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http://yevgeniyfiks.com/artwork/4071928-Landscapes-of-the-Jewish-Autonomous-Region-installation-shot-27.html

The exhibition titled Landscapes of the Jewish Autonomous Region features several projects that reflect on the (dis)connections between identity, land, and landscape, informed by notions of belonging, (inter)nationalism, and Utopia.

Flora and Fauna of the Jewish Autonomous Region is an artist’s book consisting of pictures of animals and plants found in Birobidzhan. The photos were first published in a 1984 propaganda book in Russian, Yiddish, and English to commemorate the 50th year anniversary of the establishment of Birobidzhan. In Yevgeniy Fiks’ 2016 rendition, each image of Birobidzhan’s plants and animals is given a personal Yiddish name by the artist.

The exhibition also includes a collection of Birobidzhan memorabilia from Fiks’ collection, which includes historical books, stamps, pins commemorating the creation of the region. The Soviet film “Seekers of Happiness,” which served as the point of departure for this project, is also screened as part of the installation.

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Anna Uddenberg Sante Par Aqua 04.11.2017–13.01.2018

Hijacking tropes of femininity prevalent in consumer culture, Anna Uddenberg’s sculptures exaggerate expectations of fitness, flexibility and sexuality to the degree that the absurdity of collective fantasies and the unfeasible demands they place on the body become apparent. Uddenberg’s subjects, contorted into improbable poses, seem to bend under pressure to conform to hyper-gendered, heavily reinforced representations of female identity.

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Andrea Crespo [intensifies] 16.09.2017–21.10.2017

Andrea Crespo’s second solo exhibition at Kraupa-Tuskany Zeidler brings to Berlin one of their videos and nine drawings by the artist. Crespo presents a series of images depicting machinery, transportation and warfare as metaphors to address preconceptions ascribed to autism such as coldness, inhumanity and death.

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Anthony Hernandez, Los Angeles Public Transit Areas, 1975

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Mel Bochner, Actual Size (Hand), 1968

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Mel Bochner, Actual Size (Hand),1970. Photo offset on notecard [detail of Misunderstandings (A Theory of Photography)]

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Ed Ruscha, Dodgers Stadium, 1000 Elysian Park Ave., from Thirtyfour Parking Lots, 1967

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I Seem To Be a Verb – Quentin Fiore

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http://aleksandradomanovic.com/

From yu to me, 2013 - 2014

anfänge des internets/email in jugoslawien

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Computer Paragraphs, 1975

Sture Johannesson

screen print from generated drawing – IBM 1130 programmed

by Sten Kallin, CalComp plotter

http://aktnz.com/#future

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Crisis in the Credit System Episode 1 by Melanie Gilligan

Crisis in the Credit System is a four-part drama dealing with the credit crisis, scripted and directed by artist Melanie Gilligan. A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with todays dangerous financial climate. Role-playing their way into increasingly bizarre scenarios, they find themselves drawing disturbing conclusions about the deeper significance of the crisis and its effects beyond the world of finance. Using fiction to communicate what is left out of documentary accounts of the crisis, the short, TV-style episodes reflect the strangeness of life today in which the financial abstractions that govern our lives appear to be collapsing. Crisis in the Credit System, commissioned and produced by Artangel Interaction, is the result of extensive research and conversation with major hedge fund managers, key financial journalists, economists, bankers and debt activists.

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Objects Perceive Me Video, 8:30 min (loop), colour/no sound, , 2010

http://alexandranavratil.com/system/pdfs/15/original/Artline.pdf?1381940244

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David Hartt “The Republic” 2014, HD Video, Sound, 16' 8'

David Hartt “The Republic”

2014, HD Video, Sound, 16' 8''

The Republic shot in both Athens and Detroit and set to a score by Sam Prekop, turns the two locations indiscernible, in a hybrid city-state that emerges from the edit. Throughout the film a group of laborers flip an automobile in a winter landscape as both an invocation of the myth of Sisyphus and a reenactment of civil disorder.

Introduced by Marc Glöde

Thinking back on the first impressions of The Republic, the latest film from David Hartt, it’s no coincidence that one is reminded of ideas such as heterogeneity, irritation, or confusion. And why shouldn’t one, since Hartt’s work synthesizes aspects as diverse as filmed city impressions and digital visualizations of the city à la Google Maps, punctuated by a recurring scene wherein a group of men turn a wrecked car on its side, then on its head, spin it around, and then erect it once again. It is because of these widely disparate elements that The Republic leaves us with such deep irritation.

Give the film a little time and these varied impressions begin to have an effect, or even when watching it a second time, aspects begin to surface that resist a certain immediacy. We slowly recognize two cities, Athens and Detroit, that have been interwoven by Hartt’s montage. Together with the electronic soundtrack of Sam Prekop, a remarkable amalgam comes into existence in which the interests of the artist, indeed, the common thread throughout all of his works, are made apparent: the relationship between built structures and philosophical ideals.

Similar to his series “Stray Light” (2011) and its focus on the headquarters of Ebony and Jet magazines, in his precisely balanced images Hartt addresses modernist design and architecture and of the early 1970s and its corresponding philosophical ideals. In its subtle interaction between photography and film, a condition is created that meanders between a floating yet probing visual exploration. In doing so, Hartt sets into perspective a further development of a historic discourse on form and philosophical ideas that are ignited by questions of African-American taste and the vision attendant to African-American owned enterprises.

The same concerns begin to shape Hartt’s most recent work as well, taking its starting point in the visionary concepts of the second half of the 20th century and from there into a play of form, ideas, and ideological questions. This time, his interests crossover with those of the urban planner Constantinos Doxiadis for Athens and Detroit. In the 1960s Doxiadis had developed a concept for Athens under which the chaos of uncontrolled growth after the Second World War would be tamed by a city master plan. And it was only a few years later that he would be commissioned by the Detroit Edison Company to head up the so-called “Developing Urban Detroit Area Research Project” which would engage in a comparably profound research on the city’s possibilities. Here as well a complex master plan came into existence. Nevertheless, both of Doxiadis’s plans were thrown out despite their visionary approach to the economic, social, cultural, and architectural problems of the city – in Athens due to the fall of the Junta in 1974 and in Detroit as a result of the riots in 1967.

Taking off from these historic events, The Republic creates an environment in which both cities begin to visually melt into one another. Interestingly, in this way, a third space comes into existence: on the one hand, it is a space for questions and the discourse of today’s urbanism; on the other hand, it can be traced back to the historic concepts and questions of Doxiadis. In both ways, the foremost question is how to deal with city problems in relation to its potentials.

But here is where Hartt’s work brings us yet another step further: in the intermingling of both dynamics (today vs. the concepts of the 1960s and 70s) one recognizes the profound discussion on how we want to live in the city reaches further than the concepts that triggered Hartt’s original thoughts. In fact, it stretches back to the antique world represented in the film by the Acropolis. Symbolically, the discourse has turned to stone and it is therein that one begins to recognize the once contentious issues that are now largely ignored: an urban discourse in which the tectonic of architecture finds fertile meeting ground with tectonics of philosophy.

What crystallizes for the observer of Hartt’s film is that the city is not only a manifestation of built objects but also of its philosophical building blocks or something that nears the concept of res publica: the commonwealth or the common good. If we understand that city history and its corresponding philosophical history are intertwined with one another, then we also must recognize that the condition of our ‘common good’ is not in its best shape. And it is here that we are reminded of the images of the group of men trying to flip the car. Without a doubt, a Sisyphean task. But at the same time, the scene contains an essential moment: the task of the collective that is required to make a change in the status quo. And we remember once again, that to live in a republic means being given the task of continuously questioning, shaping, and changing. David Hartt fulfils this task by producing The Republic.

http://www.vdrome.org/

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Workers Leaving the Googleplex 2009-2011 . HD Video . 11 minutes

http://www.andrewnormanwilson.com/WorkersGoogleplex.html

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Shahryar Nashat, Hustle in Hand, 2014, HD video, color, sound, 10’20’’ Video still Courtesy Shahryar Nashat; Rodeo Gallery, Istanbul; Silberkuppe, Berlin, Museen Dahlem

The work of Shahryar Nashat (born in 1975, lives and works in Berlin) is made up of fragments in which elements of baroque, humor, sensuality and insolence are interwoven.His installations, which give prominence to video, incorporatephotography, sculpture and furniture while often questioning  the magnetism of the art object, bringing into play equivalences between objects and bodies. Their presence in a space is always, for the artist, a subject of surprise, fascination and desire: an acrobat standing on one hand in the Rubens Hall of the Louvre, men’s perfume tester bottles in a department store, or cement poured into a gigantic slab in a factory in Berlin and refined by a worker who could be a Glenn Gould look-alike. The artist voluntarily enters into an intimate relationship with the art object, sometimes using the work of other artists. One video shows technicians in white gloves from the Kunstmuseum Basel moving a statue, a bronze cyclist by Karl Geiser. The camera frames the involuntarily sensual movements of their hands. For the last few years, Shahryar Nashat has been using generic forms, green cubes and polygons that symbolize the totemic power of art in its relationship to the exhibition space and to performance. In the scenography he created for Parade — a reinterpretation by the choreographer Adam Lindner of Jean Cocteau’s ballet of 1917 with music by Erik Satie—, and in the ensuing film, he explores with humor the relationship between body postures and the invasive presence of the object. For the exhibition of the 2013 Lafayette Prize laureate at the Palais de Tokyo, Shahryar Nashat proposes a spatial arrangement around his film Hustle in Hand (2014) in which we observe secret negotiations carried out between two characters, only their torsos visible in the frame. Money, food, appearances, consumption: the viewer is pulled into a round of transactions, like a rumination on our society in which art occupies a coveted position. The film’s rhythm is suddenly interrupted by the appearance of a green polyhedron that, once licked by one of the mysterious protagonists, becomes golden yellow, a magical event accompanied by an intense swelling of violin music. As is often the case in Shahryar Neshat’s videos, the music, soundtrack and speech takethe viewer by surprise. Presented in a glass museum display case near a Warhol camouflage painting, the object begins to speak in a voice-over, demanding to be the exclusive center of attention and manifesting its satisfaction by a forced and arrogant laugh. Another scene in the film presents a man showing a scratch on his arm. The wound, the vulnerable body and testing desire with disgust are recurrent themes in Shahryar Nashat’s work. Three videos (Todd’s Injury, Delphine’s Injury and Joseph’s Injury, 2013) show still more wounds, those of dancers whose bruises are often the price paid for gracefulness. Hustle in Hand seems disrupted by subliminal images that disturb viewing and challenge our consented credulousness, our necessary candor while suggesting a parallel narrative only picked up by our subconscious. The installation space, with several glass and marble sculptures, presents a multitude of visions amid which the gaze shifts, giving our imagination over to these measured, odd and agitated ambivalences.

http://www.palaisdetokyo.com/en/exhibition/shahryar-nashat

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Possibly the ultimate in creating a group affiliation, or even a society, using smart contract technology is the idea of "Decentralized Autonomous Organizations" (DAOs), economic agents that exists on the blockchain and manage the resources of an organization via code rather than bylaws or legislation.

http://www.furtherfield.org/features/articles/conceptual-art-cryptocurrency-and-beyond

https://forum.ethereum.org/discussion/1009/the-peoples-republic-of-doug-ethereum-based-decentralized-organization

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This is Caleb Larsen's "A Tool To Deceive and Slaughter" (2009). It contains a computer that must be connected to the Internet as part of the conditions of ownership, which then immediately offers itself for sale on the eBay auction site. This kind of "smart property" is a good example of smart contracts, in which arrangements such as ownership are managed by software rather or more immediately than by law.

http://www.furtherfield.org/features/articles/conceptual-art-cryptocurrency-and-beyond