FACELESS part I
The exhibition FACELESS at freiraum quartier21 INTERNATIONAL explores the phenomenon of inescapable recognizability in the media and the resulting strategies of media users to become virtually faceless.
FACELESS part I
Date: Jul 04 to Sep 01, Tue-Sun 13:00-19:00
Opening: Wed, Jul 03, 19:00
Press preview: Wed, Jul 03, 10:00
Location: freiraum quartier21 INTERNATIONAL
The exhibition FACELESS at freiraum quartier21 INTERNATIONAL explores the phenomenon of inescapable recognizability in the media and the resulting strategies of media users to become virtually faceless. FACELESS takes a radical look at this fairly recent phenomenon of everyday media culture and shows how it manifests in visual art, fashion, photography, advertising, and dance. The show features works by artists like Marina Abramović, Thorsten Brinkmann, and Maison Martin Margiela as well as projects created by unknown Internet dwellers.
The highly diverse strategies and methods of making faces “disappear” on the Web can be read as ironic, angry, or justified criticism of our media-infused reality. Faces do not disappear, but are manipulated beyond recognition, sometimes disfigured. The artist Bogomir Doringer, in collaboration with Brigitte Felderer from the University of Applied Arts Vienna, curated the two-part exhibition FACELESS. Part 1 is on view from July 4 to September 1, 2013.
“Many of the faces that appear on the Web are familiar and well-known. We recognize them, associate biographies, scandals, stories with them, and get the impression of gaining an insight into a personality and even witnessing an entire life. But in the end, the physiognomies we encounter only reflect our own personal concept of happiness, recognition, attention, and success,” says Brigitte Felderer.
“FACELESS critically examines problems of our media culture and presents the various approaches taken by the artists selected. Due to the complexity of the subject, the exhibition will be shown in two parts, a first for freiraum quartier21 INTERNATIONAL,” adds Dr. Christian Strasser, director of the MuseumsQuartier Wien.
After the events of 9/11 and in response to the fear of terrorist attacks, the levels of transparency and control have been taken to areas where they would have been unthinkable before. This has led to a change in security concepts and the expansion of surveillance systems. Social networks, which often violate privacy but promise their users popularity in exchange, have become the norm. Many artists critically engage with this subject and use “hidden” faces as a possibility to live an unobserved life.
Artist Thorsten Brinkmann, for example, presents self-portraits that in color, pose, and composition are reminiscent of classic portrait painting. But used and discarded everyday objects replace his facial features. Masks and head coverings from fashion labels like Maison Martin Margiela, Viktor & Rolf, and Bernhard Willhelm suggest that models’ faces have been redundant for the presentation of collections.
Conversely, a public persona like Marina Abramović attempts to relativize her high recognition value in photographic self-portraits. Frank Schallmaier, in turn, makes collages using photographs that he finds in social networks and online matchmaking sites for homosexuals: they portray people who show themselves, but hide their faces with the promise of retaining anonymity. Hester Scheurwater’s photographic works examine the media representation of women as objects of desire. In Ute Klein’s photographs the bodies of lovers melt into temporary, faceless sculptures. The self-portraits of Nienke Klunder parody the banal omnipresence of erotic images.
The side program of the exhibition includes special events, artist talks, workshops for kids and teens, and podium discussions. On opening night, visitors will be able to participate in the performance “Anonymity” by Addie Wagenknecht and Stefan Hechenberger, a playful critique of surveillance society. Black glasses distributed to the visitors are reminiscent of censor bars and images from surveillance cameras make the observed into observers. Addie Wagenknecht and Stefan Hechenberger developed “Anonymity” in New York and adapted it for the opening of the exhibition FACELESS. The performance is documented by ARISTIC BOKEH, an initiative to qualitatively explore, map and extend the electrosphere with parameters of artistic research and development. The initiative is part of the project Artistic Technology Research at the University of Applied Arts, Vienna.
Marina Abramović (SRB/USA), Marc Bijl (NED/GER), Thorsten Brinkmann (GER), Ondrej Brody (CZE) & Kristofer Paetau (FIN), Asger Carlsen (DEN/USA), Nezaket Ekici (TUR/GER), Shahram Entekhabi (IRI/GER), Caron Geary aka FERAL is KINKY (GBR), David Haines (GBR/NED), Ren Hang (CHN), Sabi van Hemert (NED), Ursula Hübner (AUT), Damier Johnson aka REBEL YUTHS (NGR/ITA), Brian Kenny (USA), Ute Klein (GER), Nienke Klunder (USA), Manu Luksch (AUT/GBR), Zachari Logan (CAN), Maison Martin Margiela, Slava Mogutin (RUS/USA), Veljko Onjin (SRB), Bernd Oppl (AUT), Tanja Ostojić (SRB/GER), Gareth Pugh (GBR), Eva-Maria Raab (AUT), Ana Rajcevic (SRB/GBR), Tarron Ruiz-Avila (AUS), Viktor & Rolf (NED), Daphne Rosenthal (NED/USA), Mustafa Sabbagh (JOR/ITA), Olivier de Sagazan (FRA), Daniel Sannwald (GER/GBR) for WOODKID, Frank Schallmaier (NED), Hester Scheurwater (NED), Jan Stradtmann (GER), Sergei Sviatchenko (UKR/DEN), Jun Takahashi for UNDERCOVER (JAP), Marc Turlan (FRA), Levi van Veluw (NED), Philippe Vogelenzang & Majid Karrouch (NED), Addie Wagenknecht (USA) & Stefan Hechenberger (AUT), Katsuya Kamo for Junya Watanabe COMME des GARÇONS (JAP), and Bernhard Willhelm (GER/FRA). Some of the artists will prepare their works as Artists-in-Residence at the MuseumsQuartier.
FACELESS is organized in cooperation with the Federal Ministry for European and International Affairs, the WIENER STÄDTISCHE Versicherung AG Vienna Insurance Group, the University Mozarteum Salzburg, the Dutch Embassy in Austria, as well as with the support of partners and sponsors from Austria and abroad.
Picture: © Sabi van Hemert
www.facelessexhibition.comThu, Jul 04 2013 to Sun, Sep 01 2013
TONSPUR 74: Gustav Deutsch (AUT) - Die Zisterne von Phenakides
8-channel sound installation in the TONSPUR_passage
Opening: So 28.05., 17h
No English description available.
http://www.tonspur.at/May 28 to Jun 29, daily 10-20:00
MOOD SWINGS – On Mood Politics, Sentiment Data, Market Sentiments and Other Sentiment Agencies
Exhibition in the frei_raum Q21 exhibition space
Opening: Thu, Mar 30, 19:00
Press Tour: Wed, Mar 29, 10:00
Venue: frei_raum Q21 exhibition space
Photos of the Opening
It is moods rather than facts that are determining perceptions, decisions and courses of action to an ever greater degree. Mood data, in turn is a sought-after subject for analysis; emotions are being quantified and simulated. The exhibition “Mood Swings – On mood politics, sentiment data, market sentiments and other sentiment agencies”, curated by Sabine Winkler, focuses on the significance and radius of sentiment in politics, economy, technology, media and art.
In our post-factual age, realities are increasingly generated through moods. “Mood Swings” investigates the domain of influence that moods have, especially in relation to socio-political upheavals that we are witnessing at the moment. As complexity increases, so too the difficulty of understanding political, financial and technological processes, along with the paradoxes associated with them. Orchestrations are perceived as authentic, data evaluations presented as fact, financial interests accepted as policy-steering necessity, “social” media misinterpreted as social.
The show therefore addresses the question of how and why moods are analysed, generated and exploited, to what purpose, and how moods assume autonomy in networks and can themselves become actors. On the one hand, electoral, investment and purchasing behaviour are influenced by moods, with social media channels often acting as amplifiers. On the other hand, emotions are being quantified for data mining and affective computing processes in order to evaluate emotional reactions for economic, marketing strategy or criminological purposes, or to make computers/robots more emotional.
The artistic works shown in the exhibition address manipulative techniques of ideological mood politics, and deal with the emotionally charged struggle for definition authority between reality and fiction, analyse the influence and impact of moods on financial markets, or confront technological developments that exert a direct or indirect influence on human behaviour, concepts and social relationships through emotional analysis. With the revival of authoritarian structures, mood analysis can be understood as a form of ideological critique, a way of countering this development.
In her installation “The Boys Are Back”, Christina Werner focuses on right-wing European networks and their pop-cultural media presence. She analyses contradictions, analogies, gestures and orchestrations of right-wing populist politicians in media appearances, investigating campaign elements and media strategies through which moods and fears of loss are generated, and ressentiment stoked.
Using six actors, Barbora Kleinhamplová staged an NLP (neuro-linguistic programming) course to which managers were invited without being informed of the staged nature of the event. Here it was above all the irrational and esoteric aspects of manipulative techniques – which are sold as promising business strategies – that were presented and deconstructed. Barbora Kleinhamplová investigates both rational and irrational interference in the economy and in art, examining manipulative and economic influences in both systems.
In her works “A timeframe of one second is a lifetime of trading I, II”, Femke Herregraven explores the specific names given to different trading algorithms to depict high-frequency trading processes as graphic profiles and patterns. In so doing she points to emotional, cultural and symbolic reference and abstraction processes in finance and culture. In concrete terms, Femke Herregraven is referring here to the 2010 “Flash Crash”, when the Dow Jones Industrial Average Index lost more than 1000 points within a few minutes. This crash was triggered by the fraudulent use of automated cancellation of purchase agreements. Share indexes react like seismographs to symptoms of change, moods, movements, etc., to then once again generate profit from precisely these gaps in sentiment.
In his video and photographic work, Florian Göttke is concerned with analysing the politics of image in the context of the Syrian war. He investigates how images are used in media and social media, how emotions are evoked through photographs, how visibility demands reactions and responsibility. Florian Göttke is interested in the relationship between action and image in the context of media and social media, the way moods are channelled and how moods can be activated through the politics of image.
In 2004 Nir Nadler stayed in Beelitz/Brandenburg, as part of his participation in the EEA (European Exchange Academy) program. During that period local elections took place, and the campaign posters spread across public spaces inspired him to launch his own electoral campaign, as the fictional candidate Norbert Nadler. He staged Norbert Nadler as a politician devoid of ideology who instead adapts to the mood of his environment and represents an “empty signifier” which precisely because of its indeterminacy functions as a projection surface for all manner of frustrated hopes.
For the exhibition Hertog Nadler created a new piece to correspond with the current political climate of 2017, (more than ten years after the Stimmt campaign in Germany). The work Read „My Lips“ is a jukebox politician, press play, and he’ll dance to the ideology of your choice.
Xavier Cha investigates the impact of digital image communications on our emotional perception and behaviour. In a laboratory situation she shows a range of emotional test subjects whose faces register emotional impulses in quick succession – anger, joy, grief, mania, disgust, surprise and shock. However, the triggers for these emotional perceptions remain unclear. The lack of context and the rapid succession of mood shifts makes it impossible for the viewer to identify with the emotional states of the actors. Representations of emotions and moods without reference and context thus resembles emoticons.
For his work „Emobot“, Antoine Catala transferred expressions and their associated feelings from an 11-year-old boy to a Telenoid robot. The emotional states of „Emobot“ shift between anxiety, despair, inner calm, emptiness, etc., occasionally grimacing in a way that defies categorisation, breaking the smooth surface and making it seem at once vulnerable and eerie. It is these moments of insecurity and vulnerability which, in conjunction with the child’s voice, create the impression of a certain kind of humanity, but this humanity soon turns uncanny. In the future, will we outsource unwanted or secret emotions to emobots, for them to attain independence or be put on file in a Bad Bank? How will emotional simulations generated by algorithms alter our perception of feelings and/or empathetic behaviour?
In her video installation “Follow the Path”, Bego M. Santiago shows men and women dressed in white swimming in groups on their own or in pairs. The swimming arrangement changes from a loose framework into a complex network-like structure. Bego M. Santiago is interested in the relations of the individual to the community and how certain triggers can cause emotional infection (meme theory) and how patterns of behaviour can form in social networks. If the status of the subject follows from the status of the user, then assigned subject positions become assigned user positions, which in turn can be mistaken for our own.
In his installative work “PROTEST”, Tom Molloy shows prints of cut-out figures from online media on an eight-metre long shelf. The work reflects the desire to position oneself in the public realm, to be visible as an actor, and addresses such issues as the emotional relationship between subject and society, from performative orchestration to linguistic representation.
Curator: Sabine Winkler
Antoine Catala (FRA)*, Xavier Cha (USA), Florian Göttke (GER/NLD), Femke Herregraven (NLD), Hertog Nadler (NLD/ISR)*, Micah Hesse (USA)*, Francis Hunger (GER), Scott Kildall (USA), Barbora Kleinhamplová (CZE), Tom Molloy (IRL), Barbara Musil (AUT), Bego M. Santiago (ESP)*, Ruben van de Ven (NLD)*, Christina Werner (AUT)
„Mood Swings“ is organized in cooperation with the Austrian Federal Ministry for Europe, Integration and Foreign Affairs and other partners from Austria and abroad.
Image: Hertog Nadler: Stimmt. Photograph, detail from the newspaper The Monograph, 2006. © Hertog Nadler #MoodSwings
www.q21.at/en/frei-raumMar 31 to May 28, Tue-Sun 13-20:00
frei_raum Q21 exhibition space more
Heike Drewelow – Literatiere (LiterAnimals)
Exhibition in Raum 66 in the Galerie der Komischen Künste
Venue: Raum 66 in the Galerie der Komischen Künste
No English description available.
www.komischekuenste.com/raum66Mar 02 to Sep 03, daily 11-18:00
Bettina Egger: Tinte & Tee
Exhibition and zine in the KABINETT comic passage
Opening: Do 30.03. 18.30h
Venue: KABINETT comic passage, between MQ courtyards 2 and 3
No English description available.
Mar 31 to Jul 05, ongoing daily 0-24:00