Kunsthalle Wien

Museumsquartier/Karlsplatz 29/5 – 6/10 2019 11 Trisha Baga In any society, one fundamental field in (male/female, mind/body, objectivity/ which gender is expressed is technology. subjectivity, object/subject, human/machine, 14 Louise Drulhe Technical skills and domains of expertise rationality/fiction) grounding western often divide the sexes, shaping masculinities understandings of science, knowledge 18 Veronika Eberhart and femininities. and technology. Hysterical Mining gathers artistic The dissolution of boundaries through Sylvia Eckermann & Gerald Nestler positions that use, appropriate, and play with fiction and imagination demarcates a space feminist methodologies to question and test for speculation, performance, and action 19 Judith Fegerl the (sexist) breeding ground of technology. between disciplines, bodies, gender, species, The artists decode and deconstruct the and ecologies. Their works shape new Fabien Giraud & Raphaël Siboni ideological terrain of the supposedly textures, sounds, forms, figurations and fab- objective, universal knowledge it is founded ulations embodying their political agendas. 23 Katrin Hornek on, and reinvent the relations between Hysterical Mining believes in the desta- technosciences and gender. bilising potential and transformative role of Barbara Kapusta The dual title of the exhibition functions new imagery and imaginaries of technology. on a stratum of different grounds. It reverses Its stories underscore multiplicity, fantasy, 26 Marlene Maier and (re)interprets each word and the com- dis-identification, tenderness and friendship. plex of intertwined connections. “Hysterical” 27 Miao Ying ironically refers to “pathologies” of hysteria Anne Faucheret (diagnosed by Freud) that allegedly agitated Vanessa Joan Müller 30 Pratchaya Phinthong women into frenzied states. Turning this understanding upside down, however, Marlies Pöschl the exhibition rethinks hysteria as a healthy reaction encapsulating the wider types of 31 Delphine Reist frustration people experience with technol- ogy and as a positive emotional way to sense 34 Tabita Rezaire problems. “Mining” evokes data mining and the extraction of rare earth minerals for the production of technological devices – hence referring to ideas of knowledge and value 38 Hysterical Mining Library based on the accumulation of information or raw material. Within the exhibition, Sources and Inspirations “mining” first and foremost refers to the excavation of hidden meanings or systems to bring them back to the surface. Hysterical Mining resolutely sets out to cherish non-expert, intuitive, and heteroge- neous approaches, accounting for the side of the user(s) and the so-called “digitally illiterate.” The manifest inclusion of these perspectives offers complementary positions to those of “experts”. The exhibition therefore embraces everyday understandings and practices, while simultaneously seeking to address features of advanced innovation and science. In reference to techno-feminist theories and speculations, Hysterical Mining maps and provides new tools for the fight against sexism and other forms of discrimination in post-industrial societies. Hysterical Mining acknowledges the gendering, ethnicising, and racializing biases inscribed and embedded in technologies generally taken as “neutral.” To renegotiate gender politics, Cover: Tabita Rezaire, Ultra Wet – Recapitulation, 2017 it counters traditional dichotomies

1 A selection of quotes drawn from books and articles about outlook… drivel… a warped clinical protest against… violently technology, feminism and the post-human that inspired the exhibition. waspish attack… formidable self-pity which erodes any chance of… formless… the inability to accept the female role which… The aesthetic response corresponds with “female” behaviour. the predictable fury at anatomy displaced to… without the grace The same terminology can be applied to either: subjective, and compassion which we have the right to expect… anatomy is intuitive, introverted, wishful, dreamy or fantastic, concerned destiny… destiny is anatomy… sharp and funny but without real with the subconscious (the id), emotional, even temperamental weight or anything beyond a topical… just plain bad… we “dear (hysterical). Correspondingly, the technological response ladies,” whom Russ would do away with, unfortunately just don’t is the masculine response: objective, logical, extroverted, feel… ephemeral trash, missiles of the sex war… a female lack realistic, concerned with the conscious mind (the ego), rational, of experience which… Q. E. D. Quod erat demonstrandum. It has mechanical, pragmatic and down-to-earth, stable. Thus the been proved. Joanna Russ, The Female Man, 1975 aesthetic is the cultural recreation of that half of the psychological spectrum that has been appropriated to the female, whereas Suddenly she thought that these men believed feeling itself the technological response is the cultural magnification a disease, something to be cut out like a rotten appendix. Cold, of the male half. Shulamith Firestone, The Dialectics of Sex: calculating, ambitious, believing themselves rational and superior, The Case for Feminist Revolution, 1970 they chased the crouching female animal through the brain with a scalpel. From an early age she had been told that what she Shrill… vituperative… no concern for the future of society… felt was unreal and didn’t matter. Now they were about to place maunderings of antiquated feminism… selfish femlib… needs a in her something that would rule her feelings like a thermostat. good lay… this shapeless book… of course a calm and objective Marge Piercy, Woman on the Edge of Time, 1976 discussion is beyond… twisted, neurotic… some truth buried in a largely hysterical… of very limited interest, I should… another The cyborg is our ontology; it gives us our politics. The cyborg tract for the trash-can… burned her bra and thought that… no is a condensed image of both imagination and material reality, characterization, no plot… really important issues are neglected the two joined centers structuring any possibility of historical while… hermetically sealed… women’s limited experience… transformation. In the traditions of “Western” science and another of the screaming sisterhood… a not very appealing politics—the tradition of racist, male-dominant capitalism; aggressiveness… could have been done with wit if the author the tradition of progress; the tradition of the appropriation of had… deflowering the pretentious male… a man would have nature as resource for the productions of culture; the tradition given his right arm to… hardly girlish… a woman’s book… of reproduction of the self from the reflections of the other— another shrill polemic which the… a mere male like myself can the relation between organism and machine has been a border hardly… a brilliant but basically confused study of feminine war. The stakes in the border war have been the territories of hysteria which… feminine lack of objectivity… this pretense at production, reproduction, and imagination. This essay is an a novel… trying to shock… the tired tricks of the anti-novelists… argument for pleasure in the confusion of boundaries and for how often must a poor critic have to… the usual boring obligatory responsibility in their construction. It is also an effort to contribute references to Lesbianism… denial of the profound sexual polarity to socialist-feminist culture and theory in a postmodernist, non- which… an all too womanly refusal to face facts… pseudo- naturalist mode and in the utopian tradition of imagining a world masculine brusqueness… the ladies’-magazine level… trivial without gender, which is perhaps a world without genesis, but topics like housework and the predictable screams of… those who maybe also a world without end. The cyborg incarnation is outside cuddled up to ball-breaker Kate will… unfortunately sexless in its salvation history. Donna Haraway, Cyborg Manifesto, 1985

2 3 Science has been denied the input of women’s experience of the networks. These, in turn, begin to get in touch with each other caring, emotionally demanding labour which has been assigned in the 1990s. This convergence of woman and machine is one of to exclusively women. According to Gillian Rose, a feminist science the preoccupations of the cybernetic feminism […] would need to encompass this emotional domain and thereby fuse Misogyny and technophobia are equally displays of man’s subjective and objective ways of knowing the world. […] Rose fear of the matrix, the virtual machinery which subtends his world concludes that the reunification of “hand, brain and heart” would and lies on the other side of every patriarchal culture’s veils. […] foster a new form of science, enabling humanity to live in harmony And even if man continues to see cybernetic systems as similarly with nature. confined to the reproduction of the same, this is only because the For if technology is imprinted with patriarchal designs, what screens still allow him to ignore the extent to which he is hooked is to be done? […] The relationship between technological and to their operations, as dependent on the matrix as he has always social change is fundamentally indeterminate. The designers and been. […] Cybernetic systems are fatal to his culture; they invade promoters of a technology cannot completely predict or control as a return of the repressed, but what returns is no longer the its final uses. There are always unintended consequences and same: cybernetics transforms woman and nature, but they do not unanticipated possibilities. return from man’s past, as his origins. Instead they come around […] Designing alternative feminist technologies is, however, to face him, wheeling round from his future, the virtual system far from straightforward. Just as the campaign for socially useful to which he has always been heading. Sadie Plant, “The Future products in a capitalist context can only begin to specify the criteria Looms: Weaving Women and Cybernetics”, in: Body and Society, by which to judge social use and need, so too our conceptions of Vol.1 (3-4), 1995 a technology based on women’s interests in a patriarchal society are necessarily embryonic. Feminine values are themselves Far from appearing antithetical to the human organism and set of distorted by the male-dominated structure of society. Rejecting values, the technological factor must be seen as co-extensive with essentialist notions of values as inherently masculine or feminine and inter-mingled with the human. This mutual imbrication makes opens up a debate about the form that values, such as caring and it necessary to speak of technology as a material and symbolic nurturing, should take. […] Rather than calling for a technology apparatus, i.e. a semiotic and social agent among others. based on feminine values, we need to go beyond masculinity An important aspect of this situation is the omnipotence of and femininity to construct technology according to a completely the visual media. Our era has turned visualization into the ultimate different set of socially desirable values. Judy Wacjman, Feminism form of control. […] This is of special concern from a feminist Confronts Technology, 1991 perspective, because it tends to reinstate a hierarchy of bodily perception which over-privileges vision over other senses, Ada Lovelace, with whom the histories of computing and women’s especially touch and sound. The primacy of vision has been liberation are first directly woven together, is central to this challenged by feminist theories. In the light of the feminist work paper. Not until a century after her death, however, did women proposed by Luce Irigaray and Kaja Silverman, the idea has and software make their respective and irrevocable entries on emerged to explore the potentiality of hearing and audio material to the scene. After the military imperatives of the 1940s, neither as a way out of the tyranny of the gaze. would ever return to the simple service of man, beginning […] Postmodern feminist knowledge claims are grounded in life- instead to organize, design and arouse themselves, and so experiences and consequently mark radical forms of re-embodiment. acquiring unprecedented levels of autonomy. In later decades, But they also need to be dynamic – or nomadic - and allow for shifts both women and computers begin to escape the isolation they of location and multiplicity. Rosi Braidotti, “Cyberfeminism with share in the home and office with the establishment of their own a Difference”, 1996

4 5 The Turing test was to set the agenda for artificial intelligence for the stagnation and overspecialization. If you don’t understand this, next three decades. In the push to achieve machines that can think, you will. You’ll probably find both tendencies surfacing in your researchers performed again and again the erasure of embodiment own behavior.” And she had put her hand on his hair. “When you at the heart of the Turing test. All that mattered was the formal feel a conflict, try to go the Oankali way. Embrace difference.” generation and manipulation of informational patterns. Aiding Octavia E. Butler, Lilith’s Brood, 2000 this process was a definition of information, formalized by Claude Shannon and Norbert Wiener, that conceptualized information as an Hubert Dreyfus’s critique of classical AI and aspects of nouvelle entity distinct from the substrates carrying it. AI is based on his rejection of the information processing theory Like all good magic tricks, the test relies on getting you to accept of mind and matter. Focusing on the opposition of knowledge at an early stage assumptions that will determine how you interpret and ‘know-how’, information and meaning, he rejects both what you see later. The important intervention comes not when computational attempts to capture complex systems. AI’s you try to determine which is the man, the woman, or the machine. rationalist, rule-based approach to knowledge can model only that Rather, the important intervention comes much earlier, when the test of the beginner since expertise is a function not of knowledge per puts you into a cybernetic circuit that splices your will, desire, and se but of context sensitive know-how. […] Dreyfus characterises perception into a distributed cognitive system in which represented know-how in a way which is compatible with, though exceeded bodies are joined with enacted bodies through mutating and by Donna Haraway’s formulation of “situated knowledge”. There flexible machine interfaces. As you gaze at the flickering signifiers is, he maintains, no abstract context-free knowledge either in the scrolling down the computer screens, no matter what identifications social or physical realm, and no viable distinction between facts you assign to the embodied entities that you cannot see, you have about, and skills within the world. Sarah Kember, Cyberfeminism already become posthuman. and Artificial Life, 2002 […] If, as Donna Haraway, Sandra Harding, Evelyn Fox Keller, Carolyn Merchant and other feminist critics of science It reminds her of something. A game she played when she was have argued, there is a relation between the desire for mastery, a girl. How funny: she hasn’t thought of that game in years. She an objectivist account of science, and the imperialist project never told anyone about it; she knew she mustn’t, although she of subduing nature, then the posthuman offers resources for couldn’t say how she knew. In the game, she was a witch, and she the construction of another kind of account. In this account, could make a ball of light in the palm of her hand. Her brothers emergence replaces teleology; reflexive epistemology replaces played that they were spacemen with plastic ray-guns they’d objectivism; distributed cognition replaces autonomous will; bought with cereal-packet tokens, but the little game she’d played embodiment replaces a body seen as a support for the mind; and entirely by herself among the beech trees along the rim of their a dynamic partnership between humans and intelligent machines property was different. In her game, she didn’t need a gun, or replaces the manifest destiny of the liberal humanist subject to space-helmet, or lightsaber. In the game Margot played when she dominate and control nature. Katherine Hayles, How We Became was a child, she was enough all by herself. Post-Human. Virtual Bodies in Cybernetics, Literature and There is a tingling feeling in her chest and arms and hands. Informatics, 1999 Like a dead arm, waking up. The pain is not gone now, but it is irrelevant. Something else is happening. Instinctively, she digs Human beings fear difference,” Lilith had told him once. “Oankali her hands into Jocelyn’s patchwork comforter. She smells the crave difference. Humans persecute their different ones, yet they scent of the beech trees, as if she were back beneath their woody need them to give themselves definition and status. Oankali seek protection, their musk of old timber and wet loam. She sendeth her difference and collect it. They need it to keep themselves from lightning even unto the ends of the earth.

6 7 When she opens her eyes, there is a pattern around each of her technology behind many “intelligent” systems that shape how hands. Concentric circles, light and dark, light and dark, burned we are categorized and advertised to. Take a small example into the comforter where her hands clutched it. And she knows, from last year: Users discovered that Google’s photo app, which she felt that twist, and she remembers that maybe she has always applies automatic labels to pictures in digital photo albums, was known it and it has always belonged to her. Hers to cup in her classifying images of black people as gorillas. Google apologized; hand. Hers to command to strike. it was unintentional. […] Intuition is just like that: sudden and complete, as if there [...] Like all technologies before it, artificial intelligence will were machinery working behind her eyes that even she has no reflect the values of its creators. So inclusivity matters – from access to. Clank, thunk. Naomi Alderman, The Power, 2016 who designs it to who sits on the company boards and which ethical perspectives are included. Otherwise, we risk constructing At this point in time we believe a radical change in politics and machine intelligence that mirrors a narrow and privileged the world socioeconomic system is needed in order to achieve a vision of society, with its old, familiar biases and stereotypes. new balanced ecology and this radical change should start with Kate Crawford, “Artificial Intelligence’s White Guy Problem”, a shifting of agency: we ask for the main agency to be shifted to The New York Times, June 25, 2016 the feminine principle – which we do not understand as excluding masculinity but as referring to a history of incorporating it and 0x02 (in ZERO) mobilizing it in a different way than the traditional patriarchal Why is there so little explicit, organized effort to repurpose mobilization for violence: an emphasis on complementarity rather technologies for progressive gender political ends? XF seeks than antagonism, on resolutions of peace rather than militarism, to strategically deploy existing technologies to re-engineer the on efforts directed towards construction, care and emancipatory world. Serious risks are built into these tools; they are prone exploration rather than destruction. to imbalance, abuse, and exploitation of the weak. Rather […] This new geological era can be thought of as the than pretending to risk nothing, XF advocates the necessary Gynecene. Understanding the term does not mean thinking of assembly of techno-political interfaces responsive to these risks. a “women’s world” which excludes virility but as a world which Technology isn’t inherently progressive. Its uses are fused with mobilizes it towards humanist and animist goals rather than culture in a positive feedback loop that makes linear sequencing, oppressive, violent and colonial enterprises. prediction, and absolute caution impossible. Technoscientific […] We also believe the emancipatory use of sustainable innovation must be linked to a collective theoretical and technology has to play an important part in any future ecology, political thinking in which women, queers, and the gender including the protection and preservation of “nature”, just as non-conforming play an unparalleled role. Laboria Cuboniks, much as a needed change in our position towards nature and its Xenofeminism: A Politics for Alienation, 2018 exclusive understanding as resource for endless consumption. […] Technology is a cultural asset and together with the rest of I am not just in the thick of it, in the networked and virtualized age of culture, it must be made public, open and free, put to the benefit cyberpunk – back in the day, when we read Neuromancer or He, She of emancipating humanity while not destroying everything else and It, I did not imagine that it would be so banal –; I am moreover around it. Alexandra Pirici & Raluca Voinea, Manifesto for the a member of that reprehensible species (humankind) that occupies, Gynecene – Sketch of a New Geological Era, 2015 befouls, and obliterates everything. But I am also a mother, a cyborg, an art theorist, bacteria, water, a plant, subjectivated in Sexism, racism and other forms of discrimination are being the “belly of the beast”, am a feeling, moving, sensing being, an built into the machine-learning algorithms that underlie the earthling with and among others. I exist, am open, am – .

8 9 At issue is the oikos, the household in its both macro- and Trisha Baga Untitled, 2016 microscopic senses; at issue, in other words, are connections Acrylic paint on lenticular print, 24 x 34 cm b. Venice (Florida, USA), 1985, lives and and interfaces, couplings and decouplings, catenae and effects. works in New York Untitled, 2016 Feminist techno-eco-subjectivity is a vibrant assemblage of Acrylic paint on lenticular print, 29.5 x 39.5 cm The Voice, 2017 concatenations, a relay of throbbing circuits and in/human Installation; video, colour, sound, 24 min. Untitled, 2016 movements, communications, and sensations in the techno- Acrylic paint on lenticular print, 24.5 x 34.5 cm Courtesy of the artist and Greene Naftali, planetary layers and deposits called Earth. New York Courtesy of the artist and Société, Berlin One basic principle of feminist and queer deconstruction is the “queering” of powerful dichotomies. Feminists regard Hamilton Beach, 2016 Glazed ceramic, 22 x 28 x 15 cm Trisha Baga’s video installation The Voice the latter as the ideological and cultural foundation underlying absorbs the attention of the visitor into an exploitation and subjection based on “othering”, irrespective, Brother Making an Impressionist imaginative and perplexing 3D world that lies Painting, 2016 somewhere between a hyperactive realm in the first instance, of whether it concerns nature, gender, Glazed ceramic, 21 x 43 x 48 cm of reality and virtual fantasy. Hypnotically sex, disability, non-human beings, machines, the socially and merging fictional, personal, and topical Dog Bowl with Boobs, 2016 elements, Baga blends a range of special globally disadvantaged, or other subalterns. Yvonne Volkart, Glazed ceramic, 7 x 27 x 15 cm effects and cinematic techniques that are “Techno-Öko-Feminismus. Unmenschliche Empfindungen in pop-culturally affiliated, technically proficient technoplanetarischen Schichten”, in: Die schönen Kriegerinnen, Optical 88, 2016 and persistently playful. Glazed ceramic, 24 x 33 x 8 cm Chewing gum is spat out, appears Cornelia Sollfrank (ed.), Transversal, 2018 intermittently stuck onto the “screen” or Thelma and Louise, 2016 visual terrain, and often remains there Glazed ceramic, 27 x 43 x 4.5 cm floating while other visual stories and sounds unfold. Newspapers re-appear, splayed William’s Wonder Bread, 2016 open, showing headlines on current affairs Glazed ceramic, 11.5 x 40 x 16.5 cm in addition to the advertisements that appear beside them. Familiar tunes like the Universal Microscope, 2016 Studios theme song or the Mac start-up Glazed ceramic, 24 x 11.5 x 15 cm sound provide brief interludes achieving suspense and bewilderment as the storyline TBT, 2016 unravels. The audience is at times reflected Seed painting; styrofoam panel, Guardi in shots where people are shown in movie structure gel fibre mixture, dispersion theatres (also wearing 3D glasses) or glue, black and white sesame seeds, chia immersed by their VR goggles. It is a journey seeds, blue and black poppy seeds, quinoa, into a collision of digital consciousness. amaranth, 124.5 x 179.5 x 5 cm An atmosphere of confusion and curiosity is created – complemented by the TBT, 2016 miscellaneous mix of background noises Seed painting; styrofoam panel, Guardi and music ranging from light, fun-filled structure gel fibre mixture, dispersion glue, pop-songs to a progressively dramatic and black and white sesame seeds, chia seeds, thriller-esque soundtrack. Voice-overs by amaranth, 119 x 124 x 6 cm the artist, her characters or from Hollywood movies and English language courses Untitled, 2016 narrate sporadically. The somewhat elusive Acrylic paint on lenticular print, plot (loosely based on The Little Mermaid) 39.5 x 29.5 cm comes into play in fragments – the scenes interwoven in succession are composed of Untitled, 2016 seemingly heterogeneous sequences such Acrylic paint on lenticular print, as imagery of the artist’s studio, deer, cats 29.5 x 39.5 x cm and dogs, consumer products in shopping malls, the Large Hadron Collider, a rolling Untitled, 2016 tennis ball, pop-ups on phone displays and Acrylic paint on lenticular print, 24 x 34 cm recordings of a car crash or crime scene on

10 11 Trisha Baga, Hamilton Beach, 2016, courtesy of the artist and Société, Berlin, photo: Uli Holz, © Société, Berlin

12 13 a street blocked off by police. Combining the pieces presented – that only begin to a set of simple visual elements (drawings, which guarantee the non-discrimination collage, green-screen and graphics, Baga become apparent when put into focus. The schemes, objects, 3D models and videos). of information and stipulate that data uses home movies, ordinary objects, minute detailing of the pixel-like seeds in TBT The hypotheses derive from scientific transmission by operators should occur found material and improvised props to show, for instance, a black outline and hand theories and concrete observations of the regardless of the content, origin or destination extraordinary effect. Shadowy, smoky forms reaching for a print of the Eiffel Tower from structure of the internet. of the data, the type of communication billow, abstract lines trace profiles and a plastic bag. This image is in fact a still from The first hypothesis, Internet Is a Dot, protocol and without content distortion. leave residues while subtitles crop up, as The Voice. The voices of Thelma and Louise elaborates on the definition of the internet as An Architectural Collage recalls the web disjointed as the dialogue-cum-“biologue”. can be heard in The Voice too, and in the a place of “synchorisation” (Boris Beaude), structure as an assembly of autonomous Juggling the tale of an invisible woman gesture of abstract expressionism, colourful that is: a common space for everybody (if and parallel networks. Finally, A Personalized as well as footage of family holidays in the acrylics seem splatted atop the 3D imagery, connected). Hence, the internet can be Architecture depicts how we sculpt the Philippines and New York, the structure of just as the sticky chewing gum seems to figured as a point situated at the centre internet according to our own image. the narrative also encircles an introduction do so in her video. The interconnections of the globe. This shape easily enables The Critical Atlas is itself based on digital to the process of mitosis within cell are vast. Baga’s artistic investigations concentration of power and control. architecture. Drulhe coded the webpage biology: the division of a single cell body repeatedly approach and perform the messy Online, Distance Is Not Relevant visualises using the CSS protocol that sets a few rules or splitting of the nucleus. Conflating multidimensionality and connectivity of the the irrelevance of physical distance on the to automatically generate varied layouts space, time, geography and geometry in an condition of contemporaneity, employing internet but puts forth the remaining notion according to diverse online and analogue immaterial, hysterical language of media, different materials and media to comical and of space. The page ranking system of formats. A single computer code with an The Voice achieves a way of accessing and yet contemplative effect. search engines mostly shapes this spatial infinite number of display possibilities – transmitting alternate tunnels of perception, architecture. A Global Object Projected at the ranging from screen to paper to exhibition giving voice to ways of viewing and Local Levels studies the paradox between space – The Critical Atlas of Internet understanding a fragmented body and self. the unicity of the internet and its diversity, mutates continuously. Hysterical Mining also features an Louise Drulhe as diverse national laws and cultural norms The Two Webs pencil drawings poetically assorted array of Baga’s eclectic handmade mould it differently on a local scale. depict a rather disturbing reality: the ceramic sculptures. The glazed toaster b. Paris, 1990, lives and works in Paris The Relief of Internet’s Surface Is Pre- symmetry between the web and the tracking- Hamilton Beach, the printer Brother Making defined and Internet’s Centre of Gravity web, between the web you see and the web an Impressionist Painting, and Microscope Critical Atlas of Internet, 2015 address the concentration of internet that is looking back at you. 90% of websites all portray tools transformed by a tactile, Printed poster, 90 x 350 cm activities in the hands of a few players leak data to third parties. Some of these leaks “fingery” touch – one that is often absent mostly based on American territory and are enabled by codes hidden in free services from the typically smooth, hard surfaces The Two Webs, 2017 thus depend on US jurisdiction. Where Is such as Google Analytics and Facebook’s of today’s technologies. In addition to 23 Pencil drawings, 70 x 100 cm and Internet? tackles the physical occupation “Like” button. These giant monopolies are personal pieces such as William’s Wonder 64 x 45 cm of the internet on earth and its hardware at the same time giant trackers. The most Bread and Dog Bowl with Boobs, there are geography, from fibre optic cables to data relevant example is Google, which dominates feminist pop-cultural elements – such as Courtesy of the artist centres. The Web Is a Framed Space and both web spaces: Google’s pits joining at a ceramic frame depicting a road entitled The Web Slope visualise navigation within the centre of the Web reveal its predominant Thelma and Louise, evoking the landmark the internet through the modular frames position online. All of the map-drawings are feminist film. Microscope and Optical 88 are According to the Global Web Index, constituted by webpages and the slope of based on real data gathered by the artist. For instruments of measurement – deprived of the average time spent per day using the our travel through the net – e.g. the tendency the web part of the drawings, she defined their original function they portray a critical internet by an individual reached 6:42 to slide systematically toward the same the depth of a ditch according to the number stance: observation and science are always hours in January 2019 – ranging from 10:02 services which ceases casual online drifting. of daily visitors, and the width according to already framed by the apparatus and thus in the Philippines to 5:01 in Austria and A Space That Can Trace and The Porous the number of incoming links – that is: the not neutral at all. 3:45 in Japan. We spend more and more Surface of Internet address our digital number of websites in the entire web linking The pair of seed paintings (both titled TBT) time on the web, yet we don't have a clue shadow. It corresponds to the metadata towards a given page. The position of the and the selection of Untitled 3D paintings about its shape, its volume and outlines, its we continuously produce while browsing. websites relative to one another corresponds further illustrate Baga’s expansive, media- extension and structure. Most of us don’t Drulhe writes: “On the free internet, we are to the sites that were previously visited. rich practice. The seed paintings were know anything about its geography or how not the clients but the products; we pay For the tracking-web part of the drawings, created within the framework of a post- its topography relates to the terrestrial one. for online services by letting our digital the sizes of the humps are based on the human narrative where only peacocks and Considering space analysis as a tool to personality be absorbed through the surface percentage of the web they track. other bird species remain after the extinction understand socio-political and economic of the internet.” In her works, Drulhe rarely features of humanity. The “hologram paintings” – issues, artist Louise Drulhe has developed A Populated Space invalidates the idea absolute data or numbers. She prefers to as the artist calls them – are expressive, theoretical and visual research over several that the web is a vast empty space while show tendencies and relations and to let so-called “bad taste” paintings on lenticular years on spatial representations and Frontiers and Divided Territories refers to the the dips and curves of the drawings have an prints showing traditionally defined motifs mappings of the web in the form of an atlas. visible and invisible borders that cross the impact on us. Drawing – but also simplifying or symbols of masculinity (cars, boats) or Drulhe’s Critical Atlas of Internet unfolds internet – especially through the proliferation and schematising – is, paradoxically, a way femininity (kittens, horses) in popular culture. fifteen spatialisation exercises according of private networks. for the artist to make the internet tangible Distinct interests and intricately to fifteen hypotheses on some of the Internet Is a Dumb Network visualises and graspable, and, in a way, to measure connected relations are wired between properties of internet that she illustrates with the four principles of net neutrality, herself against it.

14 15 Louise Drulhe, The Two Webs, 2017, courtesy of Voyez-Vous, Vinciane Lebrun-Verguethen

16 17 Veronika Eberhart from the future – approach the oddly unspecific arrangements surge and subside in cycles; in government-run mass organizations. site with the barely restrained curiosity of a chorus of post-human voices provides Society is divided into two classes selected b. Bad Radkersburg, 1982, lives and works in circumspect discoverers. What was once a the text-to-speech vocals as capital, in a by IQ: a small number of engineers are Vienna scene of production and now lies in a slumber talkative moment, raps: “You drink me and employed to operate the machinery and that is bound to end in its demise becomes the drown / Oh you eat me and choke / For it’s uphold the system. In keeping with her role as 9 is one and 10 is none, 2018 implement and stage of a mystifying dance, you I digest / for it’s you in whom I invest / a marginalized subject, the protagonist’s wife Sculpture, readymade, and video a ritual of evocation – a ballet mécanique, Oh baby how you nourish me!” The lyrics of designs a perfectly thought-through high-tech installation, colour, 4-channel sound, 22 min. a witches’ sabbath? Toward the end, three of this ode to self are laced with aggressively kitchen, though her creation ultimately keeps the four figures pose for a sort of tableau vivant, grandiose punch lines whose subtext her trapped in the social confinement that, as Courtesy of the artist re-enacting a composition by the Renaissance drives home, in mantra-like repetition, a woman, has been her place from the outset. painter Hans Baldung: New Year’s Wish with the unchanging shibboleth: “Live in my Judith Fegerl’s sculptures are modelled Three Witches (1514). shelter or your world shall go bust.” on the form of a kitchen, a highly efficient In a key scene in Goethe’s Faust, a character The number three also underlies There is no alternative! The future – piece of furniture that is the centrepiece of recites a magic spell that concludes with Eberhart’s sculpture: an arrangement of three formerly an anchor point for utopian hopes any functional residential unit. She subjects a primer on a peculiar kind of mathematics: isosceles triangles of different sizes, made of – is already cashed in. Literally: What speaks rectangular objects made of magnetic stain- “And nine is ten / And ten is none / That is the sheet metal and painted to match the colours to us in Whisper is an economy whose less steel in the standardized dimensions of witch’s one-times-one!” The final line gives it of the costumes of the film’s characters. The creation of value is founded on speculation European kitchen modules (60 x 60 x 90 cm) away: the speaker is a “witch.” triangle is Eberhart’s symbolic repudiation – wagers on the future that grow ever more to inductive heating to destabilize their When we hear talk of “witches” being of the rigid schema of binarism, the standard fantastic and reckless: “At the surf of all your shapes and produce rainbow-like hues “burned,” many of us think of the Middle Ages. code of the modern mastery of nature, which human desires – in your future I trust.” on their surfaces. Yet it is only in the early modern period, on the by its very definitions excludes the possibility However much Whisper’s capital tries to Induction stoves heat metal cookware by threshold of our own era, that the villainization of a third element, a position beyond the come across as a hardnosed and worldly- inducing eddy currents and through magnetic and persecution of women – as witches – distinctions of culture and nature, male and wise trickster, it is (and will always be) a hysteresis losses. Fegerl uses the technology became a manifest phenomenon. The witch- female, one and zero, etc. dreamer at heart, dreaming of life in a future to inscribe a signature on the material that hunt is part and parcel of a historic process that Part of the binary logic of modernity is of unlimited marketing opportunities, profit metaphorically overwrites all memories and culminates in the fully formed bourgeois socie- the division of the world into useful and potentials, and the socialization of debts, its behavioural patterns associated with it: heat- ty. In her book Caliban and the Witch, the femi- useless objects. The latter tend to end up at utopianism outshining even the confidence of ing erases all traces of the metal’s magnetic nist activist and theorist Silvia Federici presents the scrapyard or, in rare exceptions, in art. the most committed socialist: “Some say: I’m memory. The kitchen as such is still a symbol a formidable reconstruction of the continuities The third and final element of Eberhart’s running on empty, uncovered / And that it’s a of traditional values and roles. Women, of violence that run through this development. installation – a gob of hardened glue, a relic crime. / My lifespan is but a quarter / and my especially when they have children, find She traces the two-centuries-long process of from the woodworking shop in her film – is value is worth a dime.” No matter – Whisper is themselves cast as housewives, regardless of persecution – in parallel with the major historic both a bow to uselessness and a reminder the deviant, pretentious litany of an undead, the careers they have forged. If the high-tech waves of enclosure, the brutal appropriation that even utterly worthless things can have capitalist realism as a HipHop-track. kitchen is thus potentially a counter-eman- of the commons, or the bloody suppression value and the disparate can be equal – cipatory instrument, as Vonnegut’s novel of peasant revolts – in which women were certainly in the witch’s one-times-one. suggested well over half a century ago, Fegerl systematically marginalized and yoked to the – an artist, wife, and mother – zaps it with a jolt reproductive needs of early bourgeois society. Judith Fegerl of energy that ultimately shorts its ideological “Witch” became the invective for those that re- circuitry as well: rather than accommodating fused to participate in the new order: “the here- Sylvia Eckermann & b. Vienna, 1977, lives and works in Vienna herself to the structure, she remakes the tic, the healer, the disobedient wife, the woman structures to her own specifications. who dared to live alone.”1 Each represented Gerald Nestler the kitchen was what she had given of herself the possibility of a life beyond patriarchal vio- to the world, 2019 lence and exploitation. b. Brixlegg, 1964, lives and works in Vienna 4 elements, magnetic steel, induction Veronika Eberhart’s 9 is one and 10 is b. Vienna, 1962, lives works in Vienna technology, each 60 x 60 x 90 cm Fabien Giraud & none memorializes the “witch” as a figure of resistance as well as utopian hope. WHISPER. Status Code: No Entity Found, Courtesy of Galerie Hubert Winter, Vienna Raphaël Siboni The installation consists of three elements: 2016/2019 a film, sculptural work, and a readymade. Sound installation, 4:49 Min. Giraud b. 1980, lives and works in Paris The film gathers views of a former Sound: Sylvia Eckermann In his 1952 science fiction novel Player Piano, Siboni b. 1981, lives and works in Paris woodworking shop (and its surroundings) Lyrics: Gerald Nestler Kurt Vonnegut sketches a dystopian future in southeast Styria, not far from the Austrian- in which the United States is the world’s 1953 – The Outlawed (The Unmanned, Slovenian border. The four characters – their Courtesy of the artists dominant military and industrial power. Season 1, Episode 3), 2018 futuristic attire suggests that they are visitors Industrial production has been almost entirely HD, colour, stereo sound, 14 min. Gerald Nestler and Sylvia Eckermann’s work automated, and most decisions are made by

1 Federici, Silvia, Caliban and the Witch: Women, the Body Whisper imagines what capital – the epitome machines. Virtually no one does meaningful In coproduction with Casino Luxembourg – and Primitive Accumulation, New York 2017 of abstraction – might sound like: beat work; people are consumers and kept “busy” Forum d’Art Contemporain

18 19 Sylvia Eckermann & Gerald Nestler, WHISPER. Status Code: No Entity Found, 2016, video still, courtesy of the artists Veronika Eberhart, 9 is 1 and 10 is none, 2017, film still, courtesy of the artist Judith Fegerl, the kitchen was what she had given of herself to the world, 2019, sketch, courtesy of the artist

20 21 1922 – The Uncomputable (The Unmanned, in painful or even disastrous moments, the algorithm into an algorithm of revolt. to realise a 14-kilogram sculpture from

Season 1, Episode 4), 2016 when technology was instrumentalised for Putting into question the anthropocentric air- or water-based CO2 mineralization HD, colour, stereo sound, 28 min. exploitation, rationalisation, normalisation pretention of western (philosophical and technologies that will act as a trophy for or moralisation. scientific) thought, The Unmanned reverses the most productive fixation method. In coproduction with the Liverpool Biennial The exhibition Hysterical Mining shows the relations between subject and object. Called Atmosphere – The Decarbonization 2016 and Casino Luxembourg – Forum three consecutive episodes of this first Technology seems to be writing its own Trophy, it will ideally be awarded in d’Art Contemporain. With the support season A History of Computation (2045– history, playing with machinic parameters 2030. The sculpture will emerge from of le Fresnoy, Studio National des Arts 1542), that focus on institutional homophobia of vision, measurement, inscription and diverse collected and assembled 3D CO2 Contemporains. in England in the 1950s (The Outlawed), edition. Without completely ousting the re-mineralised samples. Its weight will

women emancipation movements from human, The Unmanned envisages it only correspond to the average one-month CO2 1834 – La Mémoire de Masse (The 1920s until the 1960s (The Uncomputable), as one agent among many others. emission by a single human body at rest. Unmanned, Season 1, Episode 5), 2015 and the revolts of workers at the beginning The promotional video for the future HD, colour, stereo sound, 14 min. of industrialisation (La Mémoire de Masse). award ceremony is framed by an The third episode, 1953 – The Outlawed undulating, semi-transparent and almost In coproduction with Lyon Biennial 2015 – With takes place in August 1953 on the Greek Katrin Hornek psychedelic curtain featuring logos of the support of CNC – DICReAM – Ministère island of Corfu, where mathematician and companies that are currently involved de la Culture et de la Communication and computer scientist Alan Turing spent his last b. Austria, 1983, lives and works in Vienna in carbon capture, utilisation and/or Fonds de soutien à la création artistique et summer. Subjected to hormonal treatment storage, on a background that pictures numérique [SCAN]. The project was selected after being convicted for his homosexuality, Casting Haze, 2018–2030 animal carbon capture and mineralization and supported by the patronage committee he embarks on a makeshift raft to study the HD video, colour, sound, 12 min., fabric, clay organisms called nummulites. The slowly of Fondation Nationale des Arts Graphiques morphogenesis of marine organisms and withering clay floor has been created et Plastiques, Paris. progressively drifts away. Venue: Kunsthalle Wien Karlsplatz in a collective gesture during a lecture- The fourth episode, 1922 – The performance staged as a journey where Courtesy of the artists Uncomputable, is the story of a failure. Courtesy of the artist the changing relations between humans Meteorologist Lewis Fry Richardson planned and stones across time are narrated and a giant climate prediction factory, where felt, at a time where humans have become Fabien Giraud & Raphaël Siboni’s three 64,000 “women-computers” would work to Katrin Hornek’s Casting Haze is a long- a geological force. season cinematic series The Unmanned forecast the world weather, however it was term project with scientists based on CO2 portrays how technology is as much a never built. Drawing from two historically mineralization technologies, examining product of humans as it is producing them – antithetical stances (a radical Marxist and their geographies, economies, industrial from without and within. feminist position, namely that of Shulamith entanglement and philosophical Barbara Kapusta A History of Computation (2045–1542), Firestone, and a male positivist one, that grounding. For Hysterical Mining, she the first season, sketches a reversed and of Richardson), the episode explores crystallizes one moment of the process b. Lilienfeld, 1983, lives and works in Vienna fragmented history of technology from 2045 female subjugation and objectification in a multimedia installation composed until 1542 through eight key dates and via through technology as well as dreams of a video, a printed curtain and a clay The Giant, 2018 the eyes of different machines. The first of emancipation from it. The impossible landscape – collectively shaped. Porcelain, clay, vinyl, acrylic glass, polished episode, 2045 – The Death of Ray Kurzweil attempt at building the factory signalled From our expiring lungs to deep sea waxed steel, rubber, black pigment, was filmed entirely by drones. It follows the collapse of the hypothesis of global shells, from living biomass to combustion mandarin-orange pigment, cherry red the well-known transhumanist in the year computation. engines and skyscrapers using shell- pigment, deep blue pigment, malachite 2045 – when Kurzweil’s singularity (by 1834 – La Mémoire de Masse, the final limestone-based cement, carbon dioxide green pigment, powder blue pigment, violet outsourcing his own human brain) occurs. episode, evokes the terrible repression is found everywhere in different states. pigment, ochre pigment, transparent glaze, The last one, 1542 – A Flood, follows the which ended the second revolt of the silk At the same time a de-materialised golden lustre, copper lustre, platinum lustre, time travel of an artificial intelligence back workers in Lyon, one of the first revolts product of industrialisation, a heating various dimensions to its place of origin, when the first Spanish against automation and computation. blanket for climate change and the colonizers reached Silicon Valley. The film The Jacquard Loom as main accountant backbone of computerised societies, Venue: Kunsthalle Wien Museumsquartier is entirely edited and constructed by an of the revolt – the workers foreboding the CO2 is also involved in all metabolic and Kunsthalle Wien Karlsplatz artificial intelligence. Technology here replacement of the human working force processes between organisms and the has its own agency – intensified by its in weaving factories – becomes the film’s earth’s crust. Trying to re-edit, rewind Courtesy of the artist and Gianni Manhattan, increasing autonomy and intelligence – and protagonist. The first machine to exploit and fast forward this carbon dioxide circle Vienna seems to require humans only to reproduce the principles of the binary system through in a mechanical way, researchers and itself, as diagnosed by philosopher punch cards, the Jacquard’s programmable companies from all over the world aim

Marshall McLuhan. The production loom is the ancestor of any machine to bring CO2 into a stable and storable Barbara Kapusta imagines future forms of technology and its interaction with processing data. The film alternates state, and re-implement it into productive of cohabitation and creates scenarios humans has never been neutral, but rather close-ups of a horse’s birth, of a Jacquard cycles in order to make profit out of it. gathering diverse bodies that reflect the entangled in complex social, political Loom, and a fully computer generated riot Combining research-based analysis predominant modes of living together and and cultural contingencies, culminating sequence, transforming the revolt against and artistic speculation, Hornek plans communicating with each other.

22 23 Fabien Giraud & Raphaël Siboni, 1953 – The Outlawed (The Unmanned, Season 1, Episode 3), 2018, video still Fabien Giraud & Raphaël Siboni, 1922 – The Uncomputable (The Unmanned, Season 1, Episode 4), 2016, video still © Fabien Giraud & Raphaël Siboni Katrin Hornek, Casting Haze, 2018–2030, video still, courtesy of the artist

24 25 The Giant is a sculptural installation The gigantic places the spectator within the shadowy impressions from videogames and The People’s Republic of China is thought composed of ceramic objects, metallic event, moving inside the event that suddenly various 3D applications: it is the evanescent to be leading in the implementation profiles, acrylic plates and text. Comic- is all around her*him.” and chimerical shadows of the digital that of information and communication like hands, gigantic eyeballs, and elastic engage her interest. technologies that closely integrate social tentacles or enhanced limbs are scattered The text read by an offscreen voice is media, private consumption, and state across the floor. They are made of coloured a collage of snippets from chatrooms and surveillance. In 2006, the American company clay or porcelain and then painted and/or Marlene Maier various tutorials. One source is online forums Google defied international protests by glazed with a gold, platinum and copper where users discuss so-called “graphics rolling out a Chinese version of its search finish. A metal rod crosses, structures b. Steyr, 1989, lives and works in Vienna engines”: software building blocks that engine that filtered and censored results to and holds each of them together, as a serve to generate 3D worlds. Shadows play comply with local restrictions. However, after spine does, giving them a techno-organic Unreal Engines, 2019 a central part in the making of such worlds – only a few years, in 2010, Google withdrew dimension. The choice of the colours as 2-channel video installation, colour, sound, for an animation to look “realistic,” it is crucial from the country. The Chinese search engine well as the subtle treatment of the surfaces, each 12:23 min. that the shadowed parts of a virtual body or Baidu stepped into the breach and, in part at the same time soft and shiny, provide a space are meticulously modelled, which is to thanks to its better understanding of local haptic dimension and makes one want to Courtesy of the artist say, computed. users, now has a de-facto monopoly with an stroke and communicate with them, as their The technical question of the perfect estimated market share of 73 percent. extended, contorted or inflected gestures computer-generated shadow brings In 2007, Miao Ying identified 2,000 expressively invite. A longstanding tradition in Western Maier to a philosophical concern: if reality censored terms that were blocked on google. Organs of vision or of touch, the body philosophy associates lying with the trope is nothing but an effect – evoked by the cn by turning herself into a human search parts evince a will to grasp the world around of the shadow. The best-known example, methodical alternation of light and dark, engine: she spent ten hours a day for three them. The heterogeneous constellation of perhaps, is Plato’s allegory of the cave, in or ones and zeroes – then how substantial months to enter every single headword fragments embraced at first sight gradually which the play of shadows on the back wall are our selves? The artist does not give an in her 1,869-page Mandarin dictionary reveals itself to be an organised ensemble. of the grotto absorbs the prisoners’ attention, unequivocal answer, but she offers clues. into Google’s search mask. The heavy- The viewer is in the middle of a partial body stunting their cognitive faculties. The “I’m composed of virtual shadows trying handed and monotonous approach allowed and a whole at the same time: a body that metaphor of the shadow rises to even greater to mimic a world that has never been there her to occasionally outwit the algorithm arises beyond all kind of binaries (singular/ prominence in the Age of Enlightenment, in the first place”, she laconically notes at that manifestly censored certain words. plural, male/female, natural/technological, which explicitly styles itself as the shadow’s one point. By the time Unreal Engines has Whenever a note at the bottom of the search objective/subjective, active/passive); a body other, a movement of light. It establishes the run its course, it would appear that little results page indicated that “according to that speaks for a whole and cannot or does modern epistemological schema: whatever more remains of the subject than a data local laws, some search results are not not want to be imagined solely as one. languishes in darkness is to be illuminated, trace, a digital shadow on a futile quest for showing,” the artist eliminated the respective Punctuating the gatherings are oversized be it the deepest recesses of the human soul its own reality. term from the dictionary by masking it with speech bubbles, either standing on thin or remote “dark continents.” By bringing white tape. When Miao searched too many metallic profiles or affixed on the wall, that light into the darkness, however, modernity “sensitive” words within a short period of recite sentences taken from a text written by engenders its own zones of shadow, new time, she was blocked from using google.cn the artist. They speak simultaneously to the areas of invisibility and repression – a Miao Ying altogether, and the site would not reload. viewer, their language expressing injunction, consequence of its quest for knowledge that Created in 2019, the works in her Blind threat, invitation or care. Sometimes, they it acknowledges only formulaically, if at all. b. Shanghai, 1985, lives and works in New Spot series present selected terms from return to themselves, describing their own Yet if philosophy’s famous shadowy York and Shanghai this research project: canvases printed mutability and hybridity, they refuse to belong figures are tropes of obscuration, there are with definitions in English and Mandarin to any species, to respect any scale or to be others that are rendered visible. “Digital Blind Spot – People, 2019 are complemented by visual illustrations. subjected to any time. The gaps in the text shadows”, for instance, are transcripts of Acrylic paint, pigment print on canvas, In their formal simplicity – reminiscent of lines are the signs of orality as much as they our online activities, the form, that is to say, plastic foil, canvas 170 x 135 cm, total the aesthetics of conceptual art – the works undermine any form of authoritarian linearity, in which we appear in the digital realm and dimensions ca. 210 x 200 cm direct the beholder’s attention to words that preferring breaks, reflection and hesitation. become visible to – and, more importantly, are considered suspect because they lead Quietly and playfully, The Giant addresses susceptible to exploitation by – all sorts of Blind Spot – Love, 2019 to contents the authorities apparently regard political and social urgencies and imagines commercial interests. Acrylic paint, pigment print on canvas, as dangerous. “Politics”, “people”, and “love” a future community without the fear of Marlene Maier’s film installation Unreal plastic foil, canvas 150 x 150 cm, total are among these censored terms; so was otherness. It is about empathy and solidarity Engines weaves together several narrative dimensions ca. 230 x 190 cm the name of a particular sweet, although that is felt and lived, and not rhetorically strands to explore the dialectic of the shadow that may have been a malfunction of the uttered. “How far are we able to imagine as both metaphor and actual phenomenon. Blind Spot – Politics, 2019 algorithm – if indeed it is an algorithm that is other bodies’ needs and desires? Whom and We see shades scurrying across a rock face; Acrylic paint, pigment print on canvas, 3 doing the censoring. how many can we be empathic with? Whom sharply edged shadows cast on the terraces parts: 150 x 150 cm, 165 x 50 cm, 33 x 60 cm, Blind Spot materialises an episode in do we define as being valued enough for of what would seem to be a lost city; the total dimensions 165 x 260 cm the history of technology in China that our solidarity? The partial and the gigantic discreet and almost invisible shadings in the reflects a moment of transition with regard to demand a living with, engagement and taking ripples of a blanket of snow; shadows gliding Courtesy of Galerie nächst St. Stephan, censorship strategies. In 2007, social media part. Becoming a part and entanglement. over an animal’s fur. Maier gleans these Rosemarie Schwarzwälder, Vienna was just beginning to catch on in the country.

26 27 Marlene Maier, Unreal Engines, 2019, video still, courtesy of the artist Barbara Kapusta, The Giants, 2018, installation view Gianni Manhattan, 2018, photo: Simon Veres Miao Ying, Blind Spot – Politics, 2019, Courtesy of Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, photo © Markus Wörgötter

28 29 By 2010, when Google left China in response accelerator unleashes paranoid imaginings DOP Salzburg: David Rabeder In a series of vignettes, we learn what makes to a growing wave of hacking attacks and eschatological fears. Written directly Drone operator: Daniel Ausweger Aurore so unique. The setting is a retirement and tightened censorship requirements, on the wall to fill a perfect circle, the text Sound engineer: Gaél Eleon home somewhere on the periphery of social media platforms like Facebook had by an anonymous author describes secret Original music: Peter Kutin Paris. We see two residents in animated become inaccessible to Chinese users. research at CERN (the institute is allegedly Sound design: Florain Kindlinger conversation with Aurore – the voice is the Miao’s research for Blind Spot thus also controlled by Americans) whose objective Vocal artist: Agnes Hvizdalek artist’s own, speaking French with a German marks the point in time when censorship is to teleport a select part of humanity to accent. They answer her questions, share ceased to be exercised by the state alone: Mars in advance of the Earth’s collision with Produced by Marlies Pöschl memories from their lives, and talk about a model of mutual prior restraint emerged in another planet in 2017. Given the dystopian In the framework of “Pixel, Bytes and Film”, how they experience aging and loneliness which users started preventively censoring quality of this vision of the future (which is ORF III/BKA (in passing, Aurore reminds them to take their themselves and others to avoid being now already in the past), it might almost be In collaboration with Bertrand Scalabre, medication). What remains unclear, however, sanctioned. That is why Miao partially covers a conventional piece of apocalyptic science Hidden Mother, Paris is whether Aurore, too, has experiences, her lexicon-entry canvases with plastic foils – fiction, were it not for a surprising plot twist: With the participation of CAC Brétigny and if she does, how she deals with them. or “condoms”, as she laconically puts it. Buddha, it is claimed, will save his followers, She certainly shows interest in embodiment including the author, averting the end of the Courtesy of the artist and affects and seems eager to learn. world at least for the faithful. For the abstract second part of her film, 2017 is executed in acidic ink that fades Pöschl collaborated with the composer Peter Pratchaya and eventually becomes invisible. When For empathy to be possible, for the other to Kutin and the vocal artist Agnes Hvizdalek: this will happen cannot be predicted with share my joy, my grief, my disappointment, a drone flight through a psychedelic dream Phinthong certainty. The dark prophecy just gradually she must know what it means to feel joy, landscape is accompanied by buzzing melts away until it is illegible. This does grief, or to be disappointed. Empathy sound textures – a glimpse of an artificial b. Ubon Ratchathani (Thailand), 1974, lives not mean, however, that it has altogether requires the capacity to experience. That is intelligence’s inner life, a machine dream? and works in Bangkok vanished: the ink is still physically present stating the obvious, but it pinpoints why we Aurore is a product of collective reflection, on the wall’s surface, it merely eludes our might find it absurd to expect commiseration, a shared process of associative speculation 2017, 2009 immediate perception. What lives forever on affection, and care from a computer: on what empathy and care might look like Wall drawing of a text found online in fading the internet and will continue to inspire new computers do not experience (and certainly in a not-too-distant future. Unafraid of ink, Ø 241 cm speculations is transmuted by the material do not experience for themselves), they innovation and genuinely curious about form of Phinthong’s work into the perishable manage data and run calculations. the future of society, it is a perfect example Venue: Kunsthalle Wien Karlsplatz prediction of a future that never came to pass. Can empathy, solicitude, commiseration, of collaborative science fiction in the guise Its calculated evanescence makes 2017 and competence in care be programmed? of a documentary film, with just a dash of Collection FRAC Lorraine, Metz a gesture in the mould of conceptual art, This question was the point of departure promotional rhetoric. which plays with the absence or physical for a workshop with primary-school Courtesy of the artist and gb agency, Paris disappearance of a concrete work. More pupils, graduating secondary-school generally, Phinthong’s creative practice is students, and senior citizens that Marlies informed by his scepticism concerning the Pöschl held at the CAC Brétigny in 2017. Delphine Reist CERN, the European Organization for material, and marketable, work of art. In this The focus was on practical answers. Nuclear Research, is an institution based in perspective, too, the belief in the substantial The participants envisioned household b. 1970, lives and works in Berlin the Swiss Canton of Geneva. The scientists truth of a bald-faced assertion that fuels and nursing robots (designed to look like at CERN conduct foundational research in internet-era conspiracy theories finds an friendly wolves), happiness-redistribution Étagère, 2007 physics, using a giant particle accelerator and adequate form in 2017, where it is staged as machines to adjust uneven satisfaction Installation, 3 galvanized steel shelves, other machinery to explore the structure of a speculative textual bubble. levels, fully automated personal assistants acrylic glass, power tools, electronic matter. They also hope to detect traces of dark that anticipate their clients’ needs (before control system, 200 x 305 x 38 cm (2x) and matter. CERN figures prominently in plenty of those clients even realize they have them) – 200 x 230 x 38 cm conspiracy theories and doomsday scenarios and Aurore. – in Dan Brown’s thriller Illuminati, the titular Marlies Pöschl Aurore is the title of Pöschl’s new film, Collection Institut d’Art Contemporain, organization tries to use antimatter from the name of an intelligent nursing operating Villeurbanne / Rhône-Alpes CERN to blow up the Vatican. The internet is b. Salzburg, 1982, lives and works in Vienna system and the dream of an (aging) society the ideal breeding ground for such fantasies: and Paris struggling with a dramatic care supply Courtesy of the artist it is growing exponentially, with nothing shortage. Aurore is present but never ever deleted for good, and algorithms draw Aurore, 2018 obtrusive. She remains invisible in the film; connections where a rational mind cannot HD video, colour, 5.1. sound, 20 min. on call around the clock she takes care Étagère, as its French title (“shelf”) denotes, discern popularising, ideologically alluring French with English subtitles to meet her clients’ individual needs, she is a work in the shape of storage furniture that search results in countless echo chambers. is never exhausted and never expresses the artist has dramatically enlarged and filled Pratchaya Phinthong’s 2017 is a Director, scriptwriter, editor: Marlies Pöschl needs of her own. Aurore imagines the ideal – not with books nor decorative objects, but reproduction of a text he found on a blog Assistant director: Lauren Oliel caregiver: professional yet affectionate, with dozens of power tools such saws, drills, in which an experiment at the particle DOP Paris: Victor Zébo empathetic but infallibly impartial. a sanding machine, and a circular saw –

30 31 Pratchaya Phinthong, 2017, 2009, collection FRAC Lorraine, Metz, courtesy of gb agency, Paris Marlies Pöschl, Aurore, 2018, video still, courtesy of the artist

32 33 behind sheets of Plexiglas. At the approach Ultra Wet – Recapitulation, 2017–2018 and statements. Recounting the sounds of of visitors, the tools start to move and make Pyramid projection mapping installation, creation, stories from many cosmologies noise, each according to their individual mirrored foil, sound, 11:18 min. are told ranging from Africa, the Indigenous rhythm and intensity. Although concrete Americas and Australia, based on the same and almost familiar-looking, the installation Venue: Kunsthalle Wien Museumsquartier belief that the world was created by sound. releases the impression of something rather The tales continue with astrophysics, unreal and disturbing. Produced in cooperation with Kër Thiossane, spiritual sciences and the creative power Delphine Reist takes typical electrical Dakar; Wits Art Museum, Johannesburg; of sound. “Ancient Egyptians called power tools and mechanical objects usually and ZKM | Center for Art and Media geometry frozen music.” “Sound transforms handled by humans (but to which they pay Karlsruhe for the project Digital Imaginaries, matter. Sound shapes our reality. From the no attention) from their original circuits of funded by the TURN fund of the German world of sound comes the world of form.” production, use or consumption. In her Federal Cultural Foundation (Kulturstiftung The central spherical sculpture, created by installations, she makes them visible again, des Bundes) four copper rings interlaced, is understood while those who might use them have as a sacred geometric symbol. The Song disappeared. The appliances are not only left Courtesy of the artist und Goodman Gallery, of the Spheres immerses the visitor in a alone, but seem to come alive by their own Johannesburg spiritual and sonic journey in opposition to means. They work according to their original the hyper-visualisation of today. mechanism but appear to be freewheeling in The pyramidal site, sounds and sights an exaggerated, supercharged and hysterical Tabita Rezaire’s artistic cosmology is a force of Ultra Wet – Recapitulation stage the manner. The work ironically undermines our to be reckoned with. Rezaire considers herself excavation of spiritual and technological anthropocentric conceptions and proposes an agent of healing, a digital activist and black knowledges of pre-colonial Africa and ancient new affective interactions between human femme artist: she seeks to speak to and heal indigenous cultures regarding energetic and non-human bodies. the soul(s) of her viewer(s) through different polarities in order to reject binary ideology. Moreover, Reist performs a work of technologies, including artistic. Defined as At once eclectic, colourful and queer, the “de-scription” (a term coined by Madeleine “cross-dimensional”, her approach envisions projected visual textures of fragmented Akrich and Bruno Latour). In contrast to the spiritual, physical, organic and electronic and collaged, superimposed, floating or the process of “inscription” by the engineer as networked sciences. flickering imagery in motion – from flowers, or designer of a device (reminiscent of Asserting the internet as “a colonized figures, and female anatomy to earthly and Roland Barthes’ concept of “script”, it space and neocolonial technology”, she celestial graphics – is testimony to Rezaire’s means to inscribe the object with the uses, embraces cultures of science in order to diverse and highly symbolic aesthetic style. interactions as well as the privileged user expand the meaning and understanding Unearthing a space-time beyond duality and profile of the designer), “de-scription” arises of technology – the application of scientific the violent enforcement of gender norms, in the opposite way. From the object or knowledge for practical purpose. Rezaire’s Ultra Wet – Recapitulation outlines how thing to the script, “de-scription” develops work is founded on her concept of the “viruses spread into our brains, lands and by decoding the alleged neutrality of the “cosmos database”, which “may contain computers to lead us with fear and shame; processes of manufacturing and circulation. many universes – previous, future and birthing this age of disequilibrium – where The decoding is made possible by Reist’s parallel” and is viewed as “a mega hard drive celebrated toxic masculinities reign and the slight modifications to the objects she of all that has been, is, and will ever be”. feminine is shamed. It is urgent that we heal appropriates, which affect their appearance, In dialogue with feminist and decolonial to reboot our systems.” functionality and efficiency, reducing the concerns, her oeuvre comprises video, last two to almost nothing to give way to sculpture, sound, multi-media installations unexpected new characteristics. and performances in the shape of collective offerings. Drawing on a diverse range of sources and transmissions, her investigations into the histories of sexuality, colonialism, Tabita Rezaire globalisation and architectures of power – “mental, online and offline” – are portrayed b. Paris, 1985, lives in Cayenne, French awash with manifold juxtapositions of textual Guyana, with part of her heart in and visual references. Johannesburg, South Africa Hysterical Mining presents two works by the artist, each in one of the exhibition The Song of the Spheres, 2018 locations. For her, The Song of the Spheres Installation; sculpture, copper, Senegalese is “an invitation into the sonic landscapes mats, sound, 16:16 min. of the celestial realms”. The hypnotic and atmospheric soundscape wavers Venue: Kunsthalle Wien Karlsplatz polyphonically between song, whispers

34 35 Delphine Reist, Étagère, 2007, Collection IAC, Villeurbanne, photo: lange + Pult 2017 Tabita Rezaire, Ultra Wet – Recapitulation, 2017–2018, installation view, courtesy of the artist

36 37 Hysterical Mining Haraway, Donna: Monströse Versprechen: Plant, Sadie: Zeroes and Ones: Digital Coyote-Geschichten zu Feminismus und Women and the New Technoculture, 1998 Library Technowissenschaft, 2017 Power, Nina: Toward a Cybernetic Haraway, Donna: Staying with the Trouble: Communism: The Technology of the Sources and Making Kin in the Chthulucene Anti-Family, 2010 (Experimental Futures), 2016 Preciado, Paul B.: Testo Junkie, 2013 Inspirations Haraway, Donna: Unruhig bleiben. Preston, Laura; Widman, Tanja: Die Verwandtschaft der Arten im Postapocalyptic Self-Reflection, 2019 Composed by the curators, artists and the Chthuluzän, 2018 Puig de la Bellacasa, María: Matters of Care: team of Kunsthalle Wien. The list below Harrasser, Karin: Körper 2.0, 2013 Speculative Ethics in More than Human provides an overview of the books and Hayles, Katherine N.: How we became Worlds, 2017 facsimiles presented in the Hysterical Mining posthuman. Virtual Bodies in Cybernetics, Reist, Delphine: Mitarbeiter denken positiv, 2017 Library at Kunsthalle Wien Karlsplatz. Literature and Informatics, 1999 Rose, Gillian; Blunt, Alison: Writing Hester, Helen; Armen Avanessian: Women and Space: Colonial & Alderman, Naomi: The Power, 2016 dea ex machina, 2015 Postcolonial Geographies, 1994 Akrich, Madeleine: The De-scription of Hester, Helen: Xenofeminism, 2018 Russ, Joanna: Planet der Frauen, 1979 Technical Objects, 1992 Hird, Myra J.: Queering the Non/Human, 2016 Russ, Joanna: The female man, 2010 Alexander, Jonathan; Yescavage, Karen: Holmes, Brian: Escape the Overcode, 2009 Sargent, Pamela: The Shore of the Sex and the AI. Queering Intimacies, 2018 Hopkinson, Nalo: Midnight Robber, 2000 Women, 1988 Anschläge VIII/2018: Digital Gender, 2018 Irigaray, Luce: In the Beginning, She Was, 2012 Sollfrank, Cornelia: Die schönen Ballard, J.G.: Crash, 1995 Kember, Sarah: Cyberfeminism and Kriegerinnen, 2018 Barad, Karen: Meeting the Universe Artificial Life, 2002 Solnit, Rebecca: Men Explain Things Halfway: Quantum Physics Kitchen Politics (Hg.): Sie nennen es Leben, to Me, 2014 and the Entanglement of Matter wir nennen es Arbeit, 2015 Stiegler, Bernard: Relational Ecology and and Meaning, 2007 Laboria Cuboniks: The xenofeminist the Digital Pharmakon, 2012 Braidotti, Rosi: Becoming World Together: manifesto a politics for alienation, 2018 Tepper, Sheris: The Gates to Women’s On the Crisis of Human, 2017 Le Guin, Ursula K.:The left hand of darkness Country, 1989 Braidotti, Rosi; Bignall, Simone: Posthuman (remembering tomorrow), 1987 Texte zur Kunst, Heft 84: Feminismus!, 2011 Ecologies: Complexity and Process After Lessing, Doris: The Memoirs of a Survivor, Texte zur Kunst, Heft 98: Media, 2015 Deleuze, 2018 London 1995 Turing, A. M.: Computing Machinery Brynjolfsson, Erik; McAfee, Andrew: Lowenhaupt Tsing, Anna: The mushroom and Intelligence, 1950 The Second Machine Age, 2014 at the end of the world: On the possibility Universität für angewandte Kunst Wien: Butler, Judith: Das Unbehagen der of life in capitalist ruins, 2017 Digitale Transformationen: Gesellschaft, Geschlechter, 1991 Millet, Kate: Sexual Politics, 1970 Bildung und Arbeit im Umbruch, 2018 Butler, Judith: Gender Trouble, 1990 Millet, Kate: Sexus und Herrschaft. Wacjman, Judy: Feminism Confronts Butler, Octavia E.: Parabel of the Sower, 1993 Die Tyrannei des Mannes in unserer Technology, 1991 Chun, Wendy Hui Kyong: Control and Gesellschaft, 1971 Wespennest, Nr. 169: Mensch und Freedom, 2008 Mumford, Lewis: Technics and Civilisation, 1934 Maschine, 2015 Crawford, Kate: Artificial Intelligence’s White Nestler, Gerald: Form Contingent Becoming Guy Problem, 2017 to Derivative Futures, 2018 Dvorsky, George; Hughes, James: Pasquinelli, Matteo: Neuronale Netzwerke Postgenderism: Beyond the Gender und das Unberechenbare: Über die Binary, 2008 Automatisierung von Intelligenz als Federici, Silvia: Caliban and the Witch: Statische Interferenz Women, the Body and Primitive Perkins Gilman, Charlotte: Die gelbe Accumulation, 2017 Tapete, 1978 Fegerl, Judith: In the Charge, 2017 Perkins Gilman, Charlotte: Herland, 1981 Firestone, Shulamith: The Dialectic Perkins Gilman, Charlotte: Ihrland, 2016 of Sex, 1970 Perkins Gilman, Charlotte: The Yellow Friedan, Betty: Der Weiblichkeitswahn oder Wallpaper and Herland, 2015 die Selbstbefreiung der Frau, 1970 Piercy, Marge: Er, Sie und Es, 1999 Friedan, Betty: The feminine mystique, 2010 Piercy, Marge: He, She and It: A Novel, 1991 Gordon, Kim: Is it My Body?, 2014 Piercy, Marge: Woman on the Edge Gürer, Denise: Pioneering Woman in of Time, 1983 Computer Science, 2002 Plant, Sadie: The Future Looms: Weaving Haraway, Donna: A Cyborg Manifesto, 1985 Women and Cybernetics, 1995

38 39 Community the wave of collectivity, the Community Pay as You Wish! Curator’s Tours Sunday Tours College is a freethinking space to gain new Each Sunday, you Anne Faucheret and Every Sunday at 4 pm you College: The Black perspectives. People from different fields decide on the admission Vanessa Joan Müller, can join our art educators and backgrounds come together and use art fee and pay as much discuss the role of on a guided tour to explore Box Issues as a context to develop methods of critically as you want for your technology in the formation the exhibition and discuss reflecting and discussing, sharing and caring, exhibition visit. of local and global gender stereotypes and new Risking translations of what is only partly experimenting and acting. The Community configurations of power, forms of knowledge, skills understood. College is an interdisciplinary exchange on PROGRAM forms of identity, and and bodily practices with current discourses and their potential, staying Opening ways of life. regard to the use as well “Feminism loves another science: the sciences on track with the latest ideas and concepts Tue 28/5 2019, 8.30 pm as the production of (new) and politics of interpretation, translation, around art. Thought sharing on contemporary Kunsthalle Wien Thu 13/6, 5.30 pm technologies. (Guided tours stuttering, and the partly understood. [...] theoretical problems, text and art based Museumsquartier With Anne Faucheret, as in German). Translation is always interpretive, critical, discussions, exhibition visits; we hold part of the MQ Summer and partial. Here is a ground for conversation, reading groups developing artistic-based Discursive Space Opening With: Wolfgang Brunner, rationality, and objectivity – which is power- research. Discussing ideas and experiences, Kunsthalle Wien Karlplatz Carola Fuchs, Michaela sensitive, not pluralist, ‘conversation’.” we address open questions about our The discursive space Tue 2/7 2019, 6 pm Schmidlechner (Donna Haraway) relationship to digital technologies and their at Kunsthalle Wien With Vanessa Joan Müller and Michael Simku. consequences for our lives. Karlsplatz will be activated and Anne Faucheret Could there be an affectionate feminist Statements by Community College during the exhibition with Sun 9/6, 11/8, 22/9, 6/10 algorithm? What can be understood as a members: We address complex issues a variety of events; from Tue 3/9 2019, 6 pm 2019, 4pm black box, that is, as a system whose internal touching on the interconnections of artist talks, lectures and With Vanessa Joan Müller The Languages of Things processes evade critical scrutiny or simply technology, society, art & science: we are performances to film and Anne Faucheret overwhelm our perception capacities with cross-disciplinary. We translate our research programs and workshops. Sun 16/6, 30/6, 14/7, 18/8, too much data: technological devices, process into tangible interventions to trigger Barbara Kapusta will Kunsthalle Wien x MAK 25/8, 8/9 2019, 4 pm unmanageable actor networks and complex debate within a broader audience and give a reading of her own Museum für Angewandte Technologies as a organizations? My smartphone, the social provide tools for reflection. Finding ways writing, dancer Anne Kunst Feminist Perspective media economy, or the view of things from out of being lost in diversity; finding ways to Juren will perform in the Late-Nite-Combi- the perspective of another person? What enjoy it; exploring knowledge and ignorance exhibition, Irene Posch Guided-Tours Sun 2/6, 23/6, 7/7, 4/8, 15/9 instrumental, intricate and sentimental about things, about technology of life; (re) will host a workshop on Tue 11/6, 9/7, 10/9 2019, 7 pm 2019, 4 pm relationships do we maintain to black discovering so many possibilities in and out Handcrafting the Digital. New Rituals of boxes and what do they do to us? What of the world of technology. Where you can be Tabita Rezaire offers a Two exhibitions, one Coexistence prejudices, inequalities and discriminations reflective and reflexive and not feel like you collective sky-gazing during coordinated tour. After a are, consciously or unintentionally, are the only crazy person in town! the full moon and Cornelia tour through the exhibition Sun 21/7, 28/7, 1/9, 29/9 programmed into them, which are even Sollfrank will share her at the Kunsthalle Wien 2019, 4 pm amplified by feedback loops with an unequal Open get-togethers, workshops and explorations in techno- Hysterical Mining, our art Invisible Bodies – society? Can deep-learning systems also collective action in June (7/6 with Cornelia feminism, art and activism. educators will accompany Hysterical Machines unlearn? Can we answer these questions Sollfrank, 12/6, 21/6, 26/6 2019), July, August A selection of documentary you to the MAK exhibition if the mechanisms that keep the game of and September (20–27/9 2019). and experimental artist’s Uncanny Values. Artificial Art Night at MQ regulated relations between input and output films will feature at the film Intelligence & You. Thu 27/6, 29/8 2019, 6.30 pm going are not completely understood? For dates, program and details on festival Kaleidoskop and at Discover the positions Meeting Point: mumok The Kunsthalle Wien Community how to participate contact: LE STUDIO Film und Bühne. contemporary artists take College activates the discursive space of [email protected] There will be guided tours, on the topics of artificial The afterwork program for the exhibition Hysterical Mining with open thematic discussions, the intelligence, technology art lovers! Enjoy exclusive meetings, workshops and collective actions Hysterical Mining Library – and gender, and join us tours through the mumok, that invite people to work together on diverse and much more will occur in discussing the critical Leopold Museum and ‘translations’ of the inner processes of black spontaneously! attitudes represented in Kunsthalle Wien with just boxes. In the sense of “staying with the the artworks. one ticket. trouble” (Donna Haraway), we do not shy At www.kunsthallewien.at you away from creating productive confusion will find the whole program. Meeting Point: Kunsthalle The ORF Long Night of and suggesting cheerful exercises for a life in Wien MQ, Guided tour Museums complexity. The goal is to initiate a discourse Tours Kunsthalle Wien (7 – 8 pm), Sat 5/10 2019, 6 pm – 1 am on the impact of black boxes and the need All tours are free with afterwards guided tour at for democratic regulation. admission – unless stated MAK (8.30 – 9.30 pm) Sat 5/10 2019, 6.30 – 8 pm The Community College is Kunsthalle otherwise. All tours start Guided tours incl. The Crazy Robot Race Wien’s open space for reflection and or take place at Kunsthalle admissions MAK and At the Kunsthalle Wien action. Want to be entangled? Surfing on Wien MuseumsQuartier. Kunsthalle Wien: € 16 robots are waiting for you

40 41 to build the most creative, Anna Koblitz, Elisabeth we learn how to program colourful, coolest and Lehner, Magdalena Micoloi, and design a fantasy robot. craziest robot racing track. Paul Presich (students How should robots look? Be inspired by the artistic Academy of Fine Arts Vienna) What should they be able to works in the exhibition and do? How do you want to live join us in creating a trail for With contributions from: with technical things and our wild robot gang! Jessi Bauer, Luisa Chmiel, robots in the future? Shikofa Fayazi, Slawa A cooperation with zimd Sat 5/10 2019, 8 – 9 pm Hame, Isabella Hodas, (Center for Interaction, The Languages of Things Muzhgan Khaliqi, Michelle Media & Social Diversity). Guided Tour Mladenovic, Rahmana Registration under: www. Omerovic, Wahida Sadul, kinderunikunst.at Sat 5/10 2019, 9 – 10 pm Oliwia Wronowska. s e n s e a [r] t i o n N°¹ wienXtra Ferienspiel Art.Hearing.Seeing Music performance in Tue 9/7 – Thu 11/7, Sat 13/7, Music performance cooperation with MUK Tue 16/7 – Thu 18/7 2019, Vienna 10 – 12 am The musicians Eva Prosek Tue 1/10 2019, 6 pm The Crazy Robot Race and Simon Öggl present s e n s e a [r] t i o n N°¹ Workshops for kids an interdisciplinary live Art.Hearing.Seeing ages 6–10 music performance in the exhibition. Inspired by the artistic work Robots also have plenty as well as by the content of time to spend during PROJECTS and spatial structure of the the summer holidays, Akademie geht in exhibition Hysterical Mining, waiting for you to build the die Schule x the musicians Eva Prosek most creative, colourful, bildung.bewegt Mädchen and Simon Öggl create an coolest and craziest robot Fri 31/5 – Sun 30/6 2019 interdisciplinary live music racing track. Be inspired F* Future performance. s e n s e a [r] by the artistic work of the Opening: Fri 31/5 2019, 3 pm t i o n N°¹ questions the exhibition Hysterical Mining relationship between the on the subject of artificial What new challenges will a auditive and the visual as intelligence and robotics, more technology-driven life a multisensory format. and join us in creating a trail bring to young women, and Through the individually for our wild robot gang! which artistic strategies will experienced interaction help in dealing with them? between hearing and EUR 2 / with Kinderaktivcard As part of the course “The seeing, the impulse arises free exhibition as a place of for reflection on sensory EUR 4 for adults learning”, students of the perception. Registration under: Institute for Education in vermittlung@ the Arts at the Academy of CHILDREN´S PROGRAM kunsthallewien.at Fine Arts Vienna designed KinderUniKunst a program for students Tue 2/7, 10 am – 12.30 pm, with a group of participants Wed 3/7, 10 am – 1 pm from the production school und Thu 4/7 2019, 10 am – “bildung.bewegt.Mädchen”. 12.30 pm The results of this Do Things Think? participatory appropriation A workshop series for of Hysterical Mining will be girls only! shown in an accompanying special exhibition from 31/5 In a 3-part workshop we to 30/6 at Kunsthalle Wien explore the exhibition Museumsquartier. Hysterical Mining and look at what artists think about Concept and implementation: artificial intelligence and Milena Georgieva, Mira Jank, robots. Inspired by this,

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KonTaKT Sammlung T- anzquarTier Wien 44 45 - WWW.KonTaKT-collecTion.neT- W- WW.TqW.aT Fotograf: Romain Thiery

Film und FESTIVAL FÜR ZEITGENÖSSISCHES MUSIKTHEATER Freiluft am MUSIKTHEATERTAGE WIEN 2019 KURATIERT VON GEORG STEKER

Karlsplatz 12.-21. SEPTEMBER 2019 WUK, 1090 WIEN

KA 28. Juni— 19. Juli MYTHOS LEI 2019 ZIVILISATION DOS KOP In Kooperation mit

täglich 1 TICKETS: mttw.at / wuk.at / Telefon 01-401 21 0 46 21 Uhr 47 www.kaleidoskop.fi lm Exhibition Press & Communication Publisher Kunsthalle Wien GmbH Stefanie Obermeir Kunsthalle Wien GmbH Pia Wamsler (Intern) Directors Texts WHW - Ivet Ćurlin Fundraising & Sponsoring Anne Faucheret Nataša Ilić Maximilian Geymüller Vanessa Joan Müller Sabina Sabolović Maximilian Steinborn Event Production Eleanor Taylor CFO Gerhard Prügger and the participating artists Sigrid Mittersteiner Dramaturgy Editing WWW.TONBILD.AT Curators Andrea Hubin Vanessa Joan Müller Anne Faucheret Vanessa Joan Müller Eleanor Taylor Vanessa Joan Müller Maximilian Steinborn Martin Walkner Eleanor Taylor Exhibition Design Translation Hektor Peljak Education Gerrit Jackson Wolfgang Brunner Exhibition Carola Fuchs Art Director Management Michaela Schmidlechner Boy Vereecken Martina Piber Michael Simku Juliane Saupe Martin Walkner Design Antoine Begon Construction Assistant to CFO Management Andrea Cevriz Print Johannes Diboky Holzhausen Druck GmbH Danilo Pacher Office Management Maria Haigermoser © 2019 Kunsthalle Wien Technicians Vasilen Yordanov GmbH Beni Ardolic Frank Herberg (IT) Finances Kunsthalle Wien GmbH Baari Jasarov Mira Gasparevic is the city of Vienna’s Mathias Kada Natalie Waldherr institution for international art and discourse. External Technicians Visitor Service Harald Adrian Daniel Cinkl Hermann Amon Osma Eltyep Ali Dietmar Hochhauser Kevin Manders THE ART OF Bruno Hoffmann Christina Zowack PROJECTION Judith Lava Alfred Lenz

Art Handling Marc-Alexandre Dumoulin Europa Zumtobel Licht Tour I Paris. Susanne Stemmer I Venedig Biennale. Marte Architekten Johann Gröbner Scott Hayes Lazar Lyutakov Johann Schoiswohl Andreas Schweger Stephen Zepke

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48 Pay as you wish Each Sunday, you decide on the admission fee and pay as much as you want for your exhibition visit.

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