Numen – Crossover: Salon Digital & „The Dynamic Archive“
Crossover: Salon Digital & Das Dynamische Archiv
Veranstaltungsreihe "Salon Digital" & „The Dynamic Archive“ / 19.06.2019
Oblique Strategies
Zu Gast ist Sven Jonke von 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.
19.06.2019, 18 Uhr
Raum 1.07.040 (Nebenflut), Am Speicher XI 8, Bremen
Am 20.06.2019 wird Numen einen Workshop in der HfK abhalten.
Der Vortrag ist ein Crossover zwischen der Vortragsreihe "Salon Digital" (Beschreibung siehe Unten) und der Vortragsreihe bzw. dem Projekt "The Dynamic Archive": https://www.hfk-bremen.de/t/projekte-und-foerderprogramme/n/das-dynamisc...
(english version below)
Spektakel: Reenactments in Kunst, Gestaltung, Wissenschaft und Technologie.
Mit dem Wintersemester 2016/17 startete der Studiengang Digitale Medien der Hochschule für Künste Bremen eine regelmäßig stattfindende Salon-Reihe unter dem Titel "Spektakel: Reenactments in Kunst, Gestaltung, Wissenschaft und Technologie". Das offene Salon Format beinhaltet Experimente, Vorträge, und Performances aus unterschiedlichen Disziplinen mit dem Fokus auf neue und alte Medien und Technologien. Praxis des Salons ist das Reenactment als Möglichkeit des Sichtbarmachens, Vergegenwärtigens und Durchkreuzens von Vergangenem oder Verborgenem.
Insbesondere im Bereich der sogenannten Neuen Technologien und zeitgenössischen Medien erscheint Wissen von komplexen Schichtungen von Material, Code/Zeichensystemen und Geschichte/Organisationen verdeckt. Das Wiederaufführen kann Denken, Geschichte und Theorie in Körper und Handlung übersetzen. Im Zentrum steht so die verkörperte Vergegenwärtigung vergangener Ereignisse, initiiert durch den Wunsch eine grundsätzlich uneinholbare Vergangenheit wiedererlebbar zu machen.
Vorrangiges Anliegen des Salons ist die Öffnung von geschlossenen Systemen und Konstruktionen (Black Boxes). Denn Wissenschaft, Ökonomie, zeitgenössische Medien sowie Neue Technologien sind durch globale Machtstrukturen, komplexe Entwicklungs- und Produktionsprozesse und deren hermetische Konstruktion nur noch schwer zu durchschauen und bleiben für die Rezipierenden primär an der Oberfläche. Das Spektakel ist eine Form der Verdichtung von Handlungen und Prozessen. Gewissermaßen Paradox zum Reenactment, dem Wiederholung und so auch Historie immanent sind, ist das Spektakel ein Zeitpunkt im Hier und Jetzt, zu dem alles kulminiert.
Organisiert von: Andrea Sick, Ralf Baecker und Dennis Paul
English Abstract
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.
