exhibition - YOU OWN ME NOW UNTIL YOU FORGET ABOUT ME.

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Y O U . O W N . M E . N O W . U N T I L . Y O U . F O R G E T . A B O U T . M E.

À la recherche du temps perdu

Karl Heinz Jeron
*1962, lives and works in Berlin/Germany
http://khjeron.de

Valie Djordjevic
*1967, lives and works in Berlin/Germany
http://valid.de

In the homonymous performance Marcel Proust's novel À la recherche du temps perdu (2005) is first coded into zeros and ones and then decoded back into human language—processed from the analogue to the digital and back again. The zeros and ones are read by two persons alternately, interpreted by a third representing a CPU (Central Processing Unit) and stuck onto the wall panel by a fourth as Display. The performers play computer with the ASCII-version of this originally literary text. At the gallery, additionally to a video documentation, a copylefted manual of instructions for this performance invites the visitor to continue the procedure at home.

Apartment

Martin Wattenberg
Computer scientist, New Media artist, and
founding manager of
IBM’s Visual Communication Lab.
http://bewitched.com

Marek Walczak
Artist and architect engaged in how people can participate in physical and virtual spaces.
http://mw2mw.com

With additional programming by Jonathan Feinberg.

Inspired by Cicero's mnemonic technique of a memory palace the user of Apartment (2001) establishes equivalence between language and space by typing words and phrases. After being processed automatically language takes shape in form of a two-dimensional blue print projected onto the floor of the gallery and allows the visitor to walk "through". Semantic relationships among written words are connected to spatial and contextual configurations as well as they cause their architectural re-organisation.

HTML-Malevich
HTML-CSS-Malevich

Codemanipulator®
*1971, lives and works in 0100101101110010011000010110101
11111001101110111 also referred to as
4b 72 61 6b f3 77and in 010000100
110010101110010011011000110100101101110 also referred to as 42 65 72 6c 69 6e
http://codemanipulator.com

Kazimir Malevich's The Black Square indicates a turn in art history being a synonym for the possibilities of reduction of an artwork. So intends HTML-Malevich (1996) by reducing the black square even of its "materiality". Additionally the spectator gets confronted with the historical dimension of using text-code as painting: in a later re-interpretation of the artwork, HMTL-CSS-Malevich (2001), the size of the code is reduced again to a few lines by coding in newer standards. Additionally, depending on the browser (the interpreter), the rendered results are either Malevich's square or circle.

nam shub web

Jörg Piringer
*1974, lives and works in Vienna/Austria
http://joerg.piringer.net

The originally Internet-based website-processor nam shub web (2005-2008) allows the user to implement his/her individual rules to the textual content of external websites to generate Visual Poetry. Adapted to the gallery, a printer is installed, which endlessly reproduces the content of dynamical websites as hardcopies. With the time passing by the floor of the gallery is covered with single sheets of paper contradicting the standardisation of human life as well as the unification of culture by means of linguistic manipulation.

objects of desire

carlos katastrofsky
*1975, lives and works in Vienna/Austria
http://katastrofsky.cont3xt.net

In objects of desire (2005-2008) a numbered, but unsigned set of sentences which disappears from the screen as soon as the next set is automatically displayed allows the visitor to be the owner of a unique work of art, but only as long as he/she keeps it in mind. This adaption of a previously Internet-based artwork called the original questions ironically unicity, ownership and the object-like nature of a digital artwork.

_s[p]erver[se]_: 404 poetry_

Mary-Anne Breeze (mez)
Lives and works under copper-coated morning skys in various synthetic platforms
www.hotkey.net.au/~netwurker

In _s[p]erver[se]_: 404 poetry_ (2007) the reader is confronted with signs, numbers, symbols and snippets of programming code, all of them integrated into the system of our natural language by means of associative techniques. Originating from the micro-blogging system of Twitter this piece of poetic writing blurs the boundaries between the "lisible" and "scriptible text" (Roland Barthes). It does so by replacing the aesthetics of stylistic devices within a wide range of open semantic systems.

viva la vulva recoded

Christina Goestl
*1960, lives and works in Vienna/Austria
http://www.clitoressa.net

Sound by Boris Kopeinig.
With many thanks to Betty Dodson.

The work series viva la vulva recoded (2008) brings up gender-issues by animating special characters in form of vibrant female genitals. But moreover, this virtual reference to a pink sticker first spotted in the 1970ies in San Francisco alters the formal expression of typography by its re-interpretation as moving images and sound and therefore creates an endless process of delimination and conjunction between language and its visual expressiveness.

Reading Space

Alberro, Alexander and Buchmann, Sabeth (eds.). Art After Conceptual Art. Massachusetts: The MIT Press; Generali Foundation collection series, 2006. / Krysa, Joasia (ed.). Curating Immateriality: The Work of the Curator in the Age of Network Systems. Brooklyn: Autonomedia, 2006. / Barthes, Roland. The Pleasure of the Text. New York: Hill and Wang; Reissue edition, 1975. / Saussure, Ferdinand De. Course in General Linguistics. Chicago: Open Court, 1998. / Kotz, Liz. Words to Be Looked at: Language in 1960s Art. Massachusetts: The MIT Press, 2007. / Gendolla, Peter and Schäfer, Jörgen (eds.). The Aesthetics of Net Literature. Writing, Reading and Playing in Programmable Media. Bielefeld: transcript, 2007. / Heibach, Christiane and Wenz, Karin (eds.). P0ES1S: The Aesthetics Of Digital Poetry. Ostfildern-Ruit: Hatje Cantz Publishers, 2004. / Eco, Umberto. The Open Work. Harvard: Harvard University Press, 1989. / Austin, John L. How to do Things with Words. Harvard: Harvard University Press; 2 edition, 1975. / Derrida, Jaques: Of Grammatology. Baltimore: The Johns Hopkins University Press; Corrected edition, 1998. / Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. Columbia: Columbia University Press; New Ed edition, 1980. / Proust, Marcel. In Search of Lost Time. New York: Modern Library, 2003.

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Y O U . O W N . M E . N O W . U N T I L . Y O U . F O R G E T . A B O U T . M E.
	À la recherche du temps perdu Karl Heinz Jeron 1962, lives and works in Berlin/Germany http://khjeron.de Valie Djordjevic 1967, lives and works in Berlin/Germany http://valid.de

In the homonymous performance Marcel Proust's novel À la recherche du temps perdu (2005) is first coded into zeros and ones and then decoded back into human language—processed from the analogue to the digital and back again. The zeros and ones are read by two persons alternately, interpreted by a third representing a CPU (Central Processing Unit) and stuck onto the wall panel by a fourth as Display. The performers play computer with the ASCII-version of this originally literary text. At the gallery, additionally to a video documentation, a copylefted manual of instructions for this performance invites the visitor to continue the procedure at home.

	Apartment Martin Wattenberg Computer scientist, New Media artist, and founding manager of IBM’s Visual Communication Lab. http://bewitched.com Marek Walczak Artist and architect engaged in how people can participate in physical and virtual spaces. http://mw2mw.com With additional programming by Jonathan Feinberg.

Inspired by Cicero's mnemonic technique of a memory palace the user of Apartment (2001) establishes equivalence between language and space by typing words and phrases. After being processed automatically language takes shape in form of a two-dimensional blue print projected onto the floor of the gallery and allows the visitor to walk "through". Semantic relationships among written words are connected to spatial and contextual configurations as well as they cause their architectural re-organisation.

	HTML-Malevich HTML-CSS-Malevich Codemanipulator® *1971, lives and works in 0100101101110010011000010110101 11111001101110111 also referred to as 4b 72 61 6b f3 77and in 010000100 110010101110010011011000110100101101110 also referred to as 42 65 72 6c 69 6e http://codemanipulator.com

Kazimir Malevich's The Black Square indicates a turn in art history being a synonym for the possibilities of reduction of an artwork. So intends HTML-Malevich (1996) by reducing the black square even of its "materiality". Additionally the spectator gets confronted with the historical dimension of using text-code as painting: in a later re-interpretation of the artwork, HMTL-CSS-Malevich (2001), the size of the code is reduced again to a few lines by coding in newer standards. Additionally, depending on the browser (the interpreter), the rendered results are either Malevich's square or circle.

	nam shub web Jörg Piringer *1974, lives and works in Vienna/Austria http://joerg.piringer.net

The originally Internet-based website-processor nam shub web (2005-2008) allows the user to implement his/her individual rules to the textual content of external websites to generate Visual Poetry. Adapted to the gallery, a printer is installed, which endlessly reproduces the content of dynamical websites as hardcopies. With the time passing by the floor of the gallery is covered with single sheets of paper contradicting the standardisation of human life as well as the unification of culture by means of linguistic manipulation.

	objects of desire carlos katastrofsky *1975, lives and works in Vienna/Austria http://katastrofsky.cont3xt.net

In objects of desire (2005-2008) a numbered, but unsigned set of sentences which disappears from the screen as soon as the next set is automatically displayed allows the visitor to be the owner of a unique work of art, but only as long as he/she keeps it in mind. This adaption of a previously Internet-based artwork called the original questions ironically unicity, ownership and the object-like nature of a digital artwork.

	_s[p]erver[se]_: 404 poetry_ Mary-Anne Breeze (mez) Lives and works under copper-coated morning skys in various synthetic platforms www.hotkey.net.au/~netwurker

In _s[p]erver[se]_: 404 poetry_ (2007) the reader is confronted with signs, numbers, symbols and snippets of programming code, all of them integrated into the system of our natural language by means of associative techniques. Originating from the micro-blogging system of Twitter this piece of poetic writing blurs the boundaries between the "lisible" and "scriptible text" (Roland Barthes). It does so by replacing the aesthetics of stylistic devices within a wide range of open semantic systems.

	viva la vulva recoded Christina Goestl *1960, lives and works in Vienna/Austria http://www.clitoressa.net Sound by Boris Kopeinig. With many thanks to Betty Dodson.

The work series viva la vulva recoded (2008) brings up gender-issues by animating special characters in form of vibrant female genitals. But moreover, this virtual reference to a pink sticker first spotted in the 1970ies in San Francisco alters the formal expression of typography by its re-interpretation as moving images and sound and therefore creates an endless process of delimination and conjunction between language and its visual expressiveness.

	Reading Space

Alberro, Alexander and Buchmann, Sabeth (eds.). Art After Conceptual Art. Massachusetts: The MIT Press; Generali Foundation collection series, 2006. / Krysa, Joasia (ed.). Curating Immateriality: The Work of the Curator in the Age of Network Systems. Brooklyn: Autonomedia, 2006. / Barthes, Roland. The Pleasure of the Text. New York: Hill and Wang; Reissue edition, 1975. / Saussure, Ferdinand De. Course in General Linguistics. Chicago: Open Court, 1998. / Kotz, Liz. Words to Be Looked at: Language in 1960s Art. Massachusetts: The MIT Press, 2007. / Gendolla, Peter and Schäfer, Jörgen (eds.). The Aesthetics of Net Literature. Writing, Reading and Playing in Programmable Media. Bielefeld: transcript, 2007. / Heibach, Christiane and Wenz, Karin (eds.). P0ES1S: The Aesthetics Of Digital Poetry. Ostfildern-Ruit: Hatje Cantz Publishers, 2004. / Eco, Umberto. The Open Work. Harvard: Harvard University Press, 1989. / Austin, John L. How to do Things with Words. Harvard: Harvard University Press; 2 edition, 1975. / Derrida, Jaques: Of Grammatology. Baltimore: The Johns Hopkins University Press; Corrected edition, 1998. / Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. Columbia: Columbia University Press; New Ed edition, 1980. / Proust, Marcel. In Search of Lost Time. New York: Modern Library, 2003.

© Rinagl & Thalmair / CONT3XT.NET