The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time — leaving the building open to change respectively to the collection and for subsequent use.
In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities. The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times. At present, over artworks by more than contemporary artists and artist groups across genres and generations offer an overview of time-based art from the s to today with a strong focus on works made after The term time-based art or time-based media describes works of art that unfold in time.
Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art. These works are often allographic, meaning they are only visible when installed or projected. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world.
The first large-scale group exhibition at the collection, Number One: Destroy, She Said —08 , was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number Two: Fragile —09 focused on the body and corporality, bringing together video, performance, and body art. Number Three: Here and Now —10 was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long.
Almost ten years later, Number Thirteen: Hello Boys —16 revisited performance and feminist video, questioning the representation of female identity and the performance document. The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next. The inaugural exhibition in Berlin, Welt am Draht , addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization. Another group show, Jaguars and Electric Eels , explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality.
Large-scale solo presentations supplement the collection exhibition program. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. Loan requests must be made at least 6 months before the desired start of the loan period.
The request must contain the following information and documents:. Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.
The conservation requirements for time-based media TBM have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works. Yet aging is only one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware. All of these components can age: not only the media themselves are affected by the processes of decay, but even the content can become unreadable over of the years due to incompatibilities.
Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their way to becoming obsolete. To this end all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format.
The files are then transferred to a digital repository. This noticeably reduces the conservation effort since only a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are becoming obsolete. This is flanked by individual solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved.
The media art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the most important factors during the planning. Temperatures of around 15 degrees Celsius 59 degrees Fahrenheit and 35 percent relative humidity RF are considered optimal for storing magnetic tapes and was therefore chosen for the repository.
These conditions are also appropriate for film and slides. They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-bearing mountings, ensures that the space is used optimally. The floor has a stove-enamel finish and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes.
In addition, the shelves are grounded to prevent any static electricity. Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the conditioning process. Smoke and water detectors as well as an alarm system simultaneously offer comprehensive hazard protection. The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe. Menu Stroke 48 Created with Sketch.
Close up — work of the month. We look forward to your participation and your visit! Artboard Created with Sketch. Cordial invitation! Group Created with Sketch. Artboard Copy Created with Sketch. Language: English April Edited by Julia Stoschek Foundation e. Size: 20,5 x 28,5 cm. Softcover with flaps. Language: German. Size: Hardback with colour plastic dust jacket. Sundays, a. During opening hours: Sunday, a. Outside opening hours: Cost: EUR You are looking for a special location for a celebration or a corporate event?
We would be pleased to submit you an individual offer. Photo: Simon Vogel, Cologne. JSC Berlin. Photo: Robert Hamacher, Berlin. JSC Berlin, foyer, ground floor. Cost: EUR 5. Contact: Christian Nickolai nickolai jsc. Group 3 Created with Sketch. The Dusseldorf School of Photography. Andreas Weisser Time-based media conservator. Jacolby Satterwhite. Katharina Sieverding. Manuel Graf. Christian Jankowski. Christoph Schlingensief. Roxy Paine. Jeppe Hein. Charles Richardson.
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