Hochschule für Gestaltung und Kunst Basel FHNW
Dauerhafte URI für den Bereichhttps://irf.fhnw.ch/handle/11654/11
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33 Ergebnisse
Bereich: Suchergebnisse
Publikation MEMECLASSWORLDWIDE: Research, Documentation, Index(Selbstverlag, 2021) Kortyka, Ramona; Dworczyk, Mateusz; Blanco, Juan; Garnicnig, Bernhard03 - SammelbandPublikation The Art of Instituting(Intellect, 2019) Allen, Jamie; Garnicnig, Bernhard; Toft Ag, TanyaThe authors examine a digital dynamic within a networked sense of collectivity, and how this has influenced and enabled institutional experimental sites of thinking and production. They locate a tendency to organize oneself in collective groups as particularly evident in the Nordic context, reflecting a cultural history of ‘instituting’ (i.e. the formation of associations and unions) and today forming sites of hacker spaces, DIY technology groups, and artist-run project studios that hover between science, art and technology. These sites are necessary, the authors argue, as institutional forms to diversify responsibility across collectives, while simultaneously helping to equalize agencies, energies and temporal resilience, and exert post-capitalist influence.04A - Beitrag SammelbandPublikation My Holy Nacho(Nikolaj Kunsthal, Kunsthal Aarhus, Linz FMR) Allen, Jamie; Garnicnig, BernhardMy Holy Nacho (2014-2019) is a network-sculpture made out of misunderstandings, with Bernhard Garnicnig. It comprises many media and forms, object and temporal, including aspects of Unboxing, Diagramming, Ordering, Sectioning, Shipping. The project investigates the materiality of labour, online ordering and command and control in the digital sphere, performing a durational, transactional and transnational project that spans multiple years (2014-2019). For My Holy Nacho, a single object has been sent to different manufacturers and workshops to have various ‘processes’ applied to it via the ease of 'clickable' interfaces. In secret, and in turn, the two collaborating artists choose each process. The work interrogates the mysterious infrastructures activated when you click the ‘submit’ or 'send' button in a browser. This is a seemingly simple act that initiates the churning of global economies—a warehouse worker in a distant country fills a box, or a machine whirs into motion in a factory somewhere, filling out the order form, procedurally responding to our online commands. For much of the project, My Holy Nacho, as a final, sculptural object remains a mystery even to its creators. A single object is sent to different manufacturers and workshops to have various ‘processes’ applied to it. Each process is chosen, in secret and in turn, by the collaborating artists. After 10 processes, the object — whatever it looks like and whatever it becomes — is complete, and made public. The project is inspired by and named for Bauhaus artist László Moholy-Nagy, whose Telephone Paintings (1922) inaugurated a way of exploring the affordances of miscommunication and telecommunicative action-at-a-distance. The title, My Holy Nacho, also stems from a mishearing of the name Moholy-Nagy; a mumbly mispronunciation in a Canadian accent to an Austrian not-so-native English speaker during a conversation in a pub in the UK. These are examples of the deformations, distances and gaps between our ideas, languages, technical systems, processes, and markets, their inherent creativities and potentialities. Presentations with the Nikolaj Kunsthal, in conjunction with Kunsthal Aarhus and their online commissioning of Order: My Holy Nacho, along with further actions with LINZ FMR and project publications. Portions of the project were created in dialogue with Mela Dávila Freire and Robert Jackson, with the help of Sóley Mist Hjálmarsdóttir, the support of Andreas Brøgger, and in collaboration with Moritz Greiner-Petter and the Barcelona graphic design studio Cosmic.es.13 - AusstellungPublikation What Do We, As An Organization, Provide For Artists?(Galerie Elisabeth & Klaus Thoman, 08.09.2022) Kolb, Lucie; Garnicnig, Bernhard14 - AusstellungsbeitragPublikation Teaching Instituent Practices(04.02.2022) Kolb, Lucie; Garnicnig, Bernhard06 - PräsentationPublikation Message Send Failure(27.05.2019) Allen, Jamie; Garnicnig, BernhardMessage Send Failure is collaborative writing, messaging and texting on the topic of the iterative misfires, cyclical catastrophes and the perilous, treacherous pathways, breakdowns and breakthroughs of meaning we embark on every day. With Bernhard Garnicnig, it begins with a sense we have all had of how miraculous it is that anyone succeeds in communicating anything, ever. Our modern-day incantations of digital communication, these necessary methods, are the magical cornerstones of an edifice of economies, social systems, personal relations, friendships, societies, beliefs and philosophies. We are tested and fail before Hermes, the messenger of the gods, as we demand proof of one another’s faith, belief and trust, falling short with every badly penned email or miss-sent misread or misunderstood iMessage. We strive toward the integrity of intention, but don’t always hit the mark. As goes the relativizing liberation of “not crying over spilt milk”, so goes the invocation of cali-fornicative technologies to fail early, fail often and profit from these failure. “Progress” these days means to project projects, cantilever life, unreservedly and constantly risk to fail. And with the crash and burn comes a freeing clearing, a conjoined with an imperative to “emerge from the ashes”, together, to revel in misunderstanding one another.01B - Beitrag in Magazin oder ZeitungPublikation Interviews with the Swamp Thing, the Poacher and the Healer(11.12.2020) Kolb, Lucie; Garnicnig, Bernhard; Allen, JamieInteractions with and within institutions have characteristic qualities, styles, personalities, and tone. These aspects of institutional life are difficult to capture through formal description or professional obligation. Institutions comprise performed characters, each activating infrastructural scenography in their way, infusing physical, procedural architectures with particular tonalities. How might we trace these performers? What are these performances, and for whom are they enacted? Transcribed here are conversations with essential practitioners. These are the characters of art institutions, tracing outlines of who they are and what they do, and how they perform it. Necessarily veiled and anonymized, these personnel profiles have monikers following their ways of life within the institution: Swamp Thing, Poacher, and Healer. They recount and refract dimensions of the critically indivisible person-professional-practitioner entities that people in arts and cultural institutions find themselves impelled or compelled to become. Such exchanges about practices in institutions reveal how these contexts demand that we enact reactionary and curative roles, composed within the constraints and affordances of the scenographic infrastructure of buildings and publications, policies and procedures, presumption, and tradition.01A - Beitrag in wissenschaftlicher ZeitschriftPublikation Designing Community(2019) Garnicnig, BernhardA lecture-performance contribution to the proceedings of "Designing Community" at Espace Niemeyer. A collaboration with Lucie Kolb and Bernhard Garnicnig, "Capricious Characters of the Community: Let’s see how this plays out", play-acted the ever-present and unpredictable tonal qualities of communal interactions that limit and afford particular modes of participation. The presentation asked the audience to created character profiles which reflected performed institutional and collaborative roles, evoking how these reverberate through other, artificial means of satisfying the need we have to work together toward practical action.06 - PräsentationPublikation 'Counter-conscious’ Ways of Life(Brand-New-Life, 2019) Allen, Jamie; Garnicnig, Bernhard; Kolb, Lucie; Willats, StephenIn his opening address to the symposium Art Creating Society at the Museum of Modern Art Oxford in 1990, Stephen Willats compelled participants and the audience to contribute their viewpoints on the development of a new vision for art, one that extends its social meaning beyond the institutional territory to which it has traditionally been confined. This statement is an example of his pronounced intention to have his artworks intervene into the functioning of society at large, developing models that provide both critical outlooks and promising perspectives. Willats’ approach is connected to the «interactive communication networks» he creates in contemporary art. He also creates a network between artists and others through the magazine Control he has been publishing since 1969. The magazine’s title should be read in the sense of «agency» and «interaction» and not in the authoritarian sense beloved of the critics of cybernetics, as historians like Andrew Pickering pointed out.04A - Beitrag Sammelband
