Since January 1, 2011, Interface Artist Johannes P Osterhoff publishes all of his search queries with Google in a One-year Performance piece called “Google”.

The term One-year Performance has been coined in the 1970s by Tehching Hsieh, a Taiwanese performance artist based in New York. Of his own free will, Hsieh for example spent one year captured in a cage, punched a time clock every hour on the hour for one year, or spent one year entirely outside of any building.

Osterhoff updates the genre One-Year Performance and takes it into the context of “transprivacy” and the domain of modern information retrieval.

How Does It Work?

“Each time, I perform a search with Google, this search immediately is published online. You can find my searches, if you search for something similar.”

Most queries are tracked by a modified dictionary plug-in. When Osterhoff enters a search word into the search bar of his browser, this search is tracked by a PHP script and sent to a modified blog software. On this page, the public list of search results immediately is updated.

In case he enters a search from the various Google web sites, searches from the web, image, video, maps, news, shopping and scholar sections are tracked by a browser add-on. In case he refines searches with Google Instant, it publishes all searches that are confirmed by pressing enter.

Dictionary plug-ins and tracking add-ons are installed on all of Osterhoff's computers, his laptop, his netbook, and his PC at work. On his iPhone Osterhoff uses Google through a special website that tracks searches from Mobile Safari. On his site, searches can be distinguished according to the device the search was sent from.

To each search a unique ID is assigned and for each of the searches automatically a web page is created that contains the search string, single search terms, and a timestamp. Search pages and search terms are linked to each other. In the process of the performance, this interlinking of searches created a network of thousands of pages, that are indexed by the Google crawlers and make Osterhoff's searches publicly available for search by everybody.

Due to this interlinking, and depending on up-to-dateness and search terms, the searches appear well ranked in the Google results.

How to Participate?

“You can see the latest queries on my personal website, follow all searches on the ‘Google’ site at google.johannes-p-osterhoff.com, you can subscribe to its RSS feed, or you can follow me on Twitter where I publish a selection of my searches.”

Besides, you can order queries. For the bargain price of 99 cents, Osterhoff takes orders and searches what you want. You decide, if the search is performed in his own name or is marked as ordered search.

In case you like a search, you can express your appreciation with a donation via Paypal or Flattr.

Shows and Follow Ups:

“Google” has been shown on “Hyperkult XX”, a workshop on trivialization in the context of user interfaces (curated by Martin Warnke et al) and a poster edition will be shown during “Transprivacy” in Düsseldorf (curated by Florian Kuhlmann).

After the performance, a book will be published that contains all performed searches. Tables, lists, visualizations, and results of data mining will make the performance even more transparent.

"Was ist ein Name", lecture
Alban Muja

This evening in MoMA we will present some of his video work which investigates how the
 naming of people, places, and institutions affects our perceptions of them. 

Thursday 22. September 2011,     8 p.m.
 

"MoMA Made in China", lecture
Alfred H. Barr, Jr.



Recently at the "Times Museum" in Guangzhou (China)  opened an exhibition titled
"A Museum that is Not"  http://www.e-flux.com/shows/view/10070
Curated by Nikita Choi it brought together ChART Contemporary, HomeShop, Hu Xiangqian, 
Liu Ding, Museum of American Art in Berlin, Museum of Unknown, Wilfredo Prieto, Wu Jie
and  Zhang Xiangxi.
Mr. Alfred Barr, will share his impressions about the exhibition especially  the Museum of  American Art 
contribution titled the "Museum of Modern Art", a  collection which recently appeared in Guangzhou.

Saturday, 09. July 2011, 8pm

The Making of Americans

Gertrude Stein 

The Making of Americans is a story about the development of the American art scene, 
told by Americans through their collections and exhibitions of European modern art. The story 
begins with the collection of early modern art (Cezanne, Matisse, Picasso) assembled by 
Gertrude and Leo Stein in Paris beginning 1905,  followed by the Armory Show 1913,  
Societe Anonyme 1920 and finally the Museum of Modern Art in New York 1929.
These American collections and exhibitions were in fact  a specific interpretation of European 
modern art that was more avant-garde oriented than in Europe. And this interpretation, 
promoted by MoMA ,  became the foundation of the modern canon which later helped the 
emergence of the post-war generation of American abstract artists. 
The Making of Americans is also the title of an exhibition of the Museum of American Art held 
at  The James Gallery in New York this spring.

Brigitte Döbert

Spiegelbilder/Innere Bilder 2008–2011 Projektion, Lesung und Gespräch

Das selbstständige Selbstportät, erst seit der Renaissance eine Disziplin der europäischen bildenden Kunst, ist ein gefährliches Genre, das zwischen Repräsentationsgehabe und Intimität changiert, aber vielleicht aus dieser Spannung heraus noch etwas zu sagen hat, und das vielleicht nicht nur, weil die Medien uns in denselben Zwiespalt zwingen, sondern auch, weil der Kunstbetrieb (im On- wie im Off-Bereich) Selbstreferentialität fördert, selbst noch in dem Bestreben, Autorschaft möglichst effizient zu verschleiern. Selbstbilder sind (dagegen?) eine Form der Selbstbezüglichkeit, die vor allen Dingen Fragen stellt, in Frage stellt, freistellt. Und das sei zur Diskussion gestellt.

 
 

Donnerstag 31. März 2011  20.00 Uhr

 

Discovery

Sladjan Nedeljkovic

Discovery besteht aus zwei Teilen, einem Bilderbuch und einem Booklet - Gespräch zwischen Dr. Matthias Haldemann und Sladjan Nedeljkovic. Im Bilderbuch wird ein kleiner Teil der Bildersammlung, die Sladjan Nedeljkovic seit Anfang der 90er Jahre sammelt, auf 144 Seiten gezeigt. Es handelt sich um unterschiedliche Artefakte wie Zeitungsbilder, Postkarten, Fotokopien, Internetausdrucke oder eigene Fotografien. Die Grenze zwischen den „eigenen“ und den „übernommenen“ Bildern ist absichtlich verwischt.

Der Zugang zu Bildern ist wahrscheinlich noch nie so einfach gewesen wie im Internetzeitalter. Tagtäglich werden wir mit Bildern konfrontiert, müssen uns durch eine Bilderflut durchkämpfen.

In Discovery sind alle Bilder schwarz-weiß auf schwarzem Hintergrund gedruckt. Durch das schwarz- weiß wirken die Bilder wie entrückt oder erinnert, man kann sie zeitlich nicht genau einordnen.

Was geschieht, wenn die Bildlegende fehlt? Wie schauen wir uns die Bilder an, wenn wir nicht wissen in welchem Kontext sie entstanden sind und was sie darstellen? Es gibt die Behauptung „Bilder sagen mehr als tausend Worte“. Tun sie das wirklich?

Wir laden alle herzlich ein zur Präsentation des Künstlerbuchs Discovery und zum Gespräch über Bilder, Medien, Urheberrechte und die Rolle, die Bilder in unserem Alltag spielen.

 
 
 
 

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Thursday, February 24, 2011 -- 20.00 h

Artcrematory KUNSTKREMATORIUM

Video Talk : The Spacemaker

In the course of art history several individual artists as well as different movements have dealt with the subject of destruction, disintegration and deconstruction. To break new ground and to create new space, some wanted to destroy museums (as places of hoarding), some abolished art selectively, and yet others dealt with art in a destructive or auto-destructive way. A few have left serious marks, others only fleeting ones in the history of art. Some have failed and others arrived at certain conclusions. It is interesting that today a majority of these have to great extend become a part of that which they originally wanted to change.

In the year 1995, as a result of a close collaboration of an anonymous real estate developer and a group called “Psychiatriepatienten” the idea of a universal design occurs for the first time, which in many respects shall bring about changes to different levels of society.

To provide new space in space the idea of an art crematorium was born. This creation/object/machine allows the human population to economize with space. By means of a transformation/SPACE-ING of the work of art, the art crematorium enables the owner of an artwork to maintain his property albeit in a diminished space-saving form.

The art crematorium is not an object with which art can be taught, practiced or presented but the first architectural concept, by which art is spatially rationalized and to a certain point dematerialized. It is the last and ultimate station of a work in its original form.

The art crematorium can be used by anybody, and everybody can bring a work out of his/her own collection to SPACE-ING. The art crematorium does not serve any cultural cleansing, nor is it a temple of art purges or a hygiene institute – it is an invention, which poses questions of the relation between space and matter anew. The art crematorium does not use brute force. It is not a revolution but rather an evolutionary step. It functions according to the wish and intellectual maturity of a person. Practical work in the art crematorium leads to a new awareness for space and environment.

By SPACE-ING the material/matter, merely the informational content remains – the subject matter, hence the matter/material/mass loses any non-essential and redundant role and meaning. From a material point of view only dust remains, placed in a small urn – whereas the informational content is preserved in scanned, filmed and photographed data. Before a work of art is brought to SPACE-ING it is visually documented in detail (scans, video, photo) and digitally stored / saved. Therefore it is always possible to see the work in a 3 D-screening or to recreate its material form (see form KK-3). In other words SPACE-ING sublimates the work of art.

In case of a climate crisis or war the data of a work is saved. Even in the case that mankind has to leave the planet, the data is considerably easier to transport than the conventional material.

This is the first crematorium that operates with a laser beam. SPACE-ING can be observed during the process. Hence the human being is close to the end as well as to a new beginning of a work. Thus he or she also has to face the question of evanescence and transience first hand.

The energy that originates from the process is led to further use, i.e. recycled. Households in the vicinity will be supplied with the energy of the crematorium.

A few questions remain, which will probably be answered in the future: Is that what happens in the art crematorium art? By taking this step does the owner of a work of art become part of the work’s history?

As shown in the form KK the art crematorium does not make any selection – the decision to transform a work of art is based on the conscience of the individual. What if a human being declares him/herself to be a work of art and consigns him/herself for SPACE-ING alive?

If one day the art crematorium reveals it’s relevance and meaning, the cityscape will subsequently change too. In a future conceptual development of cities this creation will be an integral part of city planning. The art crematorium will merge art and architecture in a new form.

The art crematorium has the potential to change a whole system fundamentally without the use of force or the execution of power. We will have to wait and see, what role this object will play in a future society. The new way of dealing with matter could lead to enormous changes in a materialistic society.

 

 

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Friday, December 10, 2010 at 18:30h

Art & Economics Group
 
Quarterly Forum 2010, Q4
 
Presented by Tanja Ostojic and Dmytri Kleiner
On behalf of the Art & Economics Group
 
 
Program:
 
Quarterly report
The guest of the evening Fran Ilich presenting Diego de la Vega´s 'another world is possible'
Special edition of art bonds designed by Fran Ilich as special offer on sail
Discussion
 
The Quarterly Forum of the Art & Economics group will be on Friday, December 10, 2010 at 18:30h at the Museum of American Art in Berlin. The Art & Economics Group, established in Berlin in 2007 by Tanja Ostojic, David Rych and Dmytri Kleiner, investigates the intersection of art and political economy. For the first two years Art & Economics Group Quarterly Forums were regularly hosted by Project Room 35 and Wooloo Productions Berlin. After a break due to the economic recession and the closure of those two art spaces, Quarterly Forums have since 2010 been hosted by the Museum of American Art Berlin.
 
This will be the third in a series of quaterly discussions held this year. Topics will include political economy as a theme in art, the economics of art production and economic activity as an action based art practise.
Our guest of the evening Fran Ilich is going to present Diego de la Vega´s 'another world is possible'
 
Diego de la Vega is a coin-operated cooperative media conglomerate working under the secret agenda of 'another world is possible' with the idea of financing, functionalizing and generating collective wealth under de logics of the economics of globalization and information technology. Some of it's projects are private, like the Net.store (e-commerce), Sabotage (management and public relations), Spacebank (virtual community investment bank), and others are public like the Fiction Department (research & development of narrative media), Possibleworlds (consumer cooperative server), Radio Latina AM (internet radio production cooperative), RomaCondesa.com (a website focuses on the lifestyle of a Mexico City district), and El Zorro de La Mesa (a community newspaper for the district of La Mesa, in Baja California), and some are non-profit organizations like the Collective Intelligence Agency (think tank). It used to run the Tijuana Media Lab, which was a digital labour space where p2p cinema was shown and was financed partly by the sale of ideologically correct products from (Chiapas, China and Cuba), although it's main purpose was as a research lab, but the project went emotionally and economically bankrupt.
 
The function of the financial sub-comandancia Diego de la Vega is solely the administration and organization of the entrepreneurial projects under it's corporative umbrella, and as a forced labour workgroup it only receives income thru it's various mechanisms of solidarity cooperation, and this are distributed to different operations that were setup since it's foundation, this way the project maintains itself loyal to it's economical policy of artificial insolvency and digital Maoism which is focused on socializing initiatives under the reality of market fundamentalism, with the goal of creating the social tissue of  production unit. The individual projects have different mode of economic distribution collectively decided independently from each other, but some of its income is then centralized. The cooperative media conglomerate as such was born in December 2008 (although some of it's projects precede the corporation by many years) in the Mexico-USA border in the margins of the Zapatista other campaign, and is now working to maintain itself alive in international waters, using strategies of cooperation and net.working.
 
Anyone with the desire to tune into this line of action and research, thought and work, can become an accomplice of the corporative central committee, either as a capitalist shareholder investor, volunteer worker or as a member of the forced labour workgroup.

Fran Ilich is Mexican writer and media-artist living in NYC. He's currently studying the m.a. in Media Art Histories of Donau-Universität Krems, Austria. He's author of the novels Metro-Pop, Tekno Guerrilla and the upcoming Circa 94 and Another narrative is possible, as well of many works of narrative media. He was editor of the magazine Sputnik Cultura Digital, screenwriter of Interacción (Discovery Channel), researcher at Centro Multimedia del Centro Nacional de las Artes and director of the literature department at Centro Cultural Tijuana. He participated in the festival mundial de la Digna Rabia (by personal invitation of Subcomandante Insurgente Marcos),  Documenta 12 magazines, Transmediale, Berlinale Talent Campus, MIT Media In Transition, Electronic Literature Organization symposium, Hybrid Storyspaces, etc. Has directed narrative media seminars for Universidad Internacional de Andalucía (Sevilla), Kunst Akademi Finske (Dinamarca) and Arteleku (Donostia). He also directed the festivals Cinemátik 1.0, <net.net.net.mx> (MOCA y CalArts) & Borderhack.


 
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Sonntag 14.11.2010 um 20 Uhr

Hyperexhibition Recording Party 

Joachim Stein

In der Mathematik bezeichnet "Hyper" einen euklidschen Raum mit mehr als drei Dimensionen oder einen nicht-euklidschen Raum. In Science Fiction Romanen und Filmen steht der Begriff meist für einen Raum jenseits unseres Universums, oft nur erreichbar durch Überschreitung der Lichtgeschwindigkeit. In der Umgangssprache ist mit einem "Hype" meist eine geschürte Mode oder eine Campagne gemeint, der man sich kaum entziehen kann.

Bei der Hyper Exhibition wird Kunst in einem Raum jenseits der Dreidimensionalität präsentiert. Dies geschieht durch den Austausch verbaler Beschreibungen von Kunstwerken, sei es durch Künstler, Betrachter oder Menschen, die ein Werk selbst nur vom Hörensagen kennen. Selbst nicht realisierte oder nicht realisierbare Werke können in diesem nicht-euklidschen Ausstellungsraum existieren oder gar weiterentwickeln. Die Grenzen zwischen Künstler und Betrachter verschwimmen oder lösen sich ganz auf.

Am Sonntag den 14.11.2010 um 20 Uhr findet im MoAA eine Hyperexhibition Recording Party statt. Joachim Stein, Erfinder der Hyperausstellung, erläutert das Konzept und assistiert bei den Aufnahmen und er Veröffentlichung auf Hyperexhibition.net bzw. Soundcloud.com/hyperexhibition.



 
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Dienstag, 24. August 2010 20.00h

Projekt Präsentation und Diskussionsrunde mit der Gruppe L.E.O.
Das Projekt "Hat das Wort immer das letzte Wort" der Gruppe L.E.O. setzt sich auseinander und thematisiert die Macht und die Kraft des gesprochenen / geschriebenen Wortes. Gleichzeitig stellt es auch in Frage die Unmacht dessen.

 

 
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Monday, June 28, 2010   21.00 h

"American National Exhibition", Moscow 1959

Porter McCray

 

 
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Sunday, June 20, 2010  19.30 h

Agents & Provocateurs & before & after

project presentation by Beata Hock and Franciska Zólyom 

 
Agents & Provocateurs is a research-based exhibition project surveying certain forms of confrontation: agency and provocation, both understood as dissenting artistic attitudes. Suggesting a tension between the shock value of the „épatez le bourgeois”–  attitude often exploited by artists and more agentic, dialogical forms of confrontation, the show highlights instances when artists think of themselves as social agents and are willing to work politically with the "enemy”.
The exhibition, curated by Beata Hock and Franciska Zólyom, was first presented at the Institute of Contemporary Art—Dunaujvaros, Hungary, in October-November 2009. Its revised and complemented version, co-curated with Inke Arns, is presently on view at Hartware MedienKunstVerein—Dortmund. Both exhibitions feature the works of over 30 international artists bringing together artistic interventions from state-socialist Eastern Europe as well as cases from more liberal-democratic political contexts. Through juxtaposing artistic positions from different and changing political contexts, Agents & Provocateurs explores how genuinely critical attitudes need to reconfigure again and again in order to capture any given system’s deficits. Many of the featured works represent iconic art actions and projects, while some of them are re-constructed and displayed for the first time in this exhibition.
In preparing the project, artists and experts from over twenty European countries were consulted. Workshop presentations in art schools and institutions also form part of the project. These events of dissemination also reflect on the preparatory research work and are realised with the active participation of the network of artists and professionals established during the research phase.
A number of Berlin-based artists involved in Agents & Provocateurs—Tina Bara, Julius von Bismarck, Tímea Oravecz, Tanja Ostojic, Ewa Partum and U.R.A. FILOART—will attend the presentation at MOAA.
 
For further info, downloadable brochures of the exhibitions and a full list of participating artists please visit:
www.agentsandprovocateurs.net
www.hmkv.de
 
Agents & Provocateurs
14. Mai – 18. Juli 2010
HMKV im Dortmunder U (3. Etage)
Zentrum für Kunst und Kreativität
Leonie-Reygers-Terrasse
44137 Dortmund



 

 
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Freitag 07. Mai 2010  20.00h

18m

Julie August 

Was ist 18m? Eine Wohnungsgalerie, ein Salon, eine “echte” Galerie, ein privater showroom? 
Oszillierend zwischen öffentlich und privat stellen zeitgenössische Künstler hier Arbeiten aus, 
die häufig einen direkten Bezug zu den Räumlichkeiten aufweisen – und die wiederum sind kein 
white cube, sondern ein Ort, an dem auch gelebt, gewohnt, gearbeitet wird. 

Julie August stellt anhand einiger Beispiele das Konzept dieser Galerie vor – und stellt zur 
Diskussion, ob und warum Berlin neben Museen, kommerziellen Galerien und offenen Ateliers 
auch solche Kunsträume braucht.

 

 
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Sunday, April 25, 2010 at 18:30h

Art & Economics Group comeback at the MoAA Berlin!

Quarterly Forum 2010, Q2
Presented by Tanja Ostojic / David Rych / Dmytri Kleiner
On behalf of the Art & Economics Group
 
Program:
- Quarterly report
- A video performance (live!) by Erik Dettwiler the guest of the evening on the basis of art & economy and linked to "paradoxical periphery"
- Special edition of art bonds designed by Erik Dettwiler
- Optional: discussion, film screening and other surprises
After a brake due to the economical recession and the closure of the project room 35, the come-back Quarterly Workshop of the Art & Economics group will be on Sunday, April 25, 2010 at 18:30h at the Museum of American Art in Berlin. The Art & Economics group, established in 2007, investigates the intersection of art and political economy.
This will be the first in a series of three discussions held this year. Topics will include political economy as a theme in art, the economics of art production and economic activity as an action based art practise.
Our guest of the evening Erik Dettwiler will contribute a video performance (live!) on the basis of art & economy and linked to "paradoxical periphery".

In the tradition of “Situationist Dérive” and taking notes by video and photo camera he stayed in recent years in several Eastern European cities as well as in Rome and New York scanning different neighbourhoods and hinterlands. His curiosity was focusing on one side on the marginal neighbourhoods as the lower and middle class residential outskirts and on the other hand on structural zones as industrial areas and arterial roads. During these expeditions he was lead by the idea of a “paradoxical periphery”. This notion stands for an urban area, that in spite of its marginal position has not the typical aspect of a periphery, or for an area that regardless of its central location assumes a peripheral character due to structural or historic reasons. Artist Erik Dettwiler (Helsinki 1970*) lives and works in Berlin and Zurich www.dewil.ch


 
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Sonntag 28.03.2010   18.30h

Fiktion ohne Illusion

künstlerische Recherchen und digitale Bilder 
Judith Siegmund
 

Anhand von ausgewählten Bildern und Videofragmenten stellt Judith Siegmund ihre Arbeitsweise als Konzept- und Videokünstlerin vor. Siegmunds künstlerische Recherchen und Interviews sind die Grundlage ihrer Videoarbeiten, deren Spektrum vom Dokumentarischen bis zum Fiktiven reicht. Der Vortrag findet in deutscher Sprache statt.
Judith Siegmund *1965 (lebt in Berlin) studierte Kunst an der HfBK Dresden und an der Kunstakademie Stuttgart sowie Philosophie an der FU Berlin und an der Universität Potsdam. 2007 promovierte sie über „Die Evidenz der Kunst“. Neben ihrer Projekt- und Ausstellungspraxis unterrichtete sie an der Universität Mainz, der Fachhochschule Hannover und an der FU Berlin. 
 
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Sunday 28.02.2010   20.00h

The politics of visibility

Andrea Schneemeier
 
Andrea Schneemeier will show some of her latest projects. It is all about exploring various aspects of visibility and methods of infiltrating social systems. She often questions her own position as an artist, dealing with different social contexts in a subversive way. She follows policemen in Warsaw, has an affair with a photographer observing national identity, invites homeless people for a dinner or collects fears in public spaces in New York and Budapest.

 
 
 
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Sunnday 31.01.2010   20.30h

American Tutti-Frutti

Porter McCray

American Tutti-Frutti - slide show

The theme of this slide show is MoMA  circulating exhibition that arrived in Belgrade in 1956 
at the end of its tour through several European capitols. Although this was one of the most 
important exhibitions ever held in Belgrade, it was quickly forgotten and thus never became 
part of the local art scene narrative. 
Fifty years later the collection “Savremena umetnost u SAD” ("Modern Art in the USA") 
was presented to the Belgrade public (Museum of Contemporary Art 2006) with the idea 
that one day it would become the central exhibit of the Museum of American Art in that city.
The same collection was also selected for the Istanbul Biennial 2009 because it refers to the first 
MoMA exhibition of modern American art held in the Balkans and because of the long historical and 
cultural ties between Belgrade and Istanbul. Hopefully, this temporary exhibition could become 
an impulse for the future Museum of American Art in Istanbul as well.

Thursday 03.12.09     20.00h

Sex & Software: Do you have a license for this?

Diana McCarty

It's not really about sex or software, but really about how things get done and why. 
From the highly distributed netzkultur of the 90's to the localized and subjective 
forms of radio in the 2000's, the social consequences of art and technology need 
to be unpacked. Let's upack.

www.nettime.nl
www.faces-l.net
www.radia.fm
www.herbstradio.org

Sunday 15.11.09       20.00h

The City is Creative

Michelle Teran

Artist Talk 

The City is Creative explores the daily creative acts taking place throughout a city that are often overlooked. 

People meet in different ways now, even in the strangest of manners. Imagine flying over a city and witnessing all the things that are taking place there. Connect to Google Earth and find Eindhoven, a small city in The Netherlands. As you get closer, a number of YouTube videos appear on top of the city. Did you know about the man that juggles? That there is a flying saucer in a park? That a young couple are moving into their new apartment? About the people who like to dance tango or somebody who is an aspiring singer? Everybody is broadcasting their stories. What if somebody tried to contact them back?

As an outsider to the city of Eindhoven, I found myself in a surprising situation of gaining access to three enormous, abandoned factory buildings at Strijp-S, the former Philips industrial terrain and future site of urban development project 'The Creative City'. After spending some time exploring on my own and sometimes frightening myself by getting lost in the bowels of the buildings, I decided that I wanted to take some people in with me so they could also have this experience. I found some people in Eindhoven via YouTube who displayed a tendency for exploration, exhibitionism, absurdity and adventure and asked if they would like to visit a place is the city that is hidden and inaccessible. I asked them if they wanted to make a new video based on a video they had already made, using the empty offices, hallways, and factory spaces as their playground and inspiration. I was pleasantly surprised that many responded. Here are their stories.