what it has been trained to recognise. Like a sniffer dog, it finds exactly what it has been taught to look for. In performing this task, it is much more efficient than any human being – but this precisely is also its problem. AI only mirrors or repeats what it has been instructed to reflect. Seen in this light, it may be viewed as a kind of digital “house of mirrors”. Humans train machines, and these machines are only as good or as bad as the humans who train them. Based on this insight, the publication addresses not only algorithmic bias or discrimination in AI, but also AI-related issues such as hidden human labour, the problem of categorisation and classification – and our ideas and fantasies about AI. It also raises the question whether (and how) it is possible to reclaim agency in this context. Text in English and German.

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The title of the catalogue of works by the artist duo Stefan Panhans (Germany) and Andrea Winkler (Switzerland) is a nod to the rhetoric used by evangelical megachurches in the United States that preach a market-oriented, neoliberal ideology of individual self-optimisation under the guise of Christian pastoral care. The artists’ works touch on electric SUVs, communication with forms of artificial intelligence, racism in everyday life, celebrity cults, stereotypes, computer games, the “uncanny valley,” and other post-digital feedback loops between humans and virtual worlds, but also on the precarious condition of cultural sector workers. Panhans and Winkler are masters at using a broad spectrum of artistic genres and media, such as novels, texts, performances, installations, miniseries, musicals, sculptures, objects, films, videos, and dance. Their video installations can be subsumed under what is known as “expanded cinema”: the displayed objects, which also appear in the videos, are presented in a way that allows the films to expand into the surrounding space, drawing viewers into the artwork. Text in English and German.

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