NEW MEDIA ARTS SUCK
_Fake_featuring Mirek Montez


Original presentation renderings courtesy Guido Braun / DAM Frankfurt, 2007

_The Kassandra Komplex_featuring Baby Kassandra & The Boob



Part of RAF Series by Thomas Ruff (courtesy Gerhard Richter)
MMK Frankfurt Udo Kittelmann Marketing & Event GmbH, 2007

_iKatse Apotse & I-Nerd_featuring Spur McGuffin



Spur McGuffin Album Cover, 2006

_For the Love of Jahwe_featuring Damien Hirst



Installation view (rendering) courtesy White Cube Gallery, 2006


[From an interview with BIG ART INTERNET ZINE]

Q: What role does time play in your life?

A: The project pick up every moment for documentability, whithout any chose of special or significant moments, every document (movie or still picture) represents the whole set of moments within our (respective my) time.

Q. How is your project lifetime from a collection?

A. Collections should be sorted, and in this way a collection represents an act of selection. my life documents a spur changing between time and room.

Q: What is the significance of “more” in your life?

A: The more in my life is a little feeling of eternity, because it has no significat beginning or end. projects accompany my life and work, my environment, thoughts and small views.

Q: What will you do with your accumulates after the second show?

A. The projects will be going further at the web.

Q: What are the folds of holy picture reflection and where do they overlap themselves with textures of the environment?

A: Perceptions of sense landscapes change themselves off with observations more spatially, more socially and for inter+subjective relations, which develops at the edges of the tactile matrix.

Q: How does your project explore the physical and/or symbolic possibilities of your accumulates?

A: Well, the pictures in this project examine the new abstract Extensionen, which develop in remnants of utopian visualization and abandoned memory modules in dynamic Clustern. found 1994, designated the label penguinism in Frankfurt/Main after the philosophical paper of the same name on Gilles Deleuze and Felix Guattari. Penguinism produced pictures beyond the art scene. When stylistic alternative to the slowly arising medium and InterNet art as well as to intelligently mobile was established picture community, which formed in England around the label atmville.orgund its Artificial Intelligence of series, penguinism as innovative Environment label, which offered a platform to electronic projects and artists of experimental picture compositions. Penguinism is located itself in the tradition line of the electronic avant-garde art, since that the 2. World war out-differentiated. Particularly the french school of the electrical connection artists around Augusts Kitschwasser and Edouard k-Sparkoenig as well as the scene around the Cologne based WDR studio, which founds stick living and Pleitgen, prove approximately as influential.

Penguinism sets of them esthetics for one of the tonylity and Darblehre relerased ikonoklastic wwhite noise art away, which works consciously with happenings and errors. A visual extension takes place by the argument with the possibilities of digital imaging. the esthetic of penguinism is related on the other page of the electronic art, which accepts the late 80ies / early 90ies into the 1970 years with power station shape and starting from years with the arising of BBS and InterNet the Popdiskurs begins to dominate.

Aspects like the functionality of picture and the questioning the author shank came into the foreground and become crucial disticntion criteria of a new interpretation of Popkultur. Penguinism continues working in the project of the electronic avant-garde art, but under the signs of the Popdiskurse. The art / the label is given by the reference to postmodernism of theorems among other things not least an image, which makes these attractive for the feuilleton. Course-sharpening does one say that the appeal on the theory as increase in value one not less Glamour-factor throws off.

For 10 years penguinism however represents all the development of experimental electronic and digital art should be affected internationally lastingly, be announced until in the year 2004, due to the artistic bankruptcy of its Mentors Tobias Rehberger, insolvency had. After the end of penguinism has founder Jorgen Sparwasser invented three new labels, pisco.inc., Molecular Trash Guerilla and Herr Mika Resistance, with which he of project of penguinism under ddiscoursive, political and musical conditions 21. Century to update wants. Pictorial deserts and sensibility are text and picture vehicles, which the audience on a journey by the universe Frankfurt electrical art labels of the penguinism as well as its successor carries forward.

Here the specific mediality is produced medium artists by penguinism in form of the InterNet feature, which is represented at the same time as diversive archives, in order it its medial conserved form to alienate. Pictorial deserts and sensibilities draw here nevertheless the picture of a specific act of the Popkultur of the last ten years after, for its product them are at the same time be-under-painted these theory and sound performance by the video series NORMATIVE ILLUSTRATING (penguinism Media, 2004) of Jorgen Sparwasser, last year's ars electronica winner.

greetings from germany
he tears comsume


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* web archives of normative bebilderung:
Vol. 4 _
http://netzwissenschaft.org/
featured by kunstradio.at
Vol. 3 _
http://nerzwissenschaft.de/
Studio Adorno
Vol. 2 _
http://subjektivation.de/
Applied Net Sciences
Vol. 1 _
http://pingelfraaten.de/
the beginning

** stolen reality trashcam picture archive:
http://pinguinismus.de/

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HENRIETTE
HERKULES
& HEKTOR

previous project:
http://braan.org/
the pre-scripts of normative bebilderung

please see also audio-related issues
http://curmbox.de/
and
Balkan network for video net and media art
information + archive: http://onomastik.de
| || | thing-net.de/cms
Neoliberales Denken & beyond
http://gute-kommunikation.org/
http://gute-technologie.net/
http://gute-gestaltung.com/
http://gute-information.de/
commercial use without written permission
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kontakt:
till horn kulturproduktion
Official D. Hurst Representative
tilman [at] onomastik [dot] de