A show titled The Wrong Club (03/11/2017 — 06/01/2018) was a collaboration between Digital Empire | Düsseldorf and cologne based Galerie ampersand — curated by Falko Bürschinger & Florian Kuhlmann.
An exhibition in context of The Wrong — Biennale for Digital Art.
Banz und Bowinkel | Arno Beck | Tim Berresheim | Raphael Brunk | Matthias Danberg | Damian Dziwis | Dominik Halmer | Philipp Höning | Kilian Kretschmer | Stephan Machac | Igor Štromajer | Sebastian Schmieg | Timothy Shearer | Sebastian Thewes | UBERMORGEN
The 1999 Movie Office Space remade into two versions: one that does not contain any of the original dialogs, released as a screensaver through ScreenSaverGallery, and its counterpart in which everything in-between dialogs has been edited out, distributed through file sharing as an optimized version of the movie.
“Parallel Universes” approaches narratives of efficiency and relevance deeply woven into and amplified by computational culture by looking back at a time when computers were mainly considered office appliances. It utilizes an efficiency strategy described in Douglas Coupland’s novel “Microserfs” and applies it to the Mike Judge movie “Office Space”.
Artist-programmer Ralf Baecker who is currently colaborating with V2 Rotterdam, has 2007 realized a work i can and will not forget, and therefore has its place in this archive-collection. Rechnender Raum (Calculating Space) is a lightweight sculpture made of sticks, strings and small weights; at the same time, it is a fully functional, logically precise neural network.
When the machine starts up, it tries to resolve spatial differences in its mechanical logical structure. Every attempt, however, generates new variations, capturing the machine in an infinite contemplative loop. Thanks to its strictly geometrical and intricate construction, the observer is able to track the processing logic in its entirety from any point around the machine. The visibility of the machine’s core is reinforced by the unusual distribution of its components: a nine-angled architectural body forms a torus. In contrast to the ordinary alignment of a hidden logic and an external user-facing display, here the geometric basis is turned inside out.
The core of the machine, with all its computational elements, is shifted outward to the surface, while the “display” showing the results of the operations is displaced to the heart of the system. Without either depending on or requesting interaction, the machine turns away from the visitor and carries out its computations for itself alone. Continue reading…