FACELESS part II
FACELESS part II
Date: Sep 28 to Nov 24, 2013, Tue-Sun 13-19:00
Opening: Fri, Sep 27, 19:00
Press tour: Fri, Sep 27, 10:00
Venue: freiraum quartier21 INTERNATIONAL
Download Exhibition Brochure
Video of the Opening
“FACELESS part I” showed the appeal that hiding, veiling, or masking the face exerted on art and fashion after 9/11. The second part of the exhibition, opening on September 27 at 19:00 in freiraum quartier21 INTERNATIONAL at the MuseumsQuartier Wien, continues the survey in a more participatory approach. The focus is on interdisciplinary works and lectures, performances, and workshops that convey how we can survive without losing face and at the same time revolt.
“As much as a face and an expression can give away about us, we have plenty of creative potentials at our disposal for making these tale-telling surfaces illegible, even invisible, without running the risk of suffering social death,” says Brigitte Felderer, co-curator with artist Bogomir Doringer of the group exhibition “FACELESS part II.”
“The first part of the exhibition attracted 12,000 visitors. Its success demonstrates how relevant the theme is and how much people are interested in it. ‘FACELESS part II’ resumes the critical exploration of problems of our media culture,” says MuseumsQuartier Director Dr. Christian Strasser.
The works by 45 artists are divided into themes like digital masks, mirrors, icons, and invisible people. As for part one of the show, the exhibition design was created by students from the Department for Stage and Costume Design, Film, and Exhibition Architecture at Mozarteum University in Salzburg. “FACELESS part II” will additionally feature photos on the theme of facelessness contributed by more than 50 artists to the website www.facelessexhibition.com (totally about 2.000 posts). All names of artists will be announced online.
The poignant, poetic sound of William Basinski’s video work “Disintegration Loop 1.1.,” audible throughout the exhibition space, immerses visitors in a melancholic atmosphere. The film by the American composer was shot on the evening of September 11, 2001, and in a single, more than 60-minute take shows the disintegrating Twin Towers enshrouded in wafts of smoke.
Jill Magid’s installation “Article 12/The Spy Project” was produced for the Dutch Secret Service. In this assignment, she portrayed the spies to give the organization a “human face.” Although she always protected their identity, some parts of her work were later censured and confiscated. The central element of her text-based installation is “I Can Burn Your Face,” a neon piece shining so brightly that it is virtually impossible to decipher the confidential information with the naked eye.
Andrew Norman Wilson uncovers the fact that the world’s largest search engine also employs fourth class workers. The film “Workers Leaving the Googleplex” is about so-called ScanOps, low-paid temps who unbeknown to the public scan books for Google’s digital library. The “ScanOps” photos also show how some of the book pages are misscanned and include unwanted elements. British artist Lucy Wood’s installation “Distant Neighbors/Vecinos Distantes” is themed around the invisible migrants who illegally cross the border between the USA and Mexico. "Exactitudes", Ari Versluis' and Ellie Uyttenbroek’s multi-year photography project on identity and uniformity shows how individuals from various social groups resemble each other in terms of attitude and dress code.
American artist Adam Harvey creates wearable privacy in collaboration with fashion designer Johanna Bloomfield. Their “Stealth Wear” features intelligent camouflage clothing and accessories that protect the wearer from surveillance. As its second station after the New Museum in New York, the Privacy Gift Shop is making an exclusive appearance at the exhibition. Items on sale include the anti-drone collection made of metalized textiles that cannot be detected by infrared cameras. Zach Blas, founder of the artist collective Queer Technologies, develops forms of protest involving the distortion of biometric data. His project “Facial Weaponization Suite” reveals how we can evade face recognition, deliver false data, or wear the “face of many.” “As the face becomes a site of ever increasing control and governance, new ethical relations to the face are emerging that embrace defacement and escape, not necessarily mutual recognition but collective transformation that is both anarchic and commonizing. Today, the mask is the most popular implementation of defacement, a celebration of refusal and transformation,” says Zach Blas.
Like Addie Wagenknecht and KATSU, German conceptual artist Aram Bartholl is part of the New York artist collective F.A.T. - Free Art and Technology Lab. In “How to Vacuum Form” he shows how you can make your own Guy Fawkes mask, the accessory of protest. In his videos and performances, Jeremy Bailey skillfully plays a nerd. The Canadian artist is represented in the exhibition and the side program, among other things giving a workshop for teenagers called “Hey You with the Totally Awesome Face” to teach them how to trick webcams and look more popular. Dutch artist Arthur Elsenaar makes the face dance. His research project “Artifacial” makes it possible to digitally control movements of the face muscles with electrical impulses.
In the video “The Punishment” by Ondrej Brody and Kristofer Paetau, children exercise the seemingly natural urge to punish evil with relish – in this case a photograph of George Bush. By melting away, the faces in Ben DeHaan’s digital portraits demonstrate the fragility and short life of digital formats. Japanese hatmaker Maiko Takeda creates masks and headdresses that seem to come from a virtual world. Björk has been wearing them at concerts for several months now. German artist Martin Backes adapts the pixel filter of Google Street View that makes faces unrecognizable and reproduces it on the fabric of his Pixelhead masks. On the search for the right/perfect face through plastic surgery, artist and filmmaker Martin C de Waal tests the boundaries of his personality. “Narciss,” Mirko Lazović’s sculpture made of mirrors, makes it impossible to see your own reflection. Bryan Lewis Saunders is an American artist with many faces. For many years, he has been drawing a self-portraits every day. “FACELESS part II” shows his 48-part series “Under the Influence,” created under the influence of a daily changing assortment of drugs and substances.
Martin Backes (GER), Jeremy Bailey (CAN), Jonathan Barnbrook (GBR) for David Bowie, Aram Bartholl (GER), William Basinski (USA), Zach Blas (USA), Heiko Bressnik (AUT), Ondrej Brody (CZE) & Kristofer Paetau (FIN), Mark Brown (NED/GRB), Cracked Labs (AUT), Ben DeHaan (USA), Sofie Groot Dengerink (NED), DENNATON (Jonatan Söderström & Dennis Wedin) (SWE), Arthur Elsenaar (NED), Hrafnhildur Gissurardottir (ISL), Adam Harvey (USA), Jakob Lena Knebl (AUT) & Thomas Hörl (AUT), KATSU (USA), Miodrag Krkobabić (SRB), Mirko Lazović (SRB/NED), Theo-Mass Lexileictous (CYP), Vanessa Lodigiani (MEX), Jill Magid (USA), Alberto de Michele (ITA), Jelena Misković (SRB), Bob Miloshević (SRB), Andrew Newman (AUS/GER), Bernd Oppl (AUT), Marco Pezzotta (ITA), RAF SIMONS, Tarron Ruiz-Avila (AUS), Bryan Lewis Saunders (USA), Tim Silver (AUS), Maiko Takeda (JAP), Ari Versluis (NED) & Ellie Uyttenbroek (NED), Daniel Vom Keller (SUI/NED), Martin C de Waal (NED), Anne Wenzel (NED), Lucy Wood (GRB), Andrew Norman Wilson (USA), and Marcus Zobl (USA/AUT).
*Some of the participating artists are living and working in the art studios at the MQ as part of the quartier21/MQ Artist-in-Residence program.
“FACELESS part II” has been has been organized in cooperation with the Federal Ministry for European and International Affairs, Artistic Technology Research (University of Applied Arts Vienna), and Mozarteum University in Salzburg with the support of partners and sponsors from Austria and abroad. A side program will feature a symposium as well as guided tours, performances, lectures, and workshops, including during the VIENNAFAIR and VIENNA ART WEEK.
All events are free of charge
Exhibition Opening: Sep 27, 19:00
Special Screening of William Basinski’s
Disintegration Loop 1.1
Performance Face Shift by Arthur Elsenaar*
DJ-Set: Igor Sleep & KeinDJ
Visuals: Incredible Bob Miloshević*
Opening After Party: Sep 27, 23:00 (limited capacity)
Location: Donau, Karl Schweighofer Gasse 10, 1070 Vienna
DJ-Set: In Schönheit sterben
Maiko Takeda: Atmospheric Reentry (2013) © Bryan Huynh
www.facelessexhibition.netSep 28 to Nov 24, 2013, Tue-Sun 13-19:00
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