Difference between revisions of "Aram Bartholl"
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Aram Bartholl is a member of the [[Urban Media Salon]] Berlin and member of the NYC based [[F.A.T. Lab|Free, Art & Technology Lab]]. Institutions like the annual [[Chaos Communication Congress]] and the discussion on net politics, copyright, DIY movement and the web development in general do play an important role in his work. Since serveral years Aram Bartholl collects impressions on streetart, games, privacy, copyright and neoanalogue culture in his blog. | Aram Bartholl is a member of the [[Urban Media Salon]] Berlin and member of the NYC based [[F.A.T. Lab|Free, Art & Technology Lab]]. Institutions like the annual [[Chaos Communication Congress]] and the discussion on net politics, copyright, DIY movement and the web development in general do play an important role in his work. Since serveral years Aram Bartholl collects impressions on streetart, games, privacy, copyright and neoanalogue culture in his blog. | ||
| − | + | Aram Bartholl uses sculptural interventions, installations, and performative workshops to question our engagement with media and with public economies linked to social networks, online platforms, and digital dissemination strategies. He addresses socially relevant topics, including surveillance, data privacy and technology dependence, through his work by transferring the gaps, contradictions, and absurdities of our everyday digital lives to physical settings. The effect is twofold. The works create an at-times bizarre confrontation with our own ignorance of globally active platform capitalism, and they renegotiate network activities as political forms of participation on an analog level using the potential of public space. Bartholl thus initiates a performative process to catalyze a renewed understanding of individual action within a collective and self-determined network discourse. Conceptually and technically, he uses the same aesthetics, codes, and communication patterns that users are familiar with from YouTube, Instagram, and video games. A purposeful contextualization employs the logic of the Internet while at the same time undermining it with individual strategies. [https://arambartholl.com (2020)] | |
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| + | ==Links== | ||
| + | * [https://arambartholl.com/ Website] | ||
| + | * [https://twitter.com/arambartholl Twitter] | ||
| + | * [https://vimeo.com/agoasi Vimeo] | ||
| + | * [http://instagram.com/arambartholl Instagram] | ||
[[Category:Net art|Bartholl, Aram]] | [[Category:Net art|Bartholl, Aram]] | ||
Revision as of 20:34, 17 March 2020
Born 1972 in Bremen. Has been working in Berlin since 1995. He studied architecture at the University of the Arts UdK Berlin and graduated there in 2001. Bartholl worked as a freelancer for DMC, MVRDV, IEB Berlin and Fraunhofer Institut FOCUS among others. His installations and performances have been shown at numerous festivals, museum and gallery shows worldwide. Often he is invited to give workshops and to present his work at conferences and universities/art schools.
Aram Bartholl is a member of the Urban Media Salon Berlin and member of the NYC based Free, Art & Technology Lab. Institutions like the annual Chaos Communication Congress and the discussion on net politics, copyright, DIY movement and the web development in general do play an important role in his work. Since serveral years Aram Bartholl collects impressions on streetart, games, privacy, copyright and neoanalogue culture in his blog.
Aram Bartholl uses sculptural interventions, installations, and performative workshops to question our engagement with media and with public economies linked to social networks, online platforms, and digital dissemination strategies. He addresses socially relevant topics, including surveillance, data privacy and technology dependence, through his work by transferring the gaps, contradictions, and absurdities of our everyday digital lives to physical settings. The effect is twofold. The works create an at-times bizarre confrontation with our own ignorance of globally active platform capitalism, and they renegotiate network activities as political forms of participation on an analog level using the potential of public space. Bartholl thus initiates a performative process to catalyze a renewed understanding of individual action within a collective and self-determined network discourse. Conceptually and technically, he uses the same aesthetics, codes, and communication patterns that users are familiar with from YouTube, Instagram, and video games. A purposeful contextualization employs the logic of the Internet while at the same time undermining it with individual strategies. (2020)
