Crossover: Salon Digital & The Dynamic Archive - Numen

Crossover Salon Digital & The Dynamic Archive

Eventseries "Salon Digital" & "The Dynamic Archive" / 19.06.2019

Oblique Strategies

With Sven Jonke from Numen.

Sven Jonke, stage designer, industrial designer and artist will talk about the potentially liberating and experimental nature of the design for theatre, about the highs and lows of teamwork, about the mutually inspirational relationship between scenography and installation art and about artistic compromises and their interesting consequences.
Why is theatre a lab of visual ideas and why is design a training ground in aesthetics? Are stage design studies fundamentally meaningless? What is nontheatrical aesthetics?
Conversation about spectacle and trash, ideology and humour, about combining modesty and megalomania as well as on other aspects of design.

Biography:
Sven Jonke (Bremen, 1973) studied industrial design at the Academy of Applied Arts in Vienna (under Paolo Piva) and at the Faculty of Architecture, School of Design in Zagreb.
Together with Christoph Katzler and Nikola Radeljković, he is the founding member of Numen / For Use, a Croatian-Austrian design collective working in the fields of scenography, industrial and spatial design and conceptual art.
The group's early enterprises are characterized by experiments with radical formal reduction, modernist dogmatism and total-design projects.
In 2004 they broaden their scope to include scenography and production design, with numerous realisations in theatres and operas across Europe still continuing today.
During the past decade the collective focussed predominantly on configuring objects and concepts without a predefined function, an activity resulting in the more hybrid and experimental works such as the N-Light series and a whole spectrum of immersive large-scale installations (Tape, Net, Tuft, Tube, Void and String) which are currently featured in public spaces and art galleries around the globe.
Sven Jonke held various workshops and masterclasses internationally at academic and non-academic institutions including Gerrit Rietveld Academy in Amsterdam, Carnegie Mellon University in Pittsburgh and Beuth University of Applied Sciences in Berlin among others.
Numen/ For Use won several awards such as the Design Award at International Design Festival DMY Berlin, two gold medals at Prague Quadrennial of Performance Design and Space, two Borštnikov scenography awards, two Red Dot Awards for product design and German Design Council Award to name a few.
They exhibited at Danish Design Center, Ars Electronica, Design Museum London, Watts Institute of Contemporary Art/CCASan Francisco, Schirn Kunsthalle Frankfurt, Spiral Gallery Tokyo, Zou-na-hanna Terrace Yokohama, Fondazione Palazzo Strozzi Florence, Färgfabriken Stockholm, Centro Cultural FIESP in Sao Paulo, K Museum of Contemporary Art Seoul, Arte BA Buenos Aires, 21_21 Design Sight Tokyo, House for Contemporary Art Z33 Hasselt and Palais de Tokyo in Paris among others.

www.numen.eu

19.06.2019, 6 pm
Room 1.07.040 (Nebenflut), Speicher XI, Bremen

At the 20th of June there will be a Workshop with Numen at the HfK.

The lecture is a corssover of the lectureseries "Salon Digital" (Information below) and also part of the lectureseries and the project "The Dynamic
Archive":
https://www.hfk-bremen.de/t/projekte-und-foerderprogramme/n/das-dynamisc...

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The program for Digital Media at the University of the Arts Bremen launched a regular series of salon-style gatherings titled “Spectacle: Reenactments in the Arts, Design, Science and Technology.” The events have an open format and provide a forum for experiments, presentations and performances from a range of different fields, but with a common focus on old and new media, as well as technologies. The salon thereby enables a practice of reenactment as a way to make things past and hidden visible, present and also questionable.
Contemporary new technologies and media seem to cover knowledge with complex layers of materials, code/sign systems and history/organization. Reenacting can translate obscured knowledge, ideas and theories into bodies and actions. At the heart of this conceptual approach is a desire to turn past events into present experiences—although the very nature of the past prohibits such an endeavor.
The salon pursues the primary goal of opening closed systems and constructions (black boxes). Global power structures, as well as complex processes in development and production—leading to hermetic constructs—have made it even harder to understand science, economy and contemporary media, as well as new technologies. Recipients therefore tend to mostly grasp only their superficial level. The spectacle is a way to condense actions and processes. Reenactment, on the other hand, builds on repetition and history. But the spectacle is a moment in the here and now where everything flows together and culminates.

Organised by: Andrea Sick, Ralf Baecker und Dennis Paul

www.salon-digital.com

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The Dynamic Archive

Lectureseries / Vortragsreihe SoSe19 _ Part 1

Collaborative Work

The “Vortragsreihe” in the Summersemester 2019, starting on the 22nd of may, is part of the researchproject The Dynamic Archive. It involves collaborative work, exchanges and circular processes as well as the archiving and collection of works in the arts, design and theory. We believe that an university of the arts is predestined to initiate such a project.

An university of the arts is a zone of convergence and of experimentation in collaborative endeavors. Such an institution can be defined as a territory of communality. This comes with limitations, as we only interact with the people or institutions within this temporary environment. On the other hand, our sphere includes numerous individuals, objects, trends, stories and fictions, as well as stagings. Convergences and disruptions, as well as the mechanisms of making choices are important preconditions to set up the testing of diverse ways of participation and the development of exchange processes.

Our framework is to build and develop The Dynamic Archive as a space and web application where work descriptions, notations of choreographies, software and tools for artistic work can be stored and at the same time made available for other artists to be further developed as a whole or in parts. As a web application, such a Dynamic Archive will have to be realized with physical components, too. The 1st Version of the webapplication with an amount of components and connections will go online on the 15th June 2019 (thedynamicarchive.org)

The “Vortragsreihe” The Dynamic Archive endeavors to examine mechanisms of collaborative working beyond the perimeters of the University of the Arts.

The lectures will discuss potentials for collaborations based on continuous exchanges and reflections on the structures of sharing. What does collaboration actually mean referring to engaging beyond the boundaries of individual institutions in efforts to develop shared projects of a limited or broader nature? What kind of conditions to we need to craft for this?

Collaborative work and the sharing, copying and further use of modules developed by other members of a network have become practices in communities in the arts, design and academia in recent years. “Open Source” strategies in software development have served as a model for these efforts. At the same time, issues such as goals and motivations among practitioners, as well as questions concerning authorship, patents and trade secrets relating to know how and processes have arisen.

As we regard these relationships within our collaborative research project “The Dynamic Archive”, it becomes of essential importance to constantly work against the risk of immediately succumbing our effort of research, learning and shared production of knowledge to the logic of commercialization and self-optimization. We ask: Are there different practices that could be introduced and tested? By using the term “research” in context with “the Dynamic Archive” we talk about an activity to conceptualize in a critical sense while taking aim at the economization of knowledge as a framework.

The “Vortragsreihe” (Part 1) therefore intends to question, how can the transfer between the institutions (such as theaters, exhibition spaces and an university of the arts, as well as software companies) and artists und designers be effective for all parties involved? Could appreciative processes of reception, sharing and combining complement each other?

The “Vortragsreihe” is part of the ongoing researchproject The Dynamic Archive with the webapplication (thedynamicarchive.org) as an ongoing exchangeplatform, and residencies for artist (collective groups and individuals specially in the field Media Art and Performance Art) and international exchange projects with artists and students (collaborative workingplatforms).

The “Dynamic Archive”

created and organized by

Prof. Dr. Andrea Sick (Professor for Theory in Media and Culture, HfK)

in cooperation with Prof. Dr. Dennis Paul (Professor for Interaction and Spaciality, HfK)

Research Assistant and Projectmanagment: Irena Kukric

Hosted by

The University of the Arts Bremen (HfK) in cooperation with:

Schwankhalle Bremen (Space for experimental Theatre, Artistic Director: Dr. Pirkko Husmann),
EdithRuss Haus für Medienkunst Oldenburg (Exhipitionspace for MediaArt, Artistic Director: Edit Molnar und Marcel Schwerin),
HEC GmbH IT-Engeneering Bremen (Executive Directors Thorsten Haase)

Documentation of the conference from The Dynamic Archive last year: dasdynamischearchiv.de

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Dates
Crossover: Salon Digital & The Dynamic Archive - Numen

Nebenflut, Room 1.07.040, Speicher XI, Bremen

19. June 2019, 18:00