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 this 2005 performance, Marcel Proust’s novel À la recherche du temps perdu is first encoded into zeros and ones and then decoded back into human language – that is, processed from the analogue to the digital and back again. The zeros and ones are read by two persons alternately, then interpreted by a third, who represents a Central Processing Unit (CPU), and finally stuck onto a wall panel by a fourth as Display. The performers play computer with the ASCII-version of this originally literary text. In the gallery, in addition to the video documentation of the performance, a copylefted manual of instructions 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.

In Apartment (2001), inspired by Cicero’s mnemonic technique of a memory palace, the user establishes an equivalence between language and space by typing words and phrases. After being automatically processed, the language takes the form of a two-dimensional blue print projected onto the floor of the gallery that allows the visitor to walk “through” it. The semantic relationships of the written words are connected to spatial and contextual configurations, and at the same time 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 marks a turning point in art history in that it is a synonym for the possibility of the artwork’s reduction. HTML-Malevich (1996) intends to do the same by stripping the black square of its very “materiality”. In addition, the viewer is 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 further reduced to a few lines by a newer standard of coding. Also, depending on the browser (the interpreter), the rendered results will be either Malevich’s square or his circle.

nam shub web

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

The website-processor nam shub web (2005–2008), originally based on the Internet, allows the user to apply his or her individual rules to the textual content of external websites so as to generate visual poetry. In the work’s gallery adaptation, a printer is installed that endlessly reproduces the content of dynamic websites as hard copy. Over time, the floor of the gallery is covered with single sheets of paper that contradict the standardisation of human life and the unification of culture through 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 become the owner of a unique work of art, but only as long as he or she keeps it in mind. This adaptation of a previously Internet-based artwork called the original ironically questions unicity, ownership and the object-like nature of the 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 integrated into the system of our natural language by means of associative techniques. Originating in the micro-blogging system of Twitter, this piece of poetic writing blurs the boundaries between the "lisible" and the "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 series viva la vulva recoded (2008) raises gender issues by animating special characters in the form of vibrant female genitals. In addition, this virtual reference to a pink sticker first spotted in the 1970s in San Francisco alters the formal expression of typography through its re-interpretation as a moving image with sound, thus creating an endless process of delimination and conjunction between language and its visual expression.

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 this 2005 performance, Marcel Proust’s novel À la recherche du temps perdu is first encoded into zeros and ones and then decoded back into human language – that is, processed from the analogue to the digital and back again. The zeros and ones are read by two persons alternately, then interpreted by a third, who represents a Central Processing Unit (CPU), and finally stuck onto a wall panel by a fourth as Display. The performers play computer with the ASCII-version of this originally literary text. In the gallery, in addition to the video documentation of the performance, a copylefted manual of instructions 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.

In Apartment (2001), inspired by Cicero’s mnemonic technique of a memory palace, the user establishes an equivalence between language and space by typing words and phrases. After being automatically processed, the language takes the form of a two-dimensional blue print projected onto the floor of the gallery that allows the visitor to walk “through” it. The semantic relationships of the written words are connected to spatial and contextual configurations, and at the same time 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 marks a turning point in art history in that it is a synonym for the possibility of the artwork’s reduction. HTML-Malevich (1996) intends to do the same by stripping the black square of its very “materiality”. In addition, the viewer is 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 further reduced to a few lines by a newer standard of coding. Also, depending on the browser (the interpreter), the rendered results will be either Malevich’s square or his circle.

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

The website-processor nam shub web (2005–2008), originally based on the Internet, allows the user to apply his or her individual rules to the textual content of external websites so as to generate visual poetry. In the work’s gallery adaptation, a printer is installed that endlessly reproduces the content of dynamic websites as hard copy. Over time, the floor of the gallery is covered with single sheets of paper that contradict the standardisation of human life and the unification of culture through 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 become the owner of a unique work of art, but only as long as he or she keeps it in mind. This adaptation of a previously Internet-based artwork called the original ironically questions unicity, ownership and the object-like nature of the 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 integrated into the system of our natural language by means of associative techniques. Originating in the micro-blogging system of Twitter, this piece of poetic writing blurs the boundaries between the "lisible" and the "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 series viva la vulva recoded (2008) raises gender issues by animating special characters in the form of vibrant female genitals. In addition, this virtual reference to a pink sticker first spotted in the 1970s in San Francisco alters the formal expression of typography through its re-interpretation as a moving image with sound, thus creating an endless process of delimination and conjunction between language and its visual expression.

	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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