Ausstellung im Rahmen des OPEN DAY 2024
20. bis 24. März 2024 in der Galerie WHA, Domgasse 1, 4020 Linz
The Interface Cultures department presents an exhibition born out of the Archaeology of Media 22/23 course, led by Gebhard Sengmüller. The exhibition explores the forgotten histories of media and their implications in our contemporaneity.
"The concept behind the exhibition Cross-sections lies in uncovering the hidden layers of media, where the boundaries of time and perception intertwine to form an interconnected narrative. We speak of the near past as the technologies of time have had profound repercussions on our present, historicized echoes that we nevertheless tend to forget and thus fall within the crevice of media archaeology.
Rather than a linear narrative, the exhibition seeks to unveil the parallel, forgotten and even fictitious strands of the development of contemporary media apparatuses. The focus is on presenting a more nuanced understanding of the evolution of media emphasizing artifacts, lost innovations, and the critical role of artists in the reuse of obsolete technologies. Each artwork presented is intended as a cross-section, a horizontal layer of media stratification, aimed at reevaluating media artifacts. By making the unseen visible within their artistic frames, the artists lead us on a voyage through the intricate topics of identity, relationships, and communication."
Media Archeology
with Gebhard Sengmüller
Interface Cultures’ Master students Behiye Erdemir and Martina Pizzigoni are in charge of curating this exhibition, aiming to guide visitors through these hidden narratives, emphasizing the critical role of media archaeology in shaping our technological present.
The proposed exhibition is a curated collection of artworks that intricately navigate the intersection of historical and contemporary media technologies, where artists delve into the layers of our shared technological history, revealing the impact of media on personal narratives and collective experiences. The selected artworks were realized after the lectures and the workshop on Media Archaeology led by Gebhard Sengmüller, as part of the Interface Cultures program 2022/2023.
In contrast to a more conventional media history lecture, this class is orientated towards exploring a more hidden media history. This secret or forgotten history deals with parallel, presumably lost, little-noticed, perhaps even fictive strands in the development of today’s media apparatuses. In this time of rapid development of new technologies that are becoming obsolete faster and faster, it is interesting to create archaeology of individual media. In the theoretical and practical course, we look at how artists use artefacts of media machines and media technologies in their practice, how this developed into previously unplanned hybrids, opened unknown back doors, and often turned original flaws into strengths. We discuss how art practitioners, who are critically questioning progress per se by deliberately using outdated generations of hardware and software, prefer low-tech not only for aesthetic reasons but also for the economic implications involved.
Behiye Erdemir & Martina Pizzigoni / Curators
Gezeigte Arbeiten
Unseen signals, (2022)
Viktória Angyal, Linaá Pulido Barragán, Jelena Mönch, Davide Bruno
Interactive Installation
"Unseen Signals" by Viktória Angyal, Linaá Pulido Barragán, Jelena Mönch, and Davide Bruno is a captivating interactive installation that explores the hidden realm of radio communication via wifi. In a world saturated with signals beyond our perceptual reach, the artwork prompts us to envision how our reality might shift if we could perceive these invisible transmissions. The installation acts as a conduit, which by unveiling the hidden structure of radio communication invites contemplation on the pervasive nature of technology in our lives and the unseen forces that shape our modern world. It challenges us to reflect on our relationship with the digital landscape and consider the profound implications of our interconnectedness. mehr
Emulavoce, (2024)
Andrea Corradi
Interactive performance
"Emulavoce" by Andrea Corradi is an exploration of the sonic possibilities inherent in the morphing of human and artificial voices in real time. … read more
SetteVoci (The LostMedia Project), (2024)
Alessia Fallica
Text-to-Video Stable Diffusion Generation Model, CRT TV, Media Player
“Sette Voci”, (Seven Voices) by Alessia Fallica delves into the intriguing world of lost media, invoking nostalgia and prompting reflection on the collective and individual memories associated with audiovisual experiences. Lost media in fact whether damaged, missing, or simply forgotten, holds a unique place in our cultural consciousness, evoking memories of late-night TV shows, obscure cartoons, and mysterious movies.
Through the utilization of text-to-video AI models and video editing techniques, the project seeks to re-create and re-produce these elusive pieces of media, drawing inspiration from documented descriptions and mnemonic recollections shared by audiences in online communities, reconnecting to the past and embracing the richness of collective memory. mehr
Interlaced Persona, (2023)
Joann Lee
Interactive Installation
"Interlaced Persona" by Joann Lee invites participants to embark on a journey of self-discovery. Inspired by Hermann Hesse's profound quote on perception, the installation embraces the notion that exploration is not about seeking new landscapes, but about seeing with renewed eyes. Unlike traditional displays, where moments can freeze in time, the work makes use of CRTv's interlaced display method which allows for continuous, fluid movement. By gently adjusting the dials, participants transcend the boundaries of past and present, gaining new perspectives on their existence and perception of reality. Through this interactive exploration, participants are encouraged to delve into the depths of self-awareness, experiencing the subtle flow of time and gaining insights into their own identity and perception.
Untitled (Passport Hologram), (2023)
Maria Orciuoli
Hologram of expired passport on polymer film and glass (12 x 12 cm), light, soil
"Untitled (Passport Hologram)" by Maria Orciuoli delves into the complex nature of nationality and statelessness. Nationality, often bestowed upon individuals arbitrarily based on birthplace, shapes our entire existence, subjecting us to the authority of those who govern the land we inhabit. This installation explores the inherent randomness of nationality, inviting viewers to contemplate the profound implications of borders and boundaries on personal identity. At the core of the artwork lies a hologram of an expired passport, meticulously crafted on polymer film and glass. As viewers move around the installation, the hologram shifts perspective, presenting different angles and facets of the subject matter showing the fluid and mutable nature of boundaries.
Transposition I, (2024)
Danielius Šermukšnis
Interactive installation
"Transposition I" by Danielius Šermukšnis is an immersive exploration into the convergence of analogue video channels and interactive technology. Through the manipulation of sensors, spectators are invited to actively engage with the artwork, transcending the boundaries of traditional spectatorship to become co-creators of multi-layered realities. As viewers interact with the sensors, analogue video channels are mixed and warped, giving rise to a mesmerizing tapestry of visual and auditory experiences. Each gesture and movement acts as an activator, allowing intimate and personal narratives to emerge within the installation space. As boundaries blur and layers intertwine, the artwork catalyzes exploration, reflection, and discovery, offering a glimpse into the endless possibilities of human-machine interaction.
Amo io mi amo, (2024)
Sofia Talanti
Real-time animation. Screen 50” with, 3D printed sculpture, CRTv
"Amo io mi amo" (Love, I love myself) by Sofia Talanti is a poignant exploration of self-discovery and acceptance, expressed through the fusion of old and new media. The project delves into the artist's personal journey of growth and self-love, serving as a testament to the transformative power of introspection and reflection. Central to the artwork is the juxtaposition of modern and retro technologies, symbolizing the integration of past and present influences on the artist's identity. Drawing on architectural elements and cultural references from the past, the installation creates a visual dialogue between nostalgia and innovation, inviting viewers to contemplate the passage of time and its impact on self-perception.
Resonating Absence, (2023)
Emma Silvana Tripaldi
Interactive installation
"Resonating Absence" by Emma Silvana Tripaldi is an evocative interactive installation analysing the complex emotions of melancholy and emptiness that remain after the departure of a guest. Whenever spectators interact with the installation, their presence and movements are detected, triggering vibrations that set the water into motion, metaphorically echoing the tumultuous feelings associated with loss. As the water returns to a state of silent stagnation in the absence of interaction, the installation poignantly captures the ebb and flow of human emotions in response to loss, offering a space for reflection and contemplation.
About the curators
Behiye Erdemir (TR) is currently pursuing her MA in Interface Cultures at Kunstuni Linz with a background in engineering. She focuses on the politics of artefacts such as electronic devices, algorithms, and software. Erdemir explores absurd yet plausible approaches to these artefacts by intervening in their predetermined designs and functions for her artistic practice. Recently, she exhibited at the Ars Electronica Festival 2022-2023, Arse Electronica Festival 2023, and Rundgang 2023. She also presented in Deep Space 8K at the Ars Electronica Center in June 2023. Additionally, she had the opportunity to take on the role of Production Coordinator for the Resonating Selves Exhibition/Ars Electronica Festival 2023.
Martina Pizzigoni (IT) is a multimedia artist. After a BA in NTA at the Academy of Fine Arts in Venice, in 2021 they got an MA in Cultural Project Management at the Università Cattolica and Politecnico di Milano, they are currently attending the Interface Cultures MA at the Kunstuniversität Linz. Pizzigoni’s artistic practice focuses on the creation of interactive experiences, while their main research is the habit we live in, with the socio-anthropological implications that characterise our digitally dominated society. They are part of the MAalex artistic and curatorial duo. Some of their latest exhibitions include Ars Electronica Festival 2023, Linz, Speculum Artium Festival, Trbovlje (SLO) and Pixxelpoint Festival 2023, Nova Gorica (SLO). Their last curatorial project was Hyper*Espresso, digital art pavilion of The Wrong Biennale 2023/2024.