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<div><b>Beyond Matter? - A Revival of Clashes between Materiality
and Representation</b><br>
A series of online talks<br>
</div>
<div><a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/4d0a66606853082e8f7627d9c86b44ad11245c44"><span
></span>beyondmatter.eu</a></div>
<div> </div>
<div>Even when they draw the attention of audiences today, exhibitions
that happened in the past are barely accessible due to a general
insufficiency of documentation methods. If we accept the premise that
exhibitions are alive when they are up and running, and that this
vividness is strongly dependent on their spatial qualities, already
dismantled spatially organized assemblages of materials and thoughts
can be declared dead. When used to resurrect and revive past
exhibitions, as in other cases, technology is "no mere means" but
"a way of revealing" (Heidegger: 1954).<br>
</div>
<div>For the project Beyond Matter: Cultural Heritage on the Verge of
Virtual Reality, two institutions have committed to examining the
possibilities of revival through experiential methods of digital
spatial modelling, using the case studies of<i> Les Immatériaux</i>
(Centre Pompidou, 1985) and<i> Iconoclash</i> (ZKM | Karlsruhe,
2002).<i> Les Immatériaux</i> and<i> Iconoclash</i> were both
landmark shows and thought experiments manifested as exhibitions. They
each displayed scientific and technological as well as artistic
practices, and, what's more, they each reflected on the exhibition
as a medium and an interface.<br>
</div>
<div>Throughout 2020 and 2021, a series of discussions gathers
together outstanding thinkers, curators, and art historians to probe
the most topical questions around the digital revival of past spatial
assemblages. These discussions contribute to the conceptual
development of the two case-study exhibitions' digital
interpretation, but also serve as groundwork for the project's
unfolding research on the virtual condition in curating and art
mediation.<br>
</div>
<div>In the upcoming discussion on <a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/daa0f5dfbd3755f85f6d49ea14f3fc2898227319"><b><span
></span>"Images scatter into data Š" - Iconoclasm and the
Scientific Image</b></a> on<b> February 15 at 6pm CET</b>,<b> Peter
Galison</b> reflects on the exhibition and recent achievements in
scientific imagery.<br>
</div>
<div>The series on<i> Iconoclash</i> concludes on<b> March 1 at 6pm
CET</b> with a talk on<b> "Network Thinking in Scenography"</b>
between<b> Manfred Wolff-Plottegg</b>, the exhibition's architect
and scenographer, and<b> Peter Weibel</b>, and will be followed by
online discussions on<i> Les Immatériaux</i>, organized by the
Centre Pompidou Paris and released online over the following
months.<br>
</div>
<div>The talk will be streamed here <a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/8cb22a31b165e904cf62c7dff9aef4dca21f496b"><span
></span>zkm.de/en/livestream</a><br>
</div>
<div>The past discussions are available online:<br>
The exhibition<i> Iconoclash. Beyond the Image Wars in Science,
Religion and Art</i> emerged from the collaboration of an
international group of experts led by<b> Bruno Latour</b>, and was
mounted under the executive curatorship of<b> Peter Weibel</b> in 2002
at ZKM. For <a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/d36cc65a995bd270b0b4db251e4dc88c0392fed7"><b><span
></span>AReturn of History</b></a><i>,</i> the first in this series of
talks, the<i> Iconoclash</i> curators discuss the topic anew.<br>
</div>
<div>The historians<b> Joseph Leo Koerner</b> and<b> Dario Gamboni</b>
talk about genesis of<i> Iconoclash</i>, the <a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/d36cc65a995bd270b0b4db251e4dc88c0392fed7"><b><span
></span>Allegory of Iconoclasm</b></a>, as well as about the
possibilities that a digital model of the exhibition could offer.<br>
</div>
<div>In the talk <a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/c477b71e15b647da0cfebd508ac4ce2c3464d5e0"><b><span
></span>Nostalgia in Reenactments</b></a>,<b> Boris Groys</b>
discusses his contribution to<i> Iconoclash</i>, and the consequences
of creating a digital model or reenactment of the exhibition,
particularly the feeling of nostalgia evoked by such an
endeavor.</div>
<div><br></div>
<div><b>Sabine Himmelsbach</b> remembers <a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/c1e225159b4561afc38b60fde0f0cce93de828bf"><span
></span>the preparatory phase for the exhibition<i>
Iconoclash</i></a>. With a leap into the present, she then discusses
her current practice as director of H3K (Haus der elektronischen
Künste Basel), focusing on the institution's reaction to the recent
lockdowns and the possible ramifications.<br>
</div>
<div>Beyond Matter is an international, collaborative, practice-based
research project that takes cultural heritage and culture in
development to the verge of virtual reality. It does this by
reflecting on the virtual condition with an emphasis on its spatial
aspects in art production, curating, and mediation through numerous
activities and formats, including the digital revival of selected past
landmark exhibitions, art and archival exhibitions, conferences,
artist residency programs, an online platform, and publications. The
project was initiated and is led by ZKM | Center for Art and Media
Karlsruhe, in partnership with Centre national d'art et de culture
Georges Pompidou, Ludwig Museum - Museum of Contemporary Art,
Tallinn Art Hall, Aalto University, Tirana Art Lab, and Weiss AG, and
it was cofounded by the Creative Europe Program of the European
Union.<br>
</div>
<div>Project website</div>
<div><a
href=
"https://email.e-flux-systems.com/campaigns/rz3699r5k95e3/track-url/rl482sqxhp5a5/df4b6049fe6d0fa4811e47366a04cca4e263287a"><span
></span>http://beyondmatter.eu/</a></div>
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