Art Exhibition by António Lago and Live audiovisual performance by Pratyay Raha and Tiny Domingos

Eröffnung mit LIVE PERFORMANCE

Antoine Lortie questions the role of the artist and his future in a society of leisure, virtual interactions, surveillance, privatization of the imaginary, the grip of algorithms and polarizations.Anchored in a context where creation in contemporary art is mostly dependent on public funding, he examines the pitfalls that the ideological and normative shackles underlying the regulation of competitions can represent for the blossoming and circulation of new practices, and underlines the need for each new generation of creators to invent its own codes and to demand new contracts.
Nothing could be more natural for this post-digital artist than to be accompanied by the muse Basiops, the princesses Institutiona and Politica and his avatar Agrophobe for this first solo exhibition in Europe. It will be an opportunity to observe how he diverts the driving force of the main diktats within public funding networks: decolonialism, social justice, climate responsibility (among others) to set in motion a whole machinery made up of appropriations of vessels and characters that seem to come out of Japanese cartoons, 3D objets trouvés, recycled environments from video games and virtual realities. A teeming digital arsenal, nourished by an alchemical humus made up of refusal letters and real cases of censorship, which we will not be surprised to find in painting and sculpture. Disciplines whose codes he handles with as much dexterity and predilection as his mouse and keyboard, and which the artist uses to depict hybrid and transmaterial collective daily lives, marked by the growing interpenetration of virtual and physical worlds.
An original approach and a force of proposition, driven by philosophical reflections on cybernetics and posthumanism and a desire for exchange relayed by a series of diagrams, which seek to clear paths towards freedom, lightness and futurity. Tiny Domingos
With Tales from the DxCOLONIZER, ROSALUX returns to its initial vocation as a platform for reflection on contemporary creation. The format of the exhibition will be evolving. Online and offline activities will be developed during the exhibition. Please consult our website and social networks to follow them.

With friendly support of the Québec Government Office in Berlin

ROSALUX, The Berlin-based art space presents
:
PAUL WIERSBINSKI
Werkzeuge und Mythen / Tools and myths
Lecture/performance about several projects around AI:

• “A portrait of the AI as a young Cyber Oracle” – Interactive Installation and Opera 2019
  The work aims to make the creation of an artificial intelligence and its functioning accessible to a broad public. It deals with the reproduction of prejudices in programming, the loss of control in a world monitored by machines and the utopia of consulting an omniscient Big Data oracle. The audience creates texts and music through the programme, to which an opera singer improvises.
• “Home Machine” Interactive Installation 2020
  The emotionally charged concept of “Heimat” is confronted with supposedly purely rational technology. In current German party manifestos, literature and scientific texts, an artificial intelligence is trained to interpret our cultural data on the themes of home and belonging and to tell us what these concepts might actually mean in an uncertain future.
• “Remote Rules and Rituals” Performance 2021.
  How can the rituals of theatre be used to represent the rituality of spiritual machines and make predictions about an uncertain future? The audience was invited to actively participate, to explore the home and to charge everyday objects with new meanings without leaving their own four walls.
• “Dichotomy” Installation 2021
  The installation visualises the connections between pattern recognition and concepts dealing with hopes and fears associated with artificial intelligence.

Paul Wiersbinski. Born in Halle (Saale). Studied at the HfbK Städelschule (Frankfurt am Main). His projects move in the field of tension between art, science and technology, touching on discourses on artificial intelligence, entomology or cybernetics, referencing the history of performance and video art, using a playful and improvised approach. Paul Wiersbinski often builds technical prototypes that are tried out by the public and go through various phases of continuous development.

Exhibitions: “RECORD > AGAIN!”, ZKM Karlsruhe (2009), “The indifference of Wisdom”, NURTUREart New York City (2013), “Risk Society”, MOCA Taipei (2013), “Showcase”, SPACE London (2018), “Offline Browser“, Hong-Gah Museum Taiwan (2018-2019), “Datami”, BOZAR Bruessels (2019-2020) / festivals &screenings: SALT Beyoğlu Istanbul (2012), Luminato Festival Toronto (2014), European Media Arts Festival, Osnabrück (2010, 2014, 2015, 2017), “IN/OUT“ Festival of the National Gallery Amman (2019) and received various prices and grands, such as support from Hauptstadtkulturfonds Berlin.

Image credits: Dichotomy, 2021, Credit: ACC Galerie Weimar / Claus

An’ it harm none, do what thou wilt

Exhibition by Okta Collective & friends

With the artworks by Dovile Aleksaite, Lucy Kerr, Alisi Telengut (Okta Collective), Tobi Keck, Cammack Lindsey

Opening: 26.01.2024, 19:00h

Performance by Cammack Lindesy: 26.01.2024,19:30h

curated exhibition by Okta Collective at rosalux project space, as part of “Vorspiel transmediale”, explores the ideas of witchcraft as a conceptual framework for healing and transformation in our turbulent time. The programming includes installations of video works, sculptures, textile, and a live performance in the project space. These works share in a collective feeling of longing. Longing for healing, for transformation, for magic, for resurrection, and for solidarity. The title  ‘An’ it harm none, do what thou wilt’  instructs in old-fashioned language one to follow what they long for, as long as it does not harm oneself or others.

Aleksaite’s textile print features the yarrow plant (Achillea Millefolium). It is one of the oldest archaic herbal plants, having been used in healing and magic. Formerly referred to as the “witch’s herb,” Yarrow possesses strong energy and healing powers, symbolizing courage and energetic healing.

The extremely close up portraits in Sensible Ecstasy by Lucy Kerr resemble ecstasies of female saints, expressing desires to extend beyond the limits of the body and touch the sky, while mobilized by roller coasters – apparatuses that capitalize on this desire.

Sound is employed to forge connections within a community that extends beyond human boundaries in Alisi Telengut’s hand-made animation titled ‘Tears of Inge,’ where sound and music reconcile a painful camel and her newborn baby.

Tobi Keck’s installation preserves hand-carved vegetables in alcohol to extract their vivid natural colors and pigments, evoking medieval alchemical and material practices.

The exhibition also features a live performance at the opening by Cammack Lindsey, where a haunting concert emerges, portraying a blend of folklore and worker songs. Lindsey utilizes original self-made instruments and granular synthesis, materializing magic to resurrect ghosts in this unique banjo ballad singing.

BIOS

Cammack Lindsey composes political holobiotical musicals that investigate scientific and historical relics of failures from extractive capitalism to embody stories of collective resistance. In forms of storytelling, sound-art, performance and installations, they collaborate with Cyanobacteria, DIY BioArt/hacking techniques, the voice, noise, & the materialization of colors, magic and ghosts.

Tobi Keck (*1987) is a visual artist based in Berlin. In a wide range of different media, his works circle around basic human notions such as fear, vanity, time or escapistic fantasies. In objects and installations, he preserves carved vegetables in alcohol, replicates thousands of fossils into plaster or even buries an imaginary cat in a grave under a bridge.

Dovilė Aleksaitė is a Lithuanian artist, working with video and performance. Her practice explores the questions of anthropocentric worldview, notions of nature and time, emotions and human vs. non-human consciousness. Her works were presented in group exhibitions at  the Centre Pompidou, at the AdK Berlin, at HKW, and New York German House among others.

Alisi Telengut is a Canadian artist of Mongolian roots, living between Berlin, Germany and Tiohtià:ke/ Montréal, Canada. She is an award winning animation filmmaker. Alisi’s work has been screened and exhibited internationally, such as at the Academy Museum of Motion Pictures, Sundance Film Festival, TIFF, Biennial VIDEONALE at Kunstmuseum Bonn, OSTRALE Biennale, Anthology Film Archives, Image Forum Japan, among others.

Lucy Kerr (b. Houston, Texas 1990) is a filmmaker, artist, choreographer, and educator. In 2022, she was named one of the 25 New Faces of Independent Film in Filmmaker Magazine. Kerr’s projects have been presented by Locarno Film Festival, International Film Festival Rotterdam, FIDMarseille, San Sebastian International Film Festival, Reykjavik International Film Festival, The San Francisco Museum of Modern Art, REDCAT, Anthology Film Archives, Francois Ghebaly Gallery, The McEvoy Foundation for the Arts, and others.

Fragmentary and intentionally enigmatic in its form, Song Circle offers a collection of vignettes, of tableaux where the quest for meaning competes with emotion’s immediacy. A subtle melancholy surfaces, related to solitude and to the pervasive sensation that comes with incessantly seeking out the other, which will invariably lead us back to our own feelings of confusion.

This emotion, at times, distilled in crescendos, other times entirely withheld, proffers a dreamlike narrative diffracted between the real and the imaginary, between a mental projection and the image projected. At times, the past is conjugated into the present or is tuned to the unfathomable time called the future. Strange but familiar, the visited places seem unchanging, the living unreachable, introspective, or absorbed in gestures that attest to their presence in the world. 

A visual chorale, Song Circle is crosscut with synaptic sound. The musical score is a protagonist, embodied as much by the instruments as by the musicians. Meticulously deconstructed to infiltrate and even dominate the ambient sounds, music brings friction between those spaces and times which ignore each other, enabling furtive encounters, bringing people together with no other purpose than the passage of time kept in beat by the metronome.

Song Circle goes everywhere, except in a straight line. Its convolutions, like circles in the water, echo without ever touching, listening to better see and looking without hearing, all in an infinite loop. From such ellipses emerges a work of profound humanity, from which no one will retain quite the same thing. Alone, together. — F.C.

The Québec artist Anne-Renée Hotte completed a master’s degree in visual and media arts at the Université du Québec à Montréal (2016), following a bachelor’s degree in photography from Concordia University (2010). Her work has been presented a.o. at the Musée d’art contemporain des Laurentides (St-Jérôme), the Musée des beaux arts de Sherbrooke, Galerie Artem (France), Galerie de l’UQÀM (Montréal), Volta New York. Recipient of the PRIM-Dazibao residency, which led to the realization of Song Circle. Her work can be found in several public and private collections.

With the support of the Québec Government Office in Germany