Wednesday 7th of April 2010, 6:30 PM
Screening and Drinks

TITANIK GALLERIA
Itäiinen Rantakatu 8, 20700 Turku, Finland
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Multiplexed 1.1

An evening of contemporary Austrian video works, programmed by Sumu artist-in-residence David Muth. Including work by Dariusz Kowalski, Annja Krautgasser, Andrea Maurer and Thomas Brandstätter, Josh Müller, David Muth, Axel Stockburger and Ubermorgen.com.

The screening will last for approximately one hour, and a selection of Austrian spirits especially imported will be offered beforehand. This event takes placein succession to a screening at E:vent Gallery, London, in 2008.

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Elements
Dariusz Kowalski, 2006, 8 Minutes
Sound: Stefan Németh, Mastering: Martin Siewert

Elements is a continuation, both stylistically and programmatically, of
Luukkaankangas updated, revisited (2004). In this work data images animated in loops on the web site Alaska Weather Camera Program show occupied terrains in deserts of ice. At the same time Elements does not make reference to a precise object; it relates directly to space, to impregnable landscapes and uncertain horizons. While the web-cam’s motifs are small airfelds in Alaska and the weather conditions there, time lapse and collage make the functional data disappear in the same way as the concrete objects, cars and planes. They yield to a rhythmization of the space that generates its elementary appearance as an interconnection of white planes that are empty of meaning. The landscape´s nature is subject to this fast alternation, driving clouds and snow, extreme intensities of light. The video evokes a different sense of time, as the objects comprehensible daily drama is removed: they are there and then gone; present, and then absent. In other words they do not follow a teleologica plan, and are like insignifïcant kinetic elements whose visibility comes between the images. The images decide whether the bodies, including the landscapes, will last or not. At the same time it is an element of the light that recovers the image, stark sunlight burning into the camera’s lens and subjecting the video material to interference. Element theory becomes a theory of conflicting forces. One could say that Elements is a horizon film rather than an object fillm which however works incessantly on the dissolution of the horizons with the purpose of approaching a kinetically contingent abstraction.

Marc Ries
Translation: Steve Wilder

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Bicycle And Wind
Josh Müller, 2008, 3.42 Minutes

Bicycle And Wind has been shot in 2008 during the production of the videopiece Bikes (HD, 3.52 min, 2008).

The video documents a simple nocturnal setting in the artist’s studio: two strings and a bicycle. After turning on the camera, Josh Müller walks into the frame, sits down, grabs the two strings and starts moving the bike. The soundtrack consists of wind being simulated by mouth blowing; the imagery shows the bike being pulled back and forth via the strings.

Bicycle And Wind is an approximately four minute long video piece that reveals the hidden principles used in the shooting of Bikes. Abstracted by simplicity,the document describes a poetic moment, and thereby goes beyond the essence of Bikes. Using a substitute setting reconstructed in an interio rspace, Bicycle And Wind is a simulation of reality, a reconstruction of a poetic moment, a construction of a new reality.

Finally the wind ebbs away and the strings are put down to the ground. Josh Müller moves out of the frame and switches off the camera.

Bicycle And Wind is the second piece in a series of five – works that could be described as subtitles – themselves autonomous – for video pieces involving more complex production techniques.

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Five Patterns
David Muth, 2008, DVD, 1.34 Minutes, Edition of 34
courtesy: Edition Medienturm, Graz

The term “Pattern” is little short of summing up a graphical and conceptual g enre in new media – traditionally one might simply say swatch or ornament as well. In electronic arts the term describes a process driven by a structured formula, whereby a fluid matrix emerges through the repetitive assemblage of single elements, permanently rearranging itself by algorithmic means. This digital method applies mostly to the design of graphical elements, referencing classical abstract examples, or rather developing them further through the application of current technical possibilities.

David Muth breaks with this common practice, and he does so by working with this story in a pictorial and humorous fashion. Muth photographs patterns of industrially manufactured covers that adorn the seats of public transport and obviously don’t promise any additional artistic value“ to a greater degree their masking abstracted compositions seem to be precondition for diverse usage, resistant against contaminants. In close-ups Muth zooms into the encountered graphical structures and blends them with further patterns, as if he would like to invoke a discursive massacre. Applied arts meets fine arts, abstraction meets the real life.

Sandro Droschl

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Horizon /1
Annja Krautgasser, 2005, 4.30 Minutes
Sound: T UM (In The Car)
Second Camera: Dariusz Kowalski

A city’s horizon. In violent movements, first left, then right, a pan across the horizon, it is scanned, searched, the movement stops abruptly, then accelerates, zooming into the city’s core. But the city does not become visible, remaining unrecognizable behind the image. This is the perception of an apparatus making innumerable attempts to capture, recognize and possibly understand, all of which fail. The gaze of the apparatus systematically obstructs itself, its electronic field of view is subjected to interference from the material, frequency interference, static, an absence of information. In addition the picture is extremely fuzzy, making no more than a mere guess at the motif possible. These errors, this omission and obstruction, they create, give shape to the subject, the vague representation. They call attention to the apparatus itself, make its presence tangible, its optical inadequacy, its visual difference is at the same time its esthetic project. Shannon’s law concerning entropy and information may be applicable: A maximum of information entails/creates amaximum of interference. Likewise the peeping sound is familiar with only two states, fast and dotted. It seems to drive the image and its search on, in vain.When the movement slows near the end and the veiled city almost completely dissolves into a diffuse gray, the viewer’s own perception may be overcome with a certain uneasiness, a product of the uncertainty felt when wondering who made an attempt to recognize something.

Marc Ries
Translation: Steve Wilder

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flapstick 30808
Andrea Maurer and Thomas Brandstätter, 2008, 6.43 Minutes

“flapstick” is a byproduct of the video installation “flapstick”, which was conceived as a serial and sequential composition on 5 monitors. Within the context of this work the sequence flapstick 30808 stands for itself. It constitutes a structure of composite temporalities, in which events within the image and outside events interfere with each other.

On the concrete ground of a parking lot in front of a supermarket A. acts as a three dimensional character in a 2-dimensional landscape. The setting conceals its environment; withdrawn from everyday-life´s context, it appears as a stage or an abstract empty space. Cars and passers-by randomly cross the scene and reveal something of its surroundings: construction and coincidence swap.

As a consequence of unpredictable working conditions in public space the concurrence of different reference systems becomes perceivable.

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Goldfarmer
Axel Stockburger, 2008, DVD, 16:9, 13 minutes, Edition of 5
courtesy of the artist and Jim and Mary Barr.

The video “Goldfarmer” addresses contemporary economical and cultural transformations by interviewing a so called goldfarmer, the player of a popular online game who generates an income by playing. The player has been rendered anonymous by digitally adding the avatar he embodies in the game environment over his face. The phenomenon of goldfarming, that has become aviable form of work, specifically in Asian countries, is used as a model to engage with the transformation of the border between work and play that seems to be characterised by the current dominance of economical paradigms over all other areas of life.

Concept, Camera, Editing: Axel Stockburger
Digital Animation and Motion Capturing: Franz Schubert
Sound Edit: Sebastian Schlachter
The interviewee wishes to remain anonymous.

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[V]ote-Auction’s
27 min. on CNN “Burden of Proof”
UBERMORGEN.COM, 2000, DVD, 00:27:00, Edition of 7 + 2 a.p.

[V]ote-Auction is a real-life theater piece taking place online, on the radio, onTV, in your local newspaper and on CNN worldwide. Its audience is primarily the American public, as well as net.people worldwide and happily includes intelligence service agencies such as the NSA, CIA, FBI, BND and other less known acrynoms. Core to the story is the [V]ote-Auction website: taking place during the Presidential Elections 2000, Al Gore vs. G.W. Bush, the website offered U.S. citizens a anonymous and quick way to sell their vote to any highest bidder that had registered with the [V]ote-Auction website. The Website was originally conceived by the then-student James Baumgartner and later sold for an undisclosed sum to UBERMORGEN.COM. Because of [V]ote-Auction´s super-commercial corporate agenda and the resulting threat of the website manipulating the real outcome of the elections, several U.S. states (Missouri, Wisconsin, Chicago, Arizona, Nevada, California, Massachusetts,New York) issued temporary restraining orders or injunctions for alleged illegal vote trading and/or consumer fraud. This led to the shutdown of 3 domains
(voteauction.com and vote-auction. com, voteauction.net). Federal Attorney Janet Reno, the FBI and the NSA were investigating the case to ensure the integrity of the voting process on November 7th, 2000. Over 2500 global and national News features in online media, print, television and radio reported onthe project (including “Burden of Proof”, a 27 min. CNN exclusive about the project ). We estimate that the project reached an audience of over 450 million people globally. “[V]ote-Auction” is one of the riskiest and paradoxically most successful projects by UBERMORGEN.COM: it is “the only platform in the world that provides the consumer with an effective role in the American election industry”. A genuine exchange system that finally “brings capitalism and democracy closer together”.

UBERMORGEN. COM exhibited the [V]ote-auction CNN tape, [V]ote-AuctionSeals, Paper Sculptures with legal documents and [F]original Legal Documents in the Aldrich Contemporary Art Museum 2001, The Premises Gallery Johannesburg 2002, Museu d´Art Contemporani de Barcelona 2003, Read_me 2.4 Helsinki 2003, Konsthall Malmö 2004, Kunsthaus Graz 2004, Lentos Museum of Modern Art 2005, Ars Electronica 2005 and ARCO Madrid 2006. UBERMORGEN.COM received an Award of Distinction from Prix Ars Electronica 2005 for [V]ote-auction. Fall 2004, UBERMORGEN. COM collaborated with Jorgen Follested on SELLtheVOTE.COM and exhibted *THE*AGENCY* [for manual Election Recounts] in a solo-exhibition at Kunsthaus Graz.

www.vote-auction.net/