Face to Facebook deals with questions about privacy in online contexts based on the most iconic of platforms: Facebook. Following the Facebook principle, the artists have built a dating site into which they have imported from a million user profiles, using special software, 250,000, which they then classified, by means of a specially developed facial recognition algorithm, into categories based on features and expressions.
With a considerable amount of irony Ho Tzu-Nyen, one of the most renowned Singapurian filmmakers, borrows the image of Newton's apple as a metaphor for the futile challenge artists face in terms of achieving a creative inspiration (or rather, one after another) of their own accord.
In archaic black-and white pictures this film journal traces a walk through Germany: with the help of stop-motion and accelerated motion techniques Oskar Fischinger creates three intensive film minutes packed with images of peasant families, children and animals.
Chinese woodblock printing – a technique that was in early use on both paper and cloth – was an important tool of the Cultural Revolution. This printing technique was used as an important means of communication to quickly convey information. It transported the revolutionary spirit and remains its legacy today.
This is an exploration of the inner life of the Bibliothèque Nationale in Paris. The activity focuses on memory - collecting, classifying, cataloguing, conserving, transporting, reproducing, storing, lending and reading.
Not To Be. Not To Be At All invites reflection on modes of representation and identity. A slow, contemplative pan across a mechanic’s workshop serves to recontextualise the space of labour into a site of existential meditation.
December 18, 2005 we made 50 litres of punch and we offered it for free on various Christmas fairs in Vienna. The whole performance was supposed to initiate a response from the sellers or the security, i.e. what kind of excuse they would make up to throw us out of the market. Doing so, we want point out the absurdity of a ban, which prohibits to offer anything for free at these Christmas fairs.
Vom Bruch describes Augenzeugen (Eyewitness), subtitled Behind the Doors of the Haus der Kunst, as a series of "philosophical speculations" on the famous Third Reich propaganda building in Munich, which opened in 1937 to serve as the official German art museum.