The Digital Condition and the Transvaluation of the Aesthetic
The digital realm offers experiences, procedures, machines, perceptions, and temporalities that have been made available as a kind of raw material from which artists can create new aesthetic tropes relevant to contemporary life. This is obviously true for new strategies for image processing and digital animation, but also for the artistic use of the rhizomatic, for instance.Through lectures, discussions, and screenings, this one-day symposium devised by Lars Bang Larsen and Charlotte Laubard from Work.Master, (with the collaboration of Microsillons), will engage our digital condition as a historical and conceptual negotiation, and explore how it changes and transforms traditional aesthetic concepts.
It will also feature a selection of videos available online that are using collages, non-linear, or associative narratives, in the form of video-essays, vlogs, trailers, and web series.
10am- COFFEE & CROISSANT
Room “PéTAL 1 »
Ham van den Dorpel, “The F.our M.aste.r Trop.es”, 2014, 04mn40
Basim Magdy, “13 essential rules for understanding the world”, 2011, 05mn13
Martine Syms, “Lesson I-XVI”, 00mn30 each
11am- THE MUSEUM OF POST DIGITAL CULTURES
Elise Lammer, in conversation with Paul Feigelfeld
The Museum of Post Digital Cultures was created in 2013. As an online platform, it is meant to collect, preserve, exhibit, and research the issues addressed during the symposia on post digital culture organized each year in Lausanne. Mirroring a museum irl, the mission of the Museum is to build a collection and to make it available to the public. Consisting of texts, films, sounds and artworks, the museum gathers individual and subjective positions, and does not aim to draw an exhaustive map of historical references but rather to build a specific identity shaped by the donated contributions. Since 2014, the Museum of Post Digital Cultures has been inviting guest curators to temporary ‘take over’ the online museum. Bringing their own expertise and network, each guest curator ‘rehangs’ the museum’s collection and bring new donations, temporary sharing their vision of what an online archive could or should be. Past guest curators include: The Young Girl Reading Group, Natural Fair, Sabine Himmelsbach & Alexandra Adler, Karen Archey, Pieter Vermeulen & Christopher Clarijs, Paul Feigelfeld and Harry Burke.
Elise Lammer was trained as an artist in Barcelona and holds an MFA in Curating from Goldsmiths College, London. She is associate curator of SALTS in Basel, the host and founder of Kunsthalle Roveredo, an artists residency program and exhibition space located in Graubünden, Switzerland, and the curator of Post Digital Cultures, a yearly symposium exploring the relationship between art and new media, commissioned by the Swiss Federal Office of Culture and Les Urbaines Festival, Lausanne, Switzerland. Since 2014 she is a researcher at APRA, the Adrian Piper Research Archive in Berlin.
Paul Feigelfeld is the academic coordinator of the Digital Cultures Research Lab at the Centre for Digital Cultures at Leuphana University Lüneburg. He studied Cultural Studies and Computer Science at Humboldt University in Berlin. Between 2004 and 2011, he worked for Friedrich Kittler and is one of the editors of his collected works. From 2010 to 2013, he was a teacher and researcher at Humboldt’s Institute for Media Theories. His writing appears in publications such as 032c, e-flux, frieze, Texte zur Kunst, PIN-UP, or Modern Weekly China, as well as in books and catalogs. He currently teaches at UdK Berlin in the Hito Steyerl Class and the Art Institute FHNW Basel.
Steven Roggenbuck, “Make something beautiful before you are dead”, 2012, 03mn05
Oliver Laric, “Versions”, 2009, 06mn26
Steven Roggenbuck, “We’re alive at the same time ☺”, 2012, 05mn33
Oliver Laric, “Versions”, 2010, 09mn06
Steven Roggenbuck, “Gradually there is less and less of my life remaining”, 2015, 06mn42
Room “PéTAL 1 »
02.00- CREATING CONDITIONS OF POSSIBILITY: USING DIGITAL TECHNOLOGY FOR SOCIAL
Drawing on examples of artistic practice, this talk will explore how wikis, barcamps and 3-D printing are mobilising digital technologies to grapple with social injustice and experimentally create other worlds that overlap with existing ones. At stake here is the potential of these technologies to facilitate forms of collaboration that aspire to more equitable social relations and value systems, thereby challenging the winner-takes-all economy of the dominant art world.
Marsha Bradfield is an artist, curator, writer, educator and researcher. For the last decade, she has worked almost exclusively in collaboration, exploring cultural production through co-authored projects. This research-based approach often results in events that Marsha later re-presents in publications and performative lectures. Her accounts combine the rhetorical styles of fact and fiction as she works with sites, objects, images, structures and processes. Marsha’s current body of work explores the intersection of economies and ecologies in co-production and has developed through practicing with Precarious Workers Brigade, Critical Practice Research Cluster and many more people besides. Marsha is co-director of Pangaea Sculptors’ Centre, a visiting scholar at Chelsea College of Arts and has recently joined the Board of Mentors for the Barbican’s Fish Island Labs. She lives and works in London.
Melanie Gilligan, “Crisis in the Credit System – Episode 1”, 2008, 8mn27
Korakrit Arunanondchai, “2557 (Painting with history in a room filled with men with funny names 2) (trailer)”, 08mn48
Melanie Gilligan, “Crisis in the Credit System – Episode 2”, 2008, 9mn16
DIS feat. PARIS ASMR, “Co-Workers’ teaser by DIS and Douglas Coupland”, 2015, 01mn03
03.30- CO-WORKERS – NETWORK AS ARTIST
Currently shown in ARC / MAMVP, Paris, Co-Workers – Network as Artist presents a selection of international artists trained during the 2000s whose innovative practices are largely based on networking. Mounted by the New York collective DIS, the exhibition foregrounds a new artistic language taking its inspiration from Internet resources.
With the world in the throes of the third industrial revolution, the use of the Internet and mobile telephone systems has triggered a new mode of communication hinging on an uninterrupted flow of information. While remaining independent, the user is connected to numerous networks –professional, technical, artistic, cultural, etc. – that recognize no geographic boundaries: a form of organization symptomatic of what sociologist Barry Wellman calls “networked individualism”.
Toke Lykkeberg is a curator and art critic based in Copenhagen. He has curated some fifty exhibitions in Denmark, USA, France, Holland, and Vietnam. His recent projects include the group exhibition Co-workers : Le réseau comme artiste, at ARC/MAMVP (Paris, 2015), L’embarras at Toves (Copenhagen, 2014), Branding as Branding: The Making of Superflex at Kunsthal Charlottenborg (Copenhagen, 2013) and the group exhibition Rematerialized at New Galerie (Paris/New York, 2013). He is the former director and co-founder of the exhibition site IMO in Copenhagen. He has written, among others, Ikke-kunst som sidste kunstneriske tendens (Kopenhagen publishing) and Zeus – L’exécution d’une image (Ed. Gallimard).
Elisa Giardina Papa, “need ideas!?!PLZ!!”, 2011, 05mn28
Jacolby Satterwhite, “Reifying Desire 3”, 2012, 17mn04
Korakrit Arunanondchai, “The Last 3 Years and the Future (trailer)”, 2014, 01mn37
(Graduate Institute / Institut des hautes études internationales et du développement)
Chemin Eugène-Rigot 2, 1202 Genève