When We Share More Than Ever

Book published by Museum für Kunst und Gewerbe Hamburg (2015)

6th Triennial of Photography, MK&G Hamburg When we share more than everThe show “When We Share More Than Ever” consists of 246 works. It is the very nature of sharing in the digital age that (most) visual ... [more ▼]

6th Triennial of Photography, MK&G Hamburg When we share more than everThe show “When We Share More Than Ever” consists of 246 works. It is the very nature of sharing in the digital age that (most) visual information is treated horizontally: democratically not in the sense of a philosophical prerogative, but rather a form of free-to-choose availability that is – at least partially – neutrally presented. This form of neutrality is based on a supposed pragmatic objectivity. Just think about Google Image Search. If I can have it at my fingertip, I am the one to make the decision. With the aforementioned in mind, we have created a central-access exhibition layout, which takes as a primary motif the ambition of the inventory. From all that we have heard, been told, seen and experienced, the show and its meta-narrative is dealing with (and producing) different forms and formats of the archival. Even the (forthcoming) blog functions as an archive. Producing a (spatial) inventory of all works (which you will find in this document), we have studied each “sharing”-cluster, investigating size against content and vice versa. The central driving force of our investigation is considering the huge number of works on show, the archival nature of the collection, and the meta-context of the Triennial as a form of Future Archive. Hence, our proposal for the show is dealing with the inherent relationship between art and trade, which – especially at the Museum für Kunst & Gewerbe – has, historically, been a major focal point. The exhibition design interrogates the role, function, and contextualization of an individual work within a cluster and the show at large. Moreover, it interrogates the relationship between different works as well as the role and position of the artist(s). In an exhibition format that attempts to unite 13 institutions (+ 38 satellite shows) within a content framework dealing with a specific form of production and output, photography and film, this underlying narrative of the archival becomes even more relevant. The exhibition design works around a single concept of hanging, which is horizontally organized around a 1,2m baseline. This form of organization produces a fixed horizontal datum. It further means that each work has to negotiate as well as that is has to be negotiated – it produces an archival show in its purest form. All physical elements and objects to be built react to the very same datum and are cut off vertically at the horizontal datum. This form of vertical and horizontal display allows for a no-nonsense inventory that formulates a framework for a virtual-era Neue Sachlichkeit. As part of our design, we would like to propose to go even a step further and remove any physically present information about artist(s) and work(s). Each individual work on the wall (or in space) would simply be allocated with a number, underlining the intrinsic relationship between spatial installation and the printed matter guide, which will act as a deciphering manual for the entire exhibition. The setting up of such scaffold and borderlines is crucial as each individual member of the audience to the project needs to take a position. Taking a position always has consequences. Only when a border is acknowledged, understood and recognised it can be broken, transgressed or (mis)used. By deliberately producing such agonistic field of (productive) encounters, the design aims to nurture and exploit notions of misunderstanding(s) and a pro-active outlook on the value of failure as the starting point of all forms of experiment. We understand the design of the show to act both as an act of enabling (facilitating consensus), as well as an act of disabling (exploiting dissensus). Invited Artists: Laia Abril, Ai Weiwei, Regula Bochsler, Natalie Bookchin, Heman Chong, Aurélien Froment, David Horvitz, Trevor Paglen, Doug Rickard, Taryn Simon, Jens Sundheim, Penelope Umbrico. From the Photography and New Media Collection of the MKG: Fratelli Alinari, Hanns-Jörg Anders, Nobuyoshi Araki, Francis Bedford, Félix Bonfils, Adolphe Braun, Natascha A. Brunswick, Atelier d’Ora-Benda, Minya Diez-Dührkoop, Rudolf Dührkoop, Harold E. Edgerton, Tsuneo Enari, Andreas Feininger, Johann Hamann, Theodor und Oscar Hofmeister, Thomas Höpker, Lotte Jacobi, Gertrude Käsebier, Kaku Kurita, Atelier Manassé, Hansi Müller-Schorp, Eadweard Muybridge, Arnold Newman, Terry Richardson, Max Scheler, Hildi Schmidt-Heins, Hiromi Tsuchida, Carl Strüwe, Léon Vidal, and more. [less ▲]

Common Grounds Michael Buhrs, Verena Hein

Book published by Hatje Cantz (2015)

This publication features artworks that unearth subjective narrative styles behind collective historiography--particularly regarding media coverage in the Middle East. Israeli artist Dor Guez, for example ... [more ▼]

This publication features artworks that unearth subjective narrative styles behind collective historiography--particularly regarding media coverage in the Middle East. Israeli artist Dor Guez, for example, arranges archival material from the first half of the 20th century that documents the personal stories of Christian Palestinians. [less ▲]

Art In The Periphery Of The Center

Book published by Sternberg Press (2015)

Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the ... [more ▼]

Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention. This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore. This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations. Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach [less ▲]

On the Route of Dracula: Promoting Romania as a Tourism Destination during the Socialist 1960s-1980s

Presentation (2014, November 21)

Hygiene, Public Health, and the Social Body

Scientific Conference (2014, November 14)

Dynamic virtual bats algorithm (dvba) for minimization of supply chain cost with embedded risk

in 2014 European Modelling Symposium (2014, October 21)

Dynamic Virtual Bats Algorithm (DVBA) is a new optimization algorithm, which is tested on several benchmark functions for global optimization. However it has not been tested on a real world problem yet ... [more ▼]

Dynamic Virtual Bats Algorithm (DVBA) is a new optimization algorithm, which is tested on several benchmark functions for global optimization. However it has not been tested on a real world problem yet. In this paper DVBA has been applied to minimize the supply chain cost with other well known algorithms, Particle Swarm Optimization (PSO), Bat Algorithm (BA), Genetic Algorithm (GA) and Tabu Search (TS). Optimization of supply chain is considered as a real challenge by researchers because of its complexity. Big number of parameters to be controlled and their distributions, interconnections between parameters and dynamism are the main factors that increase the complexity of a supply chain. The result of the case study showed that the DVBA is much superior to other algorithms in terms of accuracy and efficiency. [less ▲]

Coulomb Friction Driving Brownian Motors

in Communications in Theoretical Physics (2014)

We review a family of models recently introduced to describe Brownian motors under the influence of Coulomb friction, or more general non-linear friction laws. It is known that, if the heat bath is ... [more ▼]

We review a family of models recently introduced to describe Brownian motors under the influence of Coulomb friction, or more general non-linear friction laws. It is known that, if the heat bath is modeled as the usual Langevin equation (linear viscosity plus white noise), additional non-linear friction forces are not sufficient to break detailed balance, i.e. cannot produce a motor effect. We discuss two possibile mechanisms to elude this problem. A first possibility, exploited in several models inspired to recent experiments, is to replace the heat bath's white noise by a "collisional noise", that is the effect of random collisions with an external equilibrium gas of particles. A second possibility is enlarging the phase space, e.g. by adding an external potential which couples velocity to position, as in a Klein—Kramers equation. In both cases, non-linear friction becomes sufficient to achieve a non-equilibrium steady state and, in the presence of an even small spatial asymmetry, a motor effect is produced. [less ▲]

Testing Macroprudential Stress Tests: The Risk of Regulatory Risk Weights

in Journal of Monetary Economics (2014), 65(July 2014), 36-53

We compare the capital shortfall measured by regulatory stress tests, to that of a benchmark methodology — the “V-Lab stress test” — that employs only publicly available market data. We find that when ... [more ▼]

We compare the capital shortfall measured by regulatory stress tests, to that of a benchmark methodology — the “V-Lab stress test” — that employs only publicly available market data. We find that when capital shortfalls are measured relative to risk-weighted assets, the ranking of financial institutions is not well correlated to the ranking of the V-Lab stress test, whereas rank correlations increase when required capitalization is a function of total assets. We show that the risk measures used in risk-weighted assets are cross-sectionally uncorrelated with market measures of risk, as they do not account for the “risk that risk will change.” Furthermore, the banks that appeared to be best capitalized relative to risk-weighted assets were no better than the rest when the European economy deteriorated into the sovereign debt crisis in 2011. [less ▲]

Uncertainty in Experimental Asset Markets

Scientific Conference (2014, June 26)

Digitizing the French Enlightenment: A Discussion of Three Digital Humanities Projects

Presentation (2014, April)