Program

  • 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
    Admission free

    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, business, 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 work “A timeframe of one second is a lifetime of trading 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, campaign posters mounted in public spaces Beelitz/Brandenburg inspired Nir Nadler to start a fake electoral campaign and to “stand” as the 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. Chaja Hertog & Nir Nadler will be further developing the appearance profile of the artificial political figure in correspondence with current conditions.

    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.

    In his work “Emobot”, Antoine Catala transferred expressions and their associated feelings from an 11-year-old boy to an avatar. “Emobot” explores the simulation of feelings in the development of artificial intelligence, investigates analogies between the way young children and robots learn when it comes to self cognition and recognition of others. In the future, will we outsource unwanted or secret emotions to “emobots” to free ourselves of mood swings?

    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. The artist is interested in how certain triggers can cause emotional infection and how patterns of behaviour can form in social networks. “Follow the Path” can be seen as a metaphor for streams or waves of mood in social networks, with algorithms providing both structure and standardisation.

    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

    Artists:
    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)
    *Q21/MQ Artist-in-Residence

    „Mood Swings“ is organized in cooperation with the Austrian Federal Ministry for Europe, Integration and Foreign Affairs.

    Image: Hertog Nadler: Stimmt. Photograph, detail from the newspaper The Monograph, 2006. © Hertog Nadler #MoodSwings

    www.q21.at/en/frei-raum

    Mar 31 to May 28, Tue-Sun 13-20:00
    frei_raum Q21 exhibition space
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