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d=\"M8.9,1.6c-1.4,0-3.1,0.8-3.1,2.9c0,1.1,0.5,1.8,1.4,2.2L6.7,8.1C5.3,7.5,4.5,6.3,4.5,4.4c0-2.9,2-4.4,4.8-4.4\n\tC12,0,14,1.8,14,4.3c0,2.7-2.3,4-4.1,4c-0.4,0-0.6,0-1,0V1.6z M10.2,1.7v5.2c1.4-0.1,2.4-1.1,2.4-2.6S11.5,1.8,10.2,1.7\"/>\n\u003Cpath d=\"M12.4,9.2c0.1,0.3,0.2,0.8,0.2,1.2c0,0.8-0.5,1.2-1.5,1.2H5.9V9.5H4.6v2.1H1.9v1.5h2.7v1.4h1.3v-1.4H11\n\tc1.5,0,2.9-0.4,2.9-2.4c0-1-0.1-1.4-0.3-1.8L12.4,9.2z\"/>\u003C/g>",{"data":96,"headers":565},{"story":97,"cv":43,"rels":563,"links":564},{"name":98,"created_at":99,"published_at":100,"updated_at":101,"id":102,"uuid":103,"content":104,"slug":555,"full_slug":556,"sort_by_date":34,"position":557,"tag_list":558,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":560,"first_published_at":561,"release_id":34,"lang":41,"path":34,"alternates":562,"default_full_slug":34,"translated_slugs":34},"In Conversation with Clemens Apprich on ‘Decolonizing Technology’","2022-09-29T15:51:55.343Z","2025-12-16T14:15:01.607Z","2025-12-16T14:15:01.628Z",196747861,"608036d1-0426-4006-9b85-09decef661c2",{"_uid":105,"component":106,"propCategory":107,"propMainContent":108,"propHeaderInformation":531},"5095fad5-2e95-428e-8b67-a092481cc234","Page_Detailseite_Explore","text",[109],{"_uid":110,"component":111,"propCredits":112,"propEntryInMainContent":117},"ce4289a8-cdf9-4c79-81e4-84c78ae8d21a","Component_PageDetails_MainContent",{"type":113,"content":114},"doc",[115],{"type":116},"paragraph",[118,126,183,265,343,457],{"_uid":119,"component":120,"propImage":121,"propAltText":21,"propCaption":125},"a295b23c-0462-4b28-bea3-8f06e57b51e9","Component_Nested_Image",{"id":122,"alt":21,"name":21,"focus":21,"title":21,"filename":123,"copyright":21,"fieldtype":124,"is_external_url":37},5970773,"https://a.storyblok.com/f/98682/1200x800/83a8a44ec6/transmediale_apprich.jpg","asset","Foto: Universität für angewandte Kunst / Adam Berry, transmediale",{"_uid":127,"component":128,"propRichtext":129},"fa8f7b37-ba3d-4df8-b528-61362e56cd05","Component_Nested_Richtext",{"type":113,"content":130},[131,143,174],{"type":132,"attrs":133,"content":135},"heading",{"level":134,"textAlign":34},2,[136],{"text":137,"type":107,"marks":138},"Clemens Apprich",[139],{"type":140,"attrs":141},"styled",{"class":142},"h3",{"type":116,"attrs":144,"content":145},{"textAlign":34},[146,148,156,158,163,165,172],{"text":147,"type":107},"is full professor and head of the department of ",{"text":149,"type":107,"marks":150},"Media Theory",[151],{"type":152,"attrs":153},"link",{"href":154,"uuid":34,"anchor":34,"target":34,"linktype":155},"https://medientheorie.uni-ak.ac.at/","url",{"text":157,"type":107}," at Angewandte. His current research focuses on filter algorithms and their use in data analysis procedures as well as machine learning methods. He is author of ",{"text":159,"type":107,"marks":160},"Technotopia: A Media Genealogy of Net Cultures ",[161],{"type":162},"italic",{"text":164,"type":107},"(Rowman & Littlefield International, 2017) and co-editor of the book ",{"text":166,"type":107,"marks":167},"Pattern Discrimination",[168,171],{"type":152,"attrs":169},{"href":170,"uuid":34,"anchor":34,"target":34,"linktype":155},"https://meson.press/books/pattern-discrimination/",{"type":162},{"text":173,"type":107}," together with Hito Steyerl, Florian Cramer and Wendy Chun (University of Minnesota Press, 2018)",{"type":116,"attrs":175,"content":176},{"textAlign":34},[177],{"text":178,"type":107,"marks":179},"Elisabeth Falkensteiner (Curator and Co-Head of AIL) talked to Clemens Apprich about media technology and its political implications in terms of identity politics and the importance of critical thinking in digital cultures.",[180,181],{"type":162},{"type":140,"attrs":182},{"class":142},{"_uid":184,"component":128,"propRichtext":185},"3e84f950-50d5-4561-81d0-8c5b6256a476",{"type":113,"content":186},[187,192,197,202,210,218,225,235,242,258],{"type":116,"attrs":188,"content":189},{"textAlign":34},[190],{"text":191,"type":107},"Elisabeth Falkensteiner (EF)",{"type":116,"attrs":193,"content":194},{"textAlign":34},[195],{"text":196,"type":107},"In recent times, the political visions or, rather, the naïve utopian dream of a fundamental democratization of the internet has been dulled just as the hope has faded that artificial intelligence and machine learning will develop ‘neutral’ digital worlds. ",{"type":116,"attrs":198,"content":199},{"textAlign":34},[200],{"text":201,"type":107},"In fact, new technologies are even more likely to entrench inequality, reinforce racist and sexist tendencies and promote reactionary identity politics – which will have consequences in virtual space as well as in real life. After all, most 90s online cultures had their roots in activism and subcultures. ",{"type":116,"attrs":203,"content":204},{"textAlign":34},[205],{"text":206,"type":107,"marks":207},"Where did we go wrong?",[208],{"type":140,"attrs":209},{"class":142},{"type":211,"content":212},"blockquote",[213],{"type":116,"attrs":214,"content":215},{"textAlign":34},[216],{"text":217,"type":107},"Clemens Apprich (CA)",{"type":211,"content":219},[220],{"type":116,"attrs":221,"content":222},{"textAlign":34},[223],{"text":224,"type":107},"Many technologies that constitute what we call the online world were created in the 90s – at a time when the future of the internet was still undecided and subject of passionate debates. The mass distribution of so-called web 2.0 applications, building on the initial internet infrastructure and known as ‘social media’ platforms today, has led to a shift in the balance of power: away from public, social and artistic positions towards commercial interests. The use of these new media platforms has also led to a staggering increase in digital data. However, an enormous amount of computational power is required to generate ‘valuable’ information from this data, something only global corporations can afford these days. ",{"type":211,"content":226},[227],{"type":116,"attrs":228,"content":229},{"textAlign":34},[230],{"text":231,"type":107,"marks":232},"And these automated pattern recognition systems are anything but impartial. On the contrary, algorithms learn from our data and therefore adopt everything that is part of it, including our racist, sexist, classist and ableist prejudices as well as heteronormative concepts. We are thus confronted with self-fulfilling prophecies, which are then relabeled as objective decision-making processes.",[233],{"type":140,"attrs":234},{"class":142},{"type":211,"content":236},[237],{"type":116,"attrs":238,"content":239},{"textAlign":34},[240],{"text":241,"type":107},"One of these prophecies is the assumption that any proximity between data points is ‘significant’ as such. This homophilic premise, which translates as ‘birds of a feather flock together’, is based in the US-history of segregated housing.",{"type":211,"content":243},[244],{"type":116,"attrs":245,"content":246},{"textAlign":34},[247,256],{"text":248,"type":107,"marks":249},"Wendy Hui Kyong Chun",[250],{"type":152,"attrs":251},{"href":252,"uuid":253,"anchor":34,"target":254,"linktype":255},"/program/the-rage-of-data","6eee6d18-3137-4f35-a839-6df456f6294b","_blank","story",{"text":257,"type":107},", who will give a talk as part of our lecture series, reminds us in her new book that it is precisely this principle of segregation that continues to govern our online world.",{"type":211,"content":259},[260],{"type":116,"attrs":261,"content":262},{"textAlign":34},[263],{"text":264,"type":107},"Every time Amazon, Facebook, TikTok or Tinder recommend and suggest new products, friends, content or lovers, we come across homophilic clusters that fuel the toxic online-climate today. However, instead of being inherent to the technology, the issue of data bias and algorithmic discrimination concerns the logics these technologies are made to implement and establish; logics that come from retrograde – not to say reactionary – identity politics, and a cancel culture actually deserving that name, which blocks all non-identitarian content, eventually filtering out all we prefer not to see.",{"_uid":266,"component":128,"propRichtext":267},"d2d96796-d974-42e4-80ca-fc117b87d255",{"type":113,"content":268},[269,274,279,287,294,301,311,318,336],{"type":116,"attrs":270,"content":271},{"textAlign":34},[272],{"text":273,"type":107},"EF",{"type":116,"attrs":275,"content":276},{"textAlign":34},[277],{"text":278,"type":107},"In summary one can therefore say basic technologies are driven by a capitalist logic and hegemonic politics. Which current alternative methods and systems promote anti-discriminatory behavior? ",{"type":116,"attrs":280,"content":281},{"textAlign":34},[282],{"text":283,"type":107,"marks":284},"Is there a way out of this mess?",[285],{"type":140,"attrs":286},{"class":142},{"type":211,"content":288},[289],{"type":116,"attrs":290,"content":291},{"textAlign":34},[292],{"text":293,"type":107},"CA",{"type":211,"content":295},[296],{"type":116,"attrs":297,"content":298},{"textAlign":34},[299],{"text":300,"type":107},"At the heart of machine learning, which mostly catches our eye in the form of algorithmic recommender systems, is the simple logic of sifting through big chunks of data and turning them into information. This requires a particular logic or pattern that reflects our social behavior. After all, it is not the technologies that are male and white but the ideas they are fed. And this might be an opening for us: if we think about technologies as being a part of us, as reflections of ourselves, then we can finally engage with them properly.",{"type":211,"content":302},[303],{"type":116,"attrs":304,"content":305},{"textAlign":34},[306],{"text":307,"type":107,"marks":308},"Hito Steyerl’s work is certainly a prime example in this regard: she does not concern herself with technical solutions or simply downplays the technological conditions we live in; instead she focuses on the beliefs, myths and concrete ideological interests that are portrayed and adopted by these technologies.",[309],{"type":140,"attrs":310},{"class":142},{"type":211,"content":312},[313],{"type":116,"attrs":314,"content":315},{"textAlign":34},[316],{"text":317,"type":107},"Her narrative and visual language reject the glossy aesthetics of most digital art. Instead of reviewing the latest computer hardware or software, she presents ‘poor images’ that stir and enable discussions about digital technologies – ranging from social media and virtual worlds to recent AI applications.",{"type":211,"content":319},[320,328],{"type":116,"attrs":321,"content":322},{"textAlign":34},[323],{"text":324,"type":107,"marks":325},"Obviously, no technological innovation will be able to solve our social problems.",[326],{"type":140,"attrs":327},{"class":142},{"type":116,"attrs":329,"content":330},{"textAlign":34},[331],{"text":332,"type":107,"marks":333},"You simply cannot fight racism by using better data or algorithms. It is a political fight which requires political organization; online media can only ever play a supportive role here. This also applies to any critique of techno-capitalism, which needs to take place in a political context.",[334],{"type":140,"attrs":335},{"class":142},{"type":211,"content":337},[338],{"type":116,"attrs":339,"content":340},{"textAlign":34},[341],{"text":342,"type":107},"Big digital corporations must play by the rules of society – especially in terms of taxation and collective data management (‘data trusts’) – and need internal reorganization. And the solutions to meet these challenges are as old as the algorithms themselves. This can be best illustrated by the unionization of Amazon workers on Staten Island, New York, an event taking place while their boss, Jeff Bezos, was busy exploring outer space. One of the richest men on earth tries to escape this planet, while his workers unionize and fight for its and their survival. This is a poignant, almost cartoonish depiction of our current situation.",{"_uid":344,"component":128,"propRichtext":345},"345eff5c-8c36-4578-9ea8-00702bf9d033",{"type":113,"content":346},[347,353,360,369,375,382,392,399,411,418,444],{"type":116,"attrs":348,"content":349},{"textAlign":34},[350],{"text":273,"type":107,"marks":351},[352],{"type":162},{"type":116,"attrs":354,"content":355},{"textAlign":34},[356],{"text":357,"type":107,"marks":358},"Can art or media art and interdisciplinary practices assist in decolonizing technology? ",[359],{"type":162},{"type":116,"attrs":361,"content":362},{"textAlign":34},[363],{"text":364,"type":107,"marks":365},"What role can art play?",[366,367],{"type":162},{"type":140,"attrs":368},{"class":142},{"type":211,"content":370},[371],{"type":116,"attrs":372,"content":373},{"textAlign":34},[374],{"text":293,"type":107},{"type":211,"content":376},[377],{"type":116,"attrs":378,"content":379},{"textAlign":34},[380],{"text":381,"type":107},"I think we need to be careful when using context-specific terminology and concepts – especially when they are derived from certain historical contexts that range from the Haitian Revolution to the struggles for independence after the Second World War. ",{"type":211,"content":383},[384],{"type":116,"attrs":385,"content":386},{"textAlign":34},[387],{"text":388,"type":107,"marks":389},"After all, the ‘decolonization of technology’ seems to be a conflicting term, not least because decolonization describes the retrieval of stolen land, whereas in the case of technology our concern is with the understanding of our own cultural practices. ",[390],{"type":140,"attrs":391},{"class":142},{"type":211,"content":393},[394],{"type":116,"attrs":395,"content":396},{"textAlign":34},[397],{"text":398,"type":107},"In an extended sense, though, we might speak of a decentralization of this knowledge by analyzing the – oftentimes violent – origins of technology.",{"type":211,"content":400},[401,406],{"type":116,"attrs":402,"content":403},{"textAlign":34},[404],{"text":405,"type":107},"There are several good examples, such as Luiza Prado de O Martins’ work, which focuses on alternative forms of knowledge and modern technology’s divergent points of origin – covering not only digital media but also other areas of interest like birth control. ",{"type":116,"attrs":407,"content":408},{"textAlign":34},[409],{"text":410,"type":107},"And then there are also the artworks of Simon Denny, which render visible and thereby discuss the material conditions of our online world. His project ‘Mine’, for example, illustrates the nexus between the mining data and minerals – since both are integral to the functioning of our digital culture.",{"type":211,"content":412},[413],{"type":116,"attrs":414,"content":415},{"textAlign":34},[416],{"text":417,"type":107},"Especially the way artistic practices can engage with the production processes of our digital culture makes them viable to transcend current debates – which are mostly concerned with better data or better models – and create new technological visions.",{"type":211,"content":419},[420],{"type":116,"attrs":421,"content":422},{"textAlign":34},[423,425,433,435,442],{"text":424,"type":107},"In my opinion, ",{"text":426,"type":107,"marks":427},"Ramon Amaro",[428],{"type":152,"attrs":429},{"href":430,"uuid":431,"anchor":34,"target":432,"linktype":255},"/explore/the-trouble-with-visibility","8cd034b5-c870-4d3a-8859-7351d383a1c4","_self",{"text":434,"type":107},", who will give a talk in early December, together with ",{"text":436,"type":107,"marks":437},"Tiara Roxanne",[438],{"type":152,"attrs":439},{"href":440,"uuid":441,"anchor":34,"target":432,"linktype":255},"/program/trouble","b5c7656f-5e08-4ee2-bc30-cd58b953ffc9",{"text":443,"type":107},", is one of few people who have truly accepted this challenge. Referencing theories by Frantz Fanon and Gilbert Simondon, he demands a radical break in the relationship with our technologies.",{"type":211,"content":445},[446],{"type":116,"attrs":447,"content":448},{"textAlign":34},[449,451,455],{"text":450,"type":107},"With a background in mechanical engineering as well as art history, he interprets technological systems, and especially AI, as reflections of ourselves with all the problems that come with it. His upcoming book, ",{"text":452,"type":107,"marks":453},"The Black Technical Object: On Machine Learning and the Aspiration of Black Being",[454],{"type":162},{"text":456,"type":107},", focuses on the highly problematic and mostly racist history and logic of modern statistics, which form the basis of today’s machine learning systems. His demands therefore do not stop at improving these processes but press for an epistemological break, so as to be able to create something new.",{"_uid":458,"component":128,"propRichtext":459},"3e8ee750-7ed2-452d-a8cb-24b53890e5b6",{"type":113,"content":460},[461,467,474,480,487,497,504,514,526],{"type":116,"attrs":462,"content":463},{"textAlign":34},[464],{"text":273,"type":107,"marks":465},[466],{"type":162},{"type":116,"attrs":468,"content":469},{"textAlign":34},[470],{"text":471,"type":107,"marks":472},"When we look at social media and its news feed algorithms, which do not only fuel the attention economy of its users but also divide them into separate bubbles, we can see it losing its utopian and emancipatory potential. The pandemic and the surrounding debate have instead underlined how social media contributes to social divisiveness. Still, what were the initial principles and ideas of social networks?",[473],{"type":162},{"type":211,"content":475},[476],{"type":116,"attrs":477,"content":478},{"textAlign":34},[479],{"text":293,"type":107},{"type":211,"content":481},[482],{"type":116,"attrs":483,"content":484},{"textAlign":34},[485],{"text":486,"type":107},"In the early 2000s, the media theorist Tiziana Terranova already emphasised the significance of ‘free labour’ in digital societies. Her analysis has become even more relevant with social media platforms: on and with these platforms we produce a digital economy and profits that only benefit a few instead of the many. Sadly, we do this in the belief of ‘authenticity’; ",{"type":211,"content":488},[489],{"type":116,"attrs":490,"content":491},{"textAlign":34},[492],{"text":493,"type":107,"marks":494},"everyone is convinced they are being creative, while in fact being caught in the behavioral patterns and restrictions imposed by tech companies. Bernard Stiegler once called this the ‘systemic stupidity’ of our digital culture.",[495],{"type":140,"attrs":496},{"class":142},{"type":211,"content":498},[499],{"type":116,"attrs":500,"content":501},{"textAlign":34},[502],{"text":503,"type":107},"However, what I like about Tiziana Terranova’s work is that she never tires to stress the ‘social’ in social media. As a matter of fact, social media algorithms are not interested in the individual person – their holiday photos or music collections – but rather in the relationships to other individuals in a given network; this ever-changing trans-individuality is still an important, yet underrated fact which we need to take into account when critiquing our capitalist digital society.",{"type":211,"content":505},[506],{"type":116,"attrs":507,"content":508},{"textAlign":34},[509],{"text":510,"type":107,"marks":511},"Generally, all technologies are no more than cristallisations of our social relations. For this reason, we also need to find new ways to engage with them. The theoretical field of Disability Studies could be an interesting point of departure, as it traditionally focuses on scrutinizing what we perceive as ‘normal’ in our culture.",[512],{"type":140,"attrs":513},{"class":142},{"type":211,"content":515},[516,521],{"type":116,"attrs":517,"content":518},{"textAlign":34},[519],{"text":520,"type":107},"As part of our lecture series, Katharina Klappheck will talk about machine learning processes in terms of disability and the unruly. And in March, Tung-Hui Hu will speak to us in a similar way about non-Western concepts of digital cultures in his lecture on analogue internet culture.",{"type":116,"attrs":522,"content":523},{"textAlign":34},[524],{"text":525,"type":107},"If we want to counter the divisive potential of these technologies, we should not – even in the face of justified criticism of our excessive mediated society – submit to any kind of cultural pessimism or technophobia. For there is always a playful approach to deal with our neuroses and technological dependencies.",{"type":116,"attrs":527,"content":528},{"textAlign":34},[529],{"text":530,"type":107},"Thank you Clemens Apprich for the Interview!",[532],{"_uid":533,"component":534,"propColor":535,"propSubheadline":539,"propPreviewImage":540,"propPreviewVideo":541,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":542,"propMetadescription":21,"propDescriptionShort":554},"e28919cf-27f9-4674-b69e-7a65ee8c6079","Component_HeaderInformation",{"_uid":536,"color":537,"plugin":538},"a23e4a5b-ac20-4415-b9ff-08015f06c993","#e79050","native-color-picker","About media technology and its political implications in terms of identity politics and the importance of critical thinking in digital cultures. What does it mean to ‘decolonize’ technology, and how can it be that technology generates a ‘colonizing’ practice in the first place? 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In doing so, Amaro offers a continuous contemplation on the abstruse nature of machine learning, mathematics, and the deep incursion of racial hierarchy.",{"_uid":609,"component":128,"propRichtext":610},"b7c7ca25-bb40-43d9-83bd-ecba882df2aa",{"type":113,"content":611},[612,616,620],{"type":116,"content":613},[614],{"text":615,"type":107},"Ramon Amaro’s writing, research and practice emerge at the intersections of Black Study, psychopathology, digital culture, and the critique of computation reason. He draws on Frantz Fanon’s theory of sociogenic alienation to problematise the de-localisation of the Black psyché in contemporary computational systems, such as machine learning and artificial intelligence.",{"type":116,"content":617},[618],{"text":619,"type":107},"His recent book The Black Technical Objectaims to introduce the history of statistical analysis and a knowledge of sociogenesis – a system of racism amenable to scientific explanation – into machine learning research as an act of impairing the racial ordering of the world.",{"type":116,"content":621},[622],{"text":623,"type":107},"While machine learning – computer programming designed for taxonomic patterning – provides useful insight into racism and racist behavior, a gap is present in the relationship between machine learning, the racial history of scientific explanation, and the Black lived experience. ",{"_uid":625,"component":128,"propRichtext":626},"5549ea55-be26-4ff0-90dc-fd077ff573ba",{"type":113,"content":627},[628,632,636],{"type":116,"content":629},[630],{"text":631,"type":107},"Tiara Roxanne is a Postdoctoral Fellow at Data & Society in NYC. They are a Tarascan Mestiza scholar and artist based in Berlin. Their research and artistic practice investigates the encounter between Indigeneity and AI by interrogating colonial structures embedded within machine learning systems.  As a performance artist and practitioner, Roxanne works between the digital and the material using textile. Currently their work is mediated through the color red.",{"type":116,"content":633},[634],{"text":635,"type":107},"Roxanne has presented at Images Festival (Toronto), Squeaky Wheel Film and Media Art Center (NY), Trinity Square Video (Toronto),  European Media Art Festival (Osnabrück), University of Applied Arts (Vienna),  SOAS (London), SLU (Madrid), Transmediale (Berlin), Duke University (NC), Tech Open Air (Berlin), AMOQA (Athens), Zurich University of the Arts (Zurich), Autonomous Intercultural Indigenous University (Columbia), Utrecht University (NL), University of California (San Diego), Münchener Kammerspiele (Munich),  Laboratorio Arte Alameda, (Mexico City),  among others.",{"type":116,"content":637},[638],{"text":639,"type":107},"Nelly Y. Pinkrah is a cultural and media theorist and political activist, mainly involved in anti-racist, empowerment, and community-building projects. Areas of interest: (digital) media and technology, black studies & black feminist theory, political thoughts and practices, and cultural history.",[641],{"_uid":642,"component":534,"propColor":643,"propSubheadline":646,"propPreviewImage":647,"propPreviewVideo":648,"propMakeTextWhite":651,"propDescriptionLong":21,"propMetaInformation":652,"propMetadescription":21,"propDescriptionShort":668},"8259a3c7-7b06-4408-8f72-8ecc48830fe6",{"_uid":644,"color":645,"plugin":538},"5fb2b3a2-b436-4b34-b1b9-17b61bb06cef","#6e25e2","Lecture in English from 2022",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"id":649,"alt":21,"name":21,"focus":21,"title":21,"filename":650,"copyright":21,"fieldtype":124,"is_external_url":37},7848669,"https://a.storyblok.com/f/98682/x/18a5385d17/pvra_the_trouble_with_visibility-720p.mp4",true,{"type":113,"content":653},[654],{"type":116,"content":655},[656,658,666],{"text":657,"type":107},"About the Series ‘",{"text":659,"type":107,"marks":660},"Decolonizing Technology",[661],{"type":152,"attrs":662},{"href":663,"uuid":664,"anchor":34,"custom":665,"target":254,"linktype":255},"/explore/decolonizing-technology","08681223-0146-4ad4-8a67-52eebf7cecd0",{},{"text":667,"type":107},"’","Accompanied by a  Dialogue with Tiara Roxanne, moderated by Nelly Y. 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",[725,731,739,751,756,762],{"_uid":726,"component":120,"propImage":727,"propAltText":21,"propCaption":21},"314dbd74-87a3-489c-a8b5-355412fd1f19",{"id":728,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":729,"copyright":21,"fieldtype":124,"meta_data":730,"is_external_url":37},9940198,"https://a.storyblok.com/f/98682/1160x600/b8112ec456/cabriobeet-aug2022-cklauspichler-00010-kopie.jpg",{},{"_uid":732,"component":128,"propRichtext":733},"90a908c9-d930-4a7f-8e4b-e89610a62af1",{"type":113,"content":734},[735],{"type":116,"content":736},[737],{"text":738,"type":107},"Since the AIL has not received permission to convert parking spaces into a Grätzloase (AIL Park Lab), the selected parking lot for the period of the Angewandte Festival will now be occupied by a car: the Cabriobeet. The private initiative of filmmaker Christoph Schwarz and neighborhood project from Vienna's 9th district, is a raised herbs garden bed in a yellow Peugeot 306 as well as an art project with an activist message.",{"_uid":740,"component":128,"propRichtext":741},"f170ce71-69d9-4ece-b6dc-82d9be3ac7d7",{"type":113,"content":742},[743,747],{"type":116,"content":744},[745],{"text":746,"type":107},"Housing in Vienna is becoming more and more expensive, but parking space is being given away. For an unbelievably paltry 10€/month, public space can be privatized with a car. Wouldn’t it be fair to be able to set up a raised bed in a similarly uncomplicated and cheap way? Currently, there is no legal basis for this – but if there is a convertible under the raised bed, all this is no problem.",{"type":116,"content":748},[749],{"text":750,"type":107},"Public space in Vienna is dominated by cars. Yet we urgently need to reduce CO2 emissions, especially in the transport sector. The city of Vienna knows this, and in its climate roadmap wants to halve the number of car trips in the city by 2030. However, there are no measures to achieve this, and the city is sticking to freeway projects, thus fueling the climate crisis: more roads means more traffic. 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",{"id":867,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":868,"copyright":21,"fieldtype":124,"meta_data":869,"is_external_url":37},9940885,"https://a.storyblok.com/f/98682/1838x1378/24fa0e8e52/ail_parklab01.jpg",{},{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":871},{},"A replacement for the originally planned and not approved AIL Park Lab ­(Grätzloase). ",{"type":113,"content":874},[875],{"type":116,"content":876},[877],{"text":878,"type":107,"marks":879},"ww.cabriobeet.net",[880],{"type":152,"attrs":881},{"href":882,"uuid":34,"anchor":34,"target":432,"linktype":155},"http://www.cabriobeet.net/","cabriobeet ","2023-06-25 16:00","cabriobeet","program/cabriobeet",-280,[],29265107,"be9236cd-cfbf-4fa1-bc6d-81f75d5534f1","2023-06-22T07:57:50.307Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":896,"etag":897,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":898,"x-amz-cf-id":899,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":900,"x-runtime":901,"x-xss-protection":68},"Thu, 21 May 2026 13:52:27 GMT","W/\"39c1856ebe3e99d1d1eef47af40af7e4\"","1.1 5d232f4912a063134dc9f5c99ee35f6c.cloudfront.net 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Overview:",[950],{"type":140,"attrs":951},{"class":142},{"type":116,"attrs":953,"content":954},{"textAlign":34},[955],{"text":956,"type":107},"19:00 address of Welcome and blog presentation by The Passenger aka Mariella Greil, Lucie Strecker, KT Zakravsky, and Viktor Fucek.",{"type":116,"attrs":958,"content":959},{"textAlign":34},[960],{"text":961,"type":107},"20:00 Live Performance: Borderland",{"type":116,"attrs":963,"content":964},{"textAlign":34},[965],{"text":966,"type":107},"Sound: Werner Moebius",{"type":116,"attrs":968,"content":969},{"textAlign":34},[970],{"text":971,"type":107},"Photo: Radek Hewelt",{"type":116,"attrs":973,"content":974},{"textAlign":34},[975],{"text":976,"type":107},"Passing Plates by Alexander Afrough",{"type":116,"attrs":978,"content":979},{"textAlign":34},[980],{"text":981,"type":107,"marks":982},"The Passenger understood as a post-human cloud existence and ‘swarm intelligence’ feeding on informational and aesthetic patterns, enables a wildly dynamic and transgressive mode of perception and non-linear storytelling.",[983],{"type":140,"attrs":984},{"class":142},{"_uid":986,"component":128,"propRichtext":987},"97da7f9b-5a8a-4384-89dc-d81f64330513",{"type":113,"content":988},[989,995,1001],{"type":211,"content":990},[991],{"type":116,"content":992},[993],{"text":994,"type":107},"On June 27th at 14:00 we invite you to a micro-trip to the Steinhof grounds that will connect our leitmotifs Otto Wagner, urban fringe/peripheral city, and hybrid zones.",{"type":211,"content":996},[997],{"type":116,"content":998},[999],{"text":1000,"type":107},"Meeting point: Entrance gate of the Otto Wagner Church at Steinhof, 1140 Vienna, Baumgartner Höhe 1",{"type":211,"content":1002},[1003],{"type":116,"content":1004},[1005,1007,1013,1015],{"text":1006,"type":107},"For the 27th please register by email to: ",{"text":1008,"type":107,"marks":1009},"mariella.greil-moebius@uni-ak.ac.at",[1010],{"type":152,"attrs":1011},{"href":1012,"uuid":34,"anchor":34,"target":34,"linktype":155},"mailto:mariella.greil-moebius@uni-ak.ac.at",{"text":1014,"type":107}," or ",{"text":1016,"type":107,"marks":1017},"katherinazakravsky@uni-ak.ac.at",[1018],{"type":152,"attrs":1019},{"href":1020,"uuid":34,"anchor":34,"target":34,"linktype":155},"mailto:katherinazakravsky@uni-ak.ac.at",[1022],{"_uid":1023,"component":534,"propColor":1024,"propSubheadline":1027,"propPreviewImage":1028,"propPreviewVideo":1032,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":1034,"propMetadescription":1046,"propDescriptionShort":1047},"4812a71c-3f71-41b4-8645-d0258d362dc4",{"_uid":1025,"color":1026,"plugin":538},"1197bd13-2925-42db-a79a-fc31a2ec3223","#e05252","\nGathering, Hunting, Cultivating: Green ",{"id":1029,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1030,"copyright":21,"fieldtype":124,"meta_data":1031,"is_external_url":37},9451756,"https://a.storyblok.com/f/98682/1920x3413/150b773842/the-passenger_juni2023-kopie.jpg",{},{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":1033},{},{"type":113,"content":1035},[1036],{"type":116,"content":1037},[1038,1040],{"text":1039,"type":107},"About ",{"text":1041,"type":107,"marks":1042},"Passenger Diaries",[1043],{"type":152,"attrs":1044},{"href":1045,"uuid":34,"anchor":34,"target":432,"linktype":155},"https://passengerdiaries.uni-ak.ac.at/","Salon de Passage, die angewandte, AIL ","Passenger Diaries – Performative Research on Emergent Subjectivities in Trans-Urban Space 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raum","2023-05-08T14:34:14.113Z","2026-01-13T11:52:49.150Z","2026-01-13T11:52:49.166Z",304418445,"59ddb859-2625-48b3-8013-dd93a20c0201",{"_uid":1073,"component":703,"propDateEnd":1074,"propCategory":705,"propIsOnline":37,"propDateStart":21,"propMainContent":1075,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":1282,"propDateAndTimeOfOpening":1297},"4ca19aa8-db07-4afa-898a-2d7484ea0718","2023-07-14 16:00",[1076],{"_uid":1077,"component":111,"propCredits":1078,"propEntryInMainContent":1112},"f8aec3e1-b08e-44db-ad9f-062a159d883f",{"type":113,"content":1079},[1080,1090,1094,1104,1108],{"type":116,"content":1081},[1082,1084,1088],{"text":1083,"type":107},"This exhibition is part of",{"text":1085,"type":107,"marks":1086}," pax praxis",[1087],{"type":162},{"text":1089,"type":107},": ",{"type":116,"content":1091},[1092],{"text":1093,"type":107},"convened/curated by Shaheen Merali, research generated as guest professor at the University of Applied Arts Vienna, at the invitation of Vice Rector Barbara Putz-Plecko.",{"type":116,"content":1095},[1096,1098,1102],{"text":1097,"type":107},"The title ",{"text":1099,"type":107,"marks":1100},"pax praxis",[1101],{"type":162},{"text":1103,"type":107}," alludes to acts as a counterforce – framing and conceptualising de-globalisation and de-colonising understanding in the multiple locations in which art and education reside.",{"type":116,"content":1105},[1106],{"text":1107,"type":107},"Enacting on the place of continuous breakdown provokes a more comprehensive reading by artists and scholars, enabling discussion of the processes of undoing and re-making, defining themselves by separation from the inherited homology. ",{"type":116,"content":1109},[1110],{"text":1111,"type":107},"Collectively, the talks over a period of three months, followed by the exhibition, offer a critique of sociality or the concept of living together in an organised way as a society of cultural formations, further questioning the scale of our responsibility in an era marked by self-determination. ",[1113,1121,1146,1154,1166,1186,1198,1246,1264],{"_uid":1114,"component":128,"propRichtext":1115},"3d768249-d2ff-4225-a2c7-97d02f53215b",{"type":113,"content":1116},[1117],{"type":116,"content":1118},[1119],{"text":1120,"type":107},"EXHIBITION OPENING HOURS: Mon, Tue, Wed, Fri: 13:00–18:00, Thu 13:00–20:00",{"_uid":1122,"component":128,"propRichtext":1123},"14cc4000-00fd-40d6-ac7e-b8a2c53d05bd",{"type":113,"content":1124},[1125,1133],{"type":116,"attrs":1126,"content":1127},{"textAlign":34},[1128],{"text":1129,"type":107,"marks":1130},"evidence raum, is a large-scale series of installations showcasing the surmountable provocations of our times. evidence raum provides a revelatory analysis of the forces of narratives that are currently both present and absent. ",[1131],{"type":140,"attrs":1132},{"class":142},{"type":116,"attrs":1134,"content":1135},{"textAlign":34},[1136,1139,1141,1144],{"text":1066,"type":107,"marks":1137},[1138],{"type":162},{"text":1140,"type":107}," refers to the interconnectedness of events seen through the modern media of communication and designed practices. By situating a combination of histories and landmark narratives from diverse sources, including cinema, exhibitions and political events, ",{"text":1066,"type":107,"marks":1142},[1143],{"type":162},{"text":1145,"type":107}," presents popular and esoteric viewpoints from ‘high and low culture’ inclusive of northern and southern worlds which do not always find themselves on the same plane yet together make much more sense in reality. To exist side by side, in an intermediality overlapping and competing for our attention to make us question existing narratives.",{"_uid":1147,"component":128,"propRichtext":1148},"27f99c17-47ae-4568-9692-a2953169e4bd",{"type":113,"content":1149},[1150],{"type":116,"content":1151},[1152],{"text":1153,"type":107},"Our temporal heritage is continued in the fictional task of progress, which carries its relationship to both shame and fame. We have become accustomed to partial knowledge, the other half of the story is never told. Who built the Gardens of Babylon or cleaned the roads and the parks that provided the freedom in which to express your right to demonstrate? What is unfolding is a relationship of images to narratives that had been hidden.The posters, the prints, the campaign leaflets, which collectively made us into eager participants in the marches/festivities of the street, are visual tableaux, floating through our public spaces and into our minds and heart. Yet, we now feel we have been gaslit by all histories, which were formerly divided into the ‘left’ and the ‘right’.",{"_uid":1155,"component":128,"propRichtext":1156},"9b164e5f-ba7b-4de6-a593-a7d24e300a1a",{"type":113,"content":1157},[1158,1162],{"type":116,"content":1159},[1160],{"text":1161,"type":107},"Each pillar in the evidence raum represents a way of working with the world and a strategy for understanding the role of culture. Together, the seven pillars present an eclectic collection of ephemeral material that has been used to coordinate events, ambitions, products, suppliers of books, records, films, exhibitions, knowledge, political change, and performances/events. Both Merali’s and Daha’s collections and ambitions are to re-represent the entangled world by reworking the dimensions and the materials’ presentation through collage or printing technologies. By presenting them on these columns, the aim is to produce an unusual meeting of attention (decolonizing and mindfulness).",{"type":116,"content":1163},[1164],{"text":1165,"type":107},"This attention allows both artists to present the structural negotiations present in the graphic world, designed to distribute subversion, anti-propaganda assumptions, marginal narratives, even self-­aggrandizement. The installation argues against flattening information in the current archival turn. Here we refer to the social phenomenon of general exhibition-making that too easily categorizes ethically charged positions. Rather, the curatorial emerges as a fulcrum, stating the position mainly of those working against racial, gender, and class capitalism, yet also profiling that which remains undefined. ",{"_uid":1167,"component":128,"propRichtext":1168},"165ee768-861b-4f5e-b589-fa749e7b342d",{"type":113,"content":1169},[1170,1174,1178,1182],{"type":116,"content":1171},[1172],{"text":1173,"type":107},"The five columns by Shaheen Merali and to a certain extent, the OSPAAL vitrines – bring together the urgent ways that posters from vast human activity mainly in western Europe (and the southern world) are designed to propel its potential audience to rush through red traffic lights and eat good dinners in haste, not to miss the opening sequence of a film screening or to be at the head of a protest march. These events have in turn successfully made internationalists out of thousands of regionalists.",{"type":116,"content":1175},[1176],{"text":1177,"type":107},"Choices made in installing are primarily intuitive but driven by challenging the perceived authority of how art found in national archives is made in the sesternised institution, operating to implement the whims of the country. In trying to interpret its violent legacy as civilizing, we remain driven by memory-obsessed times, envy spreading worldwide, and believe that the ultimate horizon is in referencing western discourses. Here we encounter the converging multiple interests that inevitably favour inequity, allowing for the continuity of sweatshop labourers and poverty wages.",{"type":116,"content":1179},[1180],{"text":1181,"type":107},"We revel from below in the majesty of billboards and throughout the summer and winter months keenly seek the film trailers—the forthcoming wave of narratives that seek our attention. Disney, Nike, Toyota, Vogue and Prada have become nouns, suffixes for lifestyles; here the transmissions from the empires have become custodians of immense wealth—trusted, collected and bigger than house style as they edge towards mimical politics.",{"type":116,"content":1183},[1184],{"text":1185,"type":107},"Ramesch Daha’s multi-layered memorial ­Eisenerz 1945 (art in public space project, positioned in Eisenerz, Steiermark) is dedicated to the Hungarian Jews who became victims of the Eisenerz Volkssturm on the Präbichl in Styria in April 1945. Daha approaches this historical setting in a specifically conceptual way and positions herself as the reflector of an unspeakably violent crime. By replacing the picture postcards and texts with a blueprint, both the potential and continuation of a dormant matrix as well as the history and memory of the place and its people become visible, i.e. the personal imprints of different generations as well as the clash of different realities. ",{"_uid":1187,"component":128,"propRichtext":1188},"2cc72a9a-532d-45e1-90e8-b56965c1ec83",{"type":113,"content":1189},[1190],{"type":116,"attrs":1191,"content":1192},{"textAlign":34},[1193],{"text":1194,"type":107,"marks":1195},"Together the seven cylindrical columns present the evidence raum, as an enquiry about practices, strategies, and forums for an audience to move beyond the realm of public authority and corporate investment and to find evidence in the fragility of personal narratives and the place of collections and archives from which both artists produce and reproduce.",[1196],{"type":140,"attrs":1197},{"class":142},{"_uid":1199,"component":128,"propRichtext":1200},"2ec37f9e-db48-4a8c-a00f-e395c62bcd07",{"type":113,"content":1201},[1202,1210,1220,1228,1233,1241],{"type":116,"attrs":1203,"content":1204},{"textAlign":34},[1205],{"text":1206,"type":107,"marks":1207},"In addition, eight monitors each present one of the recordings of the online panels of pax praxis that questioned the modalities of:",[1208],{"type":140,"attrs":1209},{"class":142},{"type":116,"attrs":1211,"content":1212},{"textAlign":34},[1213,1215,1216],{"text":1214,"type":107},"performance as movement (event 1) ",{"type":853},{"text":1217,"type":107,"marks":1218},"Vânia Gala, Choy Kai Fa, Narendra Pachkhede",[1219],{"type":784},{"type":116,"attrs":1221,"content":1222},{"textAlign":34},[1223,1225,1226],{"text":1224,"type":107},"the lumbung movement (event 2) ",{"type":853},{"text":1227,"type":107},"Ethel Brooks on behalf of RomaMoma, Christopher Cozier on behalf of Alice Yard, Vidisha-Fadesha and Shaunak Mahbubani on behalf of party office",{"type":116,"attrs":1229,"content":1230},{"textAlign":34},[1231],{"text":1232,"type":107},"the film and moving images movement (event 3) Vika Kirchenbauer and Michelle Williams ­Gamaker",{"type":116,"attrs":1234,"content":1235},{"textAlign":34},[1236],{"text":1237,"type":107,"marks":1238},"Artists whose posters are presented: ",[1239],{"type":140,"attrs":1240},{"class":142},{"type":116,"attrs":1242,"content":1243},{"textAlign":34},[1244],{"text":1245,"type":107},"Fundamental/Aki Nawaz, Amar Kanwar, superflex­ ­Yinka Shonibare, Mark Titchner, Chris Ofili, Hew Locke, OSPAAL, Renzo Martens, Kathrin Jakobsen, Chris Miles, Liaqut Rasul, Elizabeth Peyton, Andrew Logan, Thomas Zipp, Carey Young, Omar Victor Diop, Havy Kahraman, ­Susana Hefuna, Ras Daniel Heartman et al. ",{"_uid":1247,"component":128,"propRichtext":1248},"d339f415-f249-434b-ba7d-09d1e3cdc7d5",{"type":113,"content":1249},[1250],{"type":211,"content":1251},[1252,1256,1260],{"type":116,"content":1253},[1254],{"text":1255,"type":107},"Shaheen Merali (born in Tanzania, lives in Britain) is a curator, critic, and artist of Asian ancestry. Merali is currently the Visiting professor at the University of Applied Arts, Vienna. He was the curator for the inaugural Uganda Pavilion, Radiance – They Dream in Time, for the International art exhibition for the 59th Venice Biennale. At the Golden Lion Ceremony the pavilion was presented the special mention award. He was the co-curator of Berlin Heist or the enduring fascination of walled cities for the 4th Mediations Biennale, Posnan, Poland (2014) and co-curator of the 6th Gwangju Biennale, Korea (2006).",{"type":116,"content":1257},[1258],{"text":1259,"type":107},"Merali was the Head of Department of Exhibition, Film and New Media at the Haus der Kulturen der Welt, Berlin (2003-2008) where he curated several exhibitions accompanied by publications, including The Black Atlantic; Dreams and Trauma- Moving images and the Promised Lands; and Re-Imagining Asia, One Thousand years of Separation.",{"type":116,"content":1261},[1262],{"text":1263,"type":107},"In 1988, Merali had co-founded the Panchayat Arts Education Resource Unit in East London. The Unit's main function was one of collecting ephemera, documents, and publications, detailing the work of political British Black artists (of Asian and African descent). In 2015 the Panchayat archival material was donated and is part of the Tate library's Special Collection in London.",{"_uid":1265,"component":128,"propRichtext":1266},"ec75f2e2-614c-4d9a-8ca4-984ed65449a6",{"type":113,"content":1267},[1268],{"type":211,"content":1269},[1270,1274,1278],{"type":116,"content":1271},[1272],{"text":1273,"type":107},"Ramesch Daha (b. 1971, Tehran, Iran) lives in Vienna since 1978. Working in a wide range of media, Daha examines the disappearance of narratives and objects in moments of historic disruption, as well as family (hi)stories as reflections of larger social developments. Basing her work on extensive research, she compiles multifaceted collections of materials that endow the act of recollection with a novel physical quality. This involves extensive travelling and study visits to, among others, Vancouver, New York, London or Berlin. Ramesch Daha has met broad international recognition with her yet uncompleted series ‚Victims 9/11‘, in which she attempts to save the victims of the terrorist attack from oblivion by portraying every single one of them. ",{"type":116,"content":1275},[1276],{"text":1277,"type":107},"Recent exhibitions include KINDL, Berlin (2020); Index Foundation, Stockholm (2020); KUVA—Academy of Fine Arts, Helsinki (2019); Konstfack, Stockholm (2019); 5th D-0 ARK Underground Biennial, Konjic, Bosnia and Herzegovina (2019); B7L9, Kamel Lazaar Foundation, Tunis (2019); Jüdisches Museum Augsburg (2018) and ACF, New York (2017). ",{"type":116,"content":1279},[1280],{"text":1281,"type":107},"Ramesch Daha is also the President of the Association of Visual Artists Vienna Secession",[1283],{"_uid":1284,"component":534,"propColor":1285,"propSubheadline":1287,"propPreviewImage":1288,"propPreviewVideo":1291,"propMakeTextWhite":37,"propDescriptionLong":1292,"propMetaInformation":1293,"propMetadescription":1296,"propDescriptionShort":21},"ae5f9ddf-e8de-4fa7-8423-4cce4ba56302",{"_uid":1286,"color":864,"plugin":538},"19a236e1-b784-4e7b-b093-a24cd8061c24","Large-scale series of installations showcasing the surmountable provocations of our times by Shaheen Merali and Ramesch Daha",{"id":1289,"alt":21,"name":21,"focus":21,"title":21,"filename":1290,"copyright":21,"fieldtype":124,"is_external_url":37},8895654,"https://a.storyblok.com/f/98682/1920x2560/81a2721632/img_1364-kopie.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},"An enquiry about practices, strategies, and forums for an audience to move beyond the realm of public authority and corporate investment and to find evidence in the fragility of personal narratives and the place of collections and archives from which both artists produce and reproduce.",{"type":113,"content":1294},[1295],{"type":116},"die Angewandte, AIL, Installation Art","2023-06-27 09:00","evidence-raum","program/evidence-raum",-240,[],"4614df47-87be-4c20-b386-617b235eb93c","2023-05-08T14:46:42.956Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":896,"etag":1308,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":568,"x-amz-cf-id":1309,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":1310,"x-runtime":1311,"x-xss-protection":68},"W/\"81f4a66133c7b13873a3b393816d917c\"","tL2ulIBsKI1hkj5Kg3zclleTQUyXyKtixseBdBteA3n86ickDCtQxA==","c8020beb-811b-431d-8a84-9480d01cdb1f","0.038101",{"data":1313,"headers":1376},{"story":1314,"cv":43,"rels":1374,"links":1375},{"name":1315,"created_at":1316,"published_at":1317,"updated_at":1318,"id":1319,"uuid":1320,"content":1321,"slug":1367,"full_slug":1368,"sort_by_date":34,"position":1369,"tag_list":1370,"is_startpage":37,"parent_id":889,"meta_data":34,"group_id":1371,"first_published_at":1372,"release_id":34,"lang":41,"path":34,"alternates":1373,"default_full_slug":34,"translated_slugs":34},"Der weiße Hintergrund","2023-06-20T10:45:58.734Z","2026-01-13T11:52:19.646Z","2026-01-13T11:52:19.662Z",327831348,"8bd8f720-2052-4377-84d8-61f176107725",{"_uid":1322,"component":703,"propDateEnd":1323,"propCategory":914,"propIsOnline":37,"propDateStart":21,"propMainContent":1324,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":1351,"propDateAndTimeOfOpening":1323},"a0846692-7913-4fe0-b3dd-6ce7ca21496c","2023-06-29 16:30",[1325],{"_uid":1326,"component":111,"propCredits":1327,"propEntryInMainContent":1333},"c07969b0-e86f-4634-94de-935458efb5b3",{"type":113,"content":1328},[1329,1330],{"type":116},{"type":116,"content":1331},[1332],{"type":853},[1334],{"_uid":1335,"component":128,"propRichtext":1336},"50b0d777-1af8-4e15-982f-a0dd8b96e9de",{"type":113,"content":1337},[1338,1346],{"type":116,"attrs":1339,"content":1340},{"textAlign":34},[1341],{"text":1342,"type":107,"marks":1343},"Which historical forms of representation served the exploitation of the \"other\"? 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",[1344],{"type":140,"attrs":1345},{"class":142},{"type":116,"attrs":1347,"content":1348},{"textAlign":34},[1349],{"text":1350,"type":107},"The artist Kervin Saint Pere brings selected images, their afterlife in archives, and the extractivist mechanisms at work in them into dialogue with each other.",[1352],{"_uid":1353,"component":534,"propColor":1354,"propSubheadline":1357,"propPreviewImage":1358,"propPreviewVideo":1362,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":1364,"propMetadescription":21,"propDescriptionShort":21},"d7d6c508-355c-4077-ae2a-0f338247373f",{"_uid":1355,"color":1356,"plugin":538},"5a47c4a6-b397-4ed9-a0de-a81ce9ca5d5d","#e05b52","Lecture Performance by Kervin Saint 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exhibition ",{"text":1488,"type":107,"marks":1489},"Reverse Imagining Vienna",[1490],{"type":162},{"text":1492,"type":107}," is the final presentation of the artistic research project of the same name. Sculptures, scientific analyses of the nine anthropogenic materials and the first volume of a publication containing the resulting literary contributions are on display. Four readings by the participating authors will take place as part of the exhibition.",{"_uid":1494,"component":128,"propRichtext":1495},"44213fc1-d933-4b05-8d78-635790941fae",{"type":113,"content":1496},[1497],{"type":211,"content":1498},[1499],{"type":116,"content":1500},[1501,1507],{"text":1502,"type":107,"marks":1503},"Download ",[1504],{"type":152,"attrs":1505},{"href":1506,"uuid":34,"anchor":34,"target":432,"linktype":124},"https://a.storyblok.com/f/98682/x/b6be89faf5/riv1__digital.pdf",{"text":1508,"type":107},"the publication here",{"_uid":1510,"component":128,"propRichtext":1511},"da1a9643-74c3-4098-98a0-3a8c53ff882e",{"type":113,"content":1512},[1513],{"type":116,"content":1514},[1515,1517,1520],{"text":1516,"type":107},"Since 2020, the global stock of man-made mass has exceeded the total sum of biomass on Earth – around 90 percent of which is building materials. In the project ",{"text":1488,"type":107,"marks":1518},[1519],{"type":162},{"text":1521,"type":107},", two sculptors and nine writers took a Viennese Gründerzeit building and the Prater Bridge, which crosses over the Danube, as material and speculative anchors in which to gain perspectives on sustainable relationships with inanimate matter. Referring to so-called reverse engineering, the two structures were deconstructed and recomposed in a historical, material-analytical, poetic and visionary way using reverse imagining.",{"_uid":1523,"component":128,"propRichtext":1524},"c2785a9d-344e-4e11-b7d2-7cc4238e2e5e",{"type":113,"content":1525},[1526],{"type":116,"content":1527},[1528],{"text":1529,"type":107},"Over a two year period, the project brought together national and international experts from the disciplines of geology, physics, ecology, urban morphology, transport sciences, evolutionary biology, literature and sculpture. The nine anthropogenic materials most relevant to the case studies were identified and analyzed in terms of cultural history, environmental science and social metabolism, from extraction to recycling management and emissions. Samples of material allowed conclusions to be drawn about their respective origins; the geological formation and potential futures were discussed in lectures by the participating scientists and contextualized for further speculative processing. In this way, images of varied futures were created with a time horizon that extends from the present and spans into the geological distance.",{"_uid":1531,"component":128,"propRichtext":1532},"0769cb59-bee4-46e5-b84e-d17e4acc4f7d",{"type":113,"content":1533},[1534,1549,1564],{"type":211,"content":1535},[1536,1544],{"type":132,"attrs":1537,"content":1538},{"level":134,"textAlign":34},[1539],{"text":1540,"type":107,"marks":1541},"Writers:",[1542],{"type":140,"attrs":1543},{"class":142},{"type":116,"attrs":1545,"content":1546},{"textAlign":34},[1547],{"text":1548,"type":107},"Ann Cotten, Elias Hirschl, Jakob Pretterhofer, Julia Grillmayr, Fiston Mwanza Mujila, Neslihan Yakut, Nika Pfeifer, Veronika Franz & Severin Fiala",{"type":211,"content":1550},[1551,1559],{"type":132,"attrs":1552,"content":1553},{"level":134,"textAlign":34},[1554],{"text":1555,"type":107,"marks":1556},"Scientists: ",[1557],{"type":140,"attrs":1558},{"class":142},{"type":116,"attrs":1560,"content":1561},{"textAlign":34},[1562],{"text":1563,"type":107},"Angelika Psenner, Barbara Laa, Filipa L. Sousa, Fridolin Krausmann, Jan Zalasiewicz, Johannes Weber, Josepha Edbauer, Michael Wagreich, Peter Fichtinger, Sebastian Hafner, Tanja Traxler, Tess Posch",{"type":211,"content":1565},[1566,1574,1579],{"type":132,"attrs":1567,"content":1568},{"level":134,"textAlign":34},[1569],{"text":1570,"type":107,"marks":1571},"Project management and sculpure:",[1572],{"type":140,"attrs":1573},{"class":142},{"type":116,"attrs":1575,"content":1576},{"textAlign":34},[1577],{"text":1578,"type":107},"Christoph Weber, Nikolaus Eckhard",{"type":116,"attrs":1580},{"textAlign":34},{"_uid":1582,"component":128,"propRichtext":1583},"f1c2c235-f4da-452f-aa3e-8889e49ab8db",{"type":113,"content":1584},[1585],{"type":116,"content":1586},[1587,1589],{"text":1588,"type":107},"This exhibition was part of ",{"text":1590,"type":107,"marks":1591},"Klima Biennale 2024",[1592],{"type":152,"attrs":1593},{"href":1594,"uuid":34,"anchor":34,"target":432,"linktype":155},"https://www.biennale.wien/",{"_uid":1596,"component":120,"propImage":1597,"propAltText":21,"propCaption":1601},"7b4e10e9-2d3c-4400-ab84-030cd9c5b2b2",{"id":1598,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1599,"copyright":21,"fieldtype":124,"meta_data":1600,"is_private":37,"is_external_url":37},15865440,"https://a.storyblok.com/f/98682/2048x1365/3e2e9c4142/20240430_leafabienne_ail-ausstellung_reverse-imagining-vienna-325.jpg",{},"Part of the project team. Reverse Imagining Vienna",[1603],{"_uid":1604,"component":534,"propColor":1605,"propSubheadline":1608,"propPreviewImage":1609,"propPreviewVideo":1613,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":1615,"propMetadescription":21,"propDescriptionShort":1618},"58af6685-f54c-4de7-89aa-773c9f23063c",{"_uid":1606,"color":1607,"plugin":538},"759e9b7d-4ffe-4720-905a-38ec43c90abe","#a68bdf","Anthropogenic Mass and Its Speculative Futures ",{"id":1610,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1611,"copyright":21,"fieldtype":124,"meta_data":1612,"is_private":37,"is_external_url":37},15865473,"https://a.storyblok.com/f/98682/1920x2881/7e208e9a58/20240430_leafabienne_ail-ausstellung_reverse-imagining-vienna-21.jpg",{},{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":1614},{},{"type":113,"content":1616},[1617],{"type":116},"Research Presentation from May 2024","exhibition-view-reverse-imagining-vienna","explore/exhibition-view-reverse-imagining-vienna",-990,[],"ad6dcd81-c22d-4cf0-a268-251fe0525a00","2024-05-14T14:24:50.901Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":1377,"etag":1629,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":898,"x-amz-cf-id":1630,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":1631,"x-runtime":1632,"x-xss-protection":68},"W/\"6bbc63105a1198deb4ed28209b5a4bc3\"","bRUeP_xkjk-JfQJes8mevRVJT4vv5FlT1YInsHMQc7vsAgGbbGqLMQ==","3a344250-de26-41e7-a5db-f1be7871ef14","0.028902",{"data":1634,"headers":1796},{"story":1635,"cv":43,"rels":1794,"links":1795},{"name":1636,"created_at":1637,"published_at":1638,"updated_at":1639,"id":1640,"uuid":1641,"content":1642,"slug":1787,"full_slug":1788,"sort_by_date":34,"position":1789,"tag_list":1790,"is_startpage":37,"parent_id":889,"meta_data":34,"group_id":1791,"first_published_at":1792,"release_id":34,"lang":41,"path":34,"alternates":1793,"default_full_slug":34,"translated_slugs":34},"This Is Not a Glacier","2023-11-29T15:49:41.453Z","2026-01-13T11:34:44.592Z","2026-01-13T11:34:44.610Z",412679805,"56790e86-cc58-4736-8230-b7791b032434",{"_uid":1643,"component":703,"propDateEnd":1644,"propCategory":1645,"propIsOnline":37,"propDateStart":21,"propMainContent":1646,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":1769,"propDateAndTimeOfOpening":1786},"ff9c3a78-8c8d-49d7-9400-ed206e31b644","2024-02-02 20:00","research presentation",[1647],{"_uid":1648,"component":111,"propCredits":1649,"propEntryInMainContent":1655},"312357c9-95e0-4aa1-ac81-70179a87d1a3",{"type":113,"content":1650},[1651],{"type":116,"content":1652},[1653],{"text":1654,"type":107},"Photos: Marton Zalka",[1656,1662,1679,1685,1693,1701,1723,1729,1746,1752],{"_uid":1657,"component":120,"propImage":1658,"propAltText":21,"propCaption":21},"acc74194-e88f-4a0a-8d04-ead48596b97a",{"id":1659,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1660,"copyright":21,"fieldtype":124,"meta_data":1661,"is_external_url":37},13123209,"https://a.storyblok.com/f/98682/4288x2848/e3006d8ff0/dsc_1745.JPG",{},{"_uid":1663,"component":128,"propRichtext":1664},"9f4c57e6-3e0b-4feb-b125-26abb34e5412",{"type":113,"content":1665},[1666,1671],{"type":116,"attrs":1667,"content":1668},{"textAlign":34},[1669],{"text":1670,"type":107},"Glaciers are often portrayed as icons of global warming because of their physical loss through melting and the loss of climate records stored in glacial ice. From a historical perspective, we can see that they in fact gained value through different narratives: as natural hazards, as sublime landscapes, as scientific laboratories, as sites for recreation and mountaineering, and as remote places left to conquer. These narratives, and the ideologies and power mechanisms that they embody, are hidden behind the  ‘endangered glacier’ narrative of today (Carey 2007) making it a treacherous portrayal in the fight with global warming.",{"type":116,"attrs":1672,"content":1673},{"textAlign":34},[1674],{"text":1675,"type":107,"marks":1676},"If we take a step back from what they have become symbols for, what can we unlearn and learn from being with a glacier?",[1677],{"type":140,"attrs":1678},{"class":142},{"_uid":1680,"component":120,"propImage":1681,"propAltText":21,"propCaption":21},"15c5b0c6-5785-4d3d-ab7a-c1242ab31f42",{"id":1682,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1683,"copyright":21,"fieldtype":124,"meta_data":1684,"is_external_url":37},13123208,"https://a.storyblok.com/f/98682/4288x2848/46ec50689e/dsc_0489.JPG",{},{"_uid":1686,"component":128,"propRichtext":1687},"01b1d821-0b01-4e67-ae0b-21ab77be144e",{"type":113,"content":1688},[1689],{"type":116,"content":1690},[1691],{"text":1692,"type":107},"Applying dilettantism as a method of joining scientific and artistic research, we deliberately acknowledge the difficulties of knowing the glacier and interacting with it in a non-exploitive way. We search to be affected, recalibrating our thought patterns and habitual reactions to achieve unconventional data collection. ",{"_uid":1694,"component":128,"propRichtext":1695},"7fc004a6-228a-4bcc-b5cc-0232cd3962c9",{"type":113,"content":1696},[1697],{"type":116,"content":1698},[1699],{"text":1700,"type":107},"After days of dilly dallying, lollygagging and bracing the glacial climate we welcome you to our symposium and exhibition to sit together, share observations, ask questions, and reevaluate preconceptions about the glacier’s being and our own complicity in the destruction of this landscape. Using our own field research at the Suldenferner as a starting point, the aim of our event is to share reports and materials from the glacier, through discursive and spatial means, and expand on these experiences with a curated program of invited guests. 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If we take a step back from what they have become symbols for, what can we unlearn and learn from being with a glacier?",{"type":113,"content":1784},[1785],{"type":116},"2024-01-26 18:00","this-is-not-a-glacier-exhibition","program/this-is-not-a-glacier-exhibition",-410,[],"753f766b-4167-46fb-929a-5df4efc0c42a","2023-12-04T09:31:32.608Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":1377,"etag":1797,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":1059,"x-amz-cf-id":1798,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":1799,"x-runtime":1800,"x-xss-protection":68},"W/\"65c80147d06ced18ba349c7b23e9a5f1\"","gdlieMvkl2w7eygn-F6_F3WdyIZidWX6czsOYGPNyEBSMGsVyZ5mtA==","d33c7ed7-4c27-42c0-a0f2-7d2f92905e12","0.027992",{"data":1802,"headers":1943},{"story":1803,"cv":43,"rels":1941,"links":1942},{"name":1804,"created_at":1805,"published_at":1806,"updated_at":1807,"id":1808,"uuid":1809,"content":1810,"slug":1934,"full_slug":1935,"sort_by_date":34,"position":1936,"tag_list":1937,"is_startpage":37,"parent_id":889,"meta_data":34,"group_id":1938,"first_published_at":1939,"release_id":34,"lang":41,"path":34,"alternates":1940,"default_full_slug":34,"translated_slugs":34},"Threads of Life ","2023-04-26T11:45:13.718Z","2026-01-13T11:56:59.541Z","2026-01-13T11:56:59.556Z",298210503,"6f4d31dd-ac14-4e41-81fc-91f5c9da888e",{"_uid":1811,"component":703,"propDateEnd":1074,"propCategory":705,"propIsOnline":37,"propDateStart":1812,"propMainContent":1813,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":1918,"propDateAndTimeOfOpening":1933},"1e385710-88eb-4a8c-a7d6-e066e56f52cd","2023-06-14 00:00",[1814],{"_uid":1815,"component":111,"propCredits":1816,"propEntryInMainContent":1819},"3a26244e-193c-40a3-95f8-45921a9e47a0",{"type":113,"content":1817},[1818],{"type":116},[1820,1828,1835,1842,1851,1858,1870,1887,1904],{"_uid":1821,"component":128,"propRichtext":1822},"2ad67b14-443b-4578-9fad-1081197f07c6",{"type":113,"content":1823},[1824],{"type":116,"content":1825},[1826],{"text":1827,"type":107},"EXHIBITION OPENING HOURS: Mon, Tue, Wed, Fr: 13.00 – 18.00; Thu: 13.00 – 20.00    ",{"_uid":1829,"component":120,"propImage":1830,"propAltText":21,"propCaption":1834},"445d6535-350c-44ce-a98a-6093fa470a94",{"id":1831,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1832,"copyright":21,"fieldtype":124,"meta_data":1833,"is_external_url":37},9866051,"https://a.storyblok.com/f/98682/2126x1417/80ff514cf2/camille_borchert_schnittstelle.jpg",{},"Camille Borchert,\nSchnittstelle, 2022\nTissue, Latex, 37 x 42 cm\nFoto © Camille Borchert",{"_uid":1836,"component":120,"propImage":1837,"propAltText":21,"propCaption":1841},"849c6acc-cbb5-4040-b84f-d9e39845ce67",{"id":1838,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1839,"copyright":21,"fieldtype":124,"meta_data":1840,"is_external_url":37},9866053,"https://a.storyblok.com/f/98682/2126x1595/137d512e80/barbara-graf_fussbandage.jpg",{},"Barbara Graf,\nFaltenlinien 8 – Fußbandage 1 (Mapping), 2016−2018\nMedical Gauze, Red Thread, 7,5 x 290 cm, Photograph\nFoto © Barbara Graf",{"_uid":1843,"component":128,"propRichtext":1844},"0b5c91bb-6cf4-45ac-a5dc-9a9aef1eeb23",{"type":113,"content":1845},[1846],{"type":116,"content":1847},[1848,1850],{"text":1849,"type":107},"Although textiles have been indispensable to medicine since time immemorial, their role in this context has been understudied so far. From the surgical thread, wound dressings, wipes, pads, and protective clothing to the hospital bed, the practices of healing are unimaginable without them. But the relationship between textiles in the arts, wellbeing and health is much broader. It includes, but is not restricted to, the use of such techniques as knitting, crocheting, weaving or braiding in the development of cardiovascular grafts or surgical meshes. The use of textiles is also ambivalent. They have found use in psychiatric institutions for the bodily restraint of patients, but patients also used them for designing their environment and creating body wrappings as survival strategies. Textiles can also be a source of ill-health: Beyond the addition of harmful substances during their production, textiles have been used in fashion for centuries to shape, deform and discipline the body according to ideals of beauty. Practitioners from the fields visual arts and artistic research reflect on this complicated relationship in manifold ways. Artists use fabrics to evoke the vulnerability of the human body, its ongoing decay and imminent death, and also to highlight the complexity of interhuman relationships. They draw attention to (self-)care, understanding the human anatomy, perceiving one’s own corporeality, and to the ways in which textiles can become an existential embodiment. Beyond the metaphorical “Threads of Life”, suturing connects the craft of surgery with that of tailoring. The exhibition spotlights the multifaceted relationships between textiles, medicine and the arts. It brings historical objects and contemporary artistic positions into a dialogue that generates productive tensions.",{"type":853},{"_uid":1852,"component":120,"propImage":1853,"propAltText":21,"propCaption":1857},"fd46fc6a-d214-43fb-be9e-c123f69676a7",{"id":1854,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":1855,"copyright":21,"fieldtype":124,"meta_data":1856,"is_external_url":37},9866052,"https://a.storyblok.com/f/98682/2126x2126/83da4704d0/katharina-sabernig_darm.jpg",{},"Katharina Sabernig,\nDarm, 2016\nCotton, Knitted and Crocheted 50 x 60 x 14 cm\nFoto © N. 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Presentation of historical and artistic positions that enter into a dialogue and generate productive tensions.",{"type":113,"content":1931},[1932],{"type":116},"2023-06-13 16:00","threads-of-life","program/threads-of-life",-220,[],"5d0c239e-1226-4d90-93c7-85d7e2363d4c","2023-04-26T11:51:19.544Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":1377,"etag":1944,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":568,"x-amz-cf-id":1945,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":1946,"x-runtime":1947,"x-xss-protection":68},"W/\"8cb9051ccb12191d5103ccffccd0ea15\"","QSX3_1DtPsBM_Mjtq3_a4CYYPq6_0dvLQP-YPUsfNt10c5u1Cxxwdg==","f2ac2747-3fab-478f-b987-c468878e6d22","0.033270",{"data":1949,"headers":2167},{"story":1950,"cv":43,"rels":2165,"links":2166},{"name":1951,"created_at":1952,"published_at":1953,"updated_at":1954,"id":1955,"uuid":1956,"content":1957,"slug":2158,"full_slug":2159,"sort_by_date":34,"position":2160,"tag_list":2161,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":2162,"first_published_at":2163,"release_id":34,"lang":41,"path":34,"alternates":2164,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Reflecting Oil. 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In light of increasing planetary warming, we are on the brink of a radical transformation into a post-fossil era. 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What is a model, what can a model do, how can we understand models differently and understand other models?",[2233],{"type":140,"attrs":2234},{"class":142},{"type":116,"attrs":2236,"content":2237},{"textAlign":34},[2238],{"text":2239,"type":107,"marks":2240},"How can we plan, design and inhabit urban existence differently – and for multiple living species and life forms?",[2241],{"type":140,"attrs":2242},{"class":142},{"_uid":2244,"component":128,"propRichtext":2245},"c1efe00f-321a-46b1-bc63-4495b52fd8c4",{"type":113,"content":2246},[2247,2251],{"type":116,"content":2248},[2249],{"text":2250,"type":107},"morphoPoly has, during its first period (2021–2023), undergone a complex process involving the planning and monitoring of building (and dissolving) model cities using various materials, ranging from Lego and toy bricks to everyday leftovers. ",{"type":116,"content":2252},[2253,2255,2259,2261,2265],{"text":2254,"type":107},"The initial builders were children aged 6 till 12, with some of them collaborating with us throughout the entire process. The project evolved within fluid structures, bridging the realms of ",{"text":2256,"type":107,"marks":2257},"Social Design",[2258],{"type":162},{"text":2260,"type":107}," and ",{"text":2262,"type":107,"marks":2263},"Zentrum Fokus Forschung",[2264],{"type":162},{"text":2266,"type":107},". It combined the animating, almost therapeutic qualities of hands-on building and tinkering with transdisciplinary, multi-sensory research on our perception of cities, encompassing not only utopian but also real urban environments. ",{"_uid":2268,"component":120,"propImage":2269,"propAltText":21,"propCaption":21},"ef4a6eba-9972-4f24-97c9-24b23b0dd165",{"id":2270,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":2271,"copyright":21,"fieldtype":124,"meta_data":2272,"is_external_url":37},11205403,"https://a.storyblok.com/f/98682/1597x822/05f23ae460/city-game.jpg",{},{"_uid":2274,"component":128,"propRichtext":2275},"029aae9a-0eed-4a11-ba0b-f85d23bb4bdb",{"type":113,"content":2276},[2277,2281,2285],{"type":116,"content":2278},[2279],{"text":2280,"type":107},"One branch of the project was dedicated to creating a board game meant to demonstrate the ecological challenges inherent in contemporary and immediate future city planning. Participants were instructed to transform the over-crowded cities of the 20th century with streets planned for car traffic into an urban development fit for the 21st century. ",{"type":116,"content":2282},[2283],{"text":2284,"type":107},"All those models and model games building on each other, but also wildly diverse and built in different venues, from the UNIDO and the Austrian Filmmuseum to the Poolbar Festival in Feldkirch, ask for a narrative bridge that was provided by an on-going project of (often hilarious) story telling. ",{"type":116},{"_uid":2287,"component":128,"propRichtext":2288},"922da66c-bb61-442b-b1fa-e11acf8e8642",{"type":113,"content":2289},[2290,2298],{"type":116,"attrs":2291,"content":2292},{"textAlign":34},[2293],{"text":2294,"type":107,"marks":2295},"At this event, we aim to present the project using audio-visual materials, which are the only lasting remnants of many long-dissolved cities, and the necessary hooks for the narrative. Additionally, we can exhibit objects and designs created by children (and others) that have the potential to endure the permanent dissolution process. Those designs will be offered to those interested in preserving them. The objects come with narratives of bold imagination, spanning from fanciful prison systems to luxurious swimming pools.",[2296],{"type":140,"attrs":2297},{"class":142},{"type":116,"attrs":2299,"content":2300},{"textAlign":34},[2301,2303,2306],{"text":2302,"type":107},"Thus the story telling arc of the project can go on in each household that will host a piece of ",{"text":2208,"type":107,"marks":2304},[2305],{"type":162},{"text":2307,"type":107},".",[2309],{"_uid":2310,"component":534,"propColor":2311,"propSubheadline":2314,"propPreviewImage":2315,"propPreviewVideo":2319,"propMakeTextWhite":37,"propDescriptionLong":2321,"propMetaInformation":2322,"propMetadescription":21,"propDescriptionShort":21},"e1ed02d8-928a-4fff-89e9-82b5db4275e3",{"_uid":2312,"color":2313,"plugin":538},"706d6115-b003-4276-a563-045e78dd0020","#5be052","Building, research and learning games on the question of the city model",{"id":2316,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":2317,"copyright":21,"fieldtype":124,"meta_data":2318,"is_external_url":37},11205468,"https://a.storyblok.com/f/98682/1920x1280/48937dcade/seestadt-gelbstadt-kopie.jpg",{},{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":2320},{},"How can we plan, design and inhabit urban existence differently – and for multiple living species and life forms? What is a model and how can we understand models differently and understand other models?\n",{"type":113,"content":2323},[2324],{"type":116,"content":2325},[2326],{"text":2327,"type":107,"marks":2328},"About MorphoPoly",[2329],{"type":152,"attrs":2330},{"href":2331,"uuid":34,"anchor":34,"target":432,"linktype":155},"www.morphopoly.org","2023-10-25 13:00","morphopoly","program/morphopoly",-330,[],"fcc6afdc-fbde-4d70-94c9-44f9ef052057","2023-09-18T12:37:54.911Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":2343,"etag":2344,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":568,"x-amz-cf-id":2345,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":2346,"x-runtime":2347,"x-xss-protection":68},"Thu, 21 May 2026 13:52:29 GMT","W/\"ac0f085e3ef88c8dcc511e2088b18e3d\"","ZuKg9K70Lv7LMUuUSvJDxj4HpDR1frelQRJJDNX4zaRDt6oMrNpHZw==","d5ad5e78-333a-4519-9a37-2d935a919ed4","0.036552",{"data":2349,"headers":2569},{"story":2350,"cv":43,"rels":2567,"links":2568},{"name":2351,"created_at":2352,"published_at":2353,"updated_at":2354,"id":2355,"uuid":2356,"content":2357,"slug":2560,"full_slug":2561,"sort_by_date":34,"position":2562,"tag_list":2563,"is_startpage":37,"parent_id":889,"meta_data":34,"group_id":2564,"first_published_at":2565,"release_id":34,"lang":41,"path":34,"alternates":2566,"default_full_slug":34,"translated_slugs":34},"Playing with Ludwig","2023-04-13T16:17:59.741Z","2026-01-13T11:57:19.952Z","2026-01-13T11:57:19.967Z",291863371,"9d3ed036-9a19-4373-8b0c-10e13cfb7354",{"_uid":2358,"component":703,"propDateEnd":2359,"propCategory":2360,"propIsOnline":37,"propDateStart":21,"propMainContent":2361,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":2544,"propDateAndTimeOfOpening":2559},"3fd9553f-a046-4c62-adbb-a3006f9735f3","2023-05-31 19:00","book presentation",[2362],{"_uid":2363,"component":111,"propCredits":2364,"propEntryInMainContent":2408},"1e5ff7c6-e21f-4afd-8a35-0a32481e7a6d",{"type":113,"content":2365},[2366,2377],{"type":116,"content":2367},[2368,2375],{"text":2369,"type":107,"marks":2370},"Info about the book",[2371],{"type":152,"attrs":2372},{"href":2373,"uuid":34,"anchor":34,"custom":2374,"target":432,"linktype":155},"Link: https://editions-dilecta.com/en/home/1287-playing-with-ludwig-figures-of-thought.html",{},{"text":2376,"type":107},":",{"type":116,"content":2378},[2379,2381,2382,2384,2385,2387,2388,2390,2391,2393,2394,2396,2397,2399,2400,2402,2403,2405,2406],{"text":2380,"type":107},"Playing with Ludwig: Figures of Thinking / Jouer avec Ludwig: Figures de pensée,",{"type":853},{"text":2383,"type":107},"Nikolaus Gansterer & Klaus Speidel",{"type":853},{"text":2386,"type":107},"Publisher: Éditions Dilecta, Paris",{"type":853},{"text":2389,"type":107},"Year 2022",{"type":853},{"text":2392,"type":107},"Authors: Nikolaus Gansterer, Klaus Speidel, Eric Degoute, Roger Malbert",{"type":853},{"text":2395,"type":107},"Pages: 160",{"type":853},{"text":2398,"type":107},"Size: 21 x 28 cm",{"type":853},{"text":2401,"type":107},"Language: bilingual English / French",{"type":853},{"text":2404,"type":107},"Graphic design: Gregoire Romanet",{"type":853},{"text":2407,"type":107},"ISBN: 978-2-37372-165-2",[2409,2421,2426,2434,2439,2447,2452,2539],{"_uid":2410,"component":128,"propRichtext":2411},"be165b44-1f76-49bc-bec5-2ee9b81d92c9",{"type":113,"content":2412},[2413],{"type":116,"attrs":2414,"content":2415},{"textAlign":34},[2416],{"text":2417,"type":107,"marks":2418},"How do colours relate to memory? How does language relate to the world (and vice versa)?  Can the invisible, such as thoughts, atmospheres or pain, be grasped through art?",[2419],{"type":140,"attrs":2420},{"class":142},{"_uid":2422,"component":120,"propImage":2423,"propAltText":21,"propCaption":21},"83b60cbd-e919-4d70-9f65-8d51b059b8a6",{"id":2424,"alt":21,"name":21,"focus":21,"title":21,"filename":2425,"copyright":21,"fieldtype":124,"is_external_url":37},8106408,"https://a.storyblok.com/f/98682/1400x1000/bce8f7bf0c/nikolaus-gansterer_klaus-speidel_playing-with-ludwig_book04_w.jpg",{"_uid":2427,"component":128,"propRichtext":2428},"b45de0c1-f016-4d41-9337-a7afcbc014a0",{"type":113,"content":2429},[2430],{"type":116,"content":2431},[2432],{"text":2433,"type":107},"Artist Nikolaus Gansterer and philosopher Klaus Speidel discuss these and similar questions in the newly published book Playing with Ludwig, Figures of Thinking, published by Éditions Dilecta Paris. Taking Ludwig Wittgenstein’s Philosophical Investigations as their starting point, Gansterer and Speidel have developed various works and formats, talking, drawing, assembling or doing all at the same time. Rather than just presenting results, the book documents the joint working process in numerous transcripts, which also reflect the genesis of the book itself. The work thus opens with a conversation between the authors and the book’s designer Grégoire Romanet, where the first graphic ideas are discussed. It ends with the dialogue ‘How to close a book’, which prepares the final series of images. Exhibition photographs and works from the first exhibition documenting the research project Figures de pensée at the Centre d’art contemporain Les Tanneries have been annotated, continued or completed in drawings. Different styles and methodologies, which unfold in the chapters of the book, correspond to different methods and themes in Wittgenstein’s work. Two additional precise essays by Eric Degoute, director of Les Tanneries, and Roger Malbert, curator and drawing expert, elaborate on the dynamic relationship between thinking and drawing and reading as a form of friendship. In the series ‘Philosophical Deviations’, Nikolaus Gansterer draws on various paragraphs of Ludwig Wittgenstein’s Philosophical Investigations, exploring various forms and procedures. Gansterer explains: ‘It’s important to say that none of these drawings are illustrations. I try to record how the text operates within me, how it influences my ways of thinking and feeling and then to take this movement as a springboard for drawing. It’s not so much about what is being said, but how it moves a reader.’",{"_uid":2435,"component":120,"propImage":2436,"propAltText":21,"propCaption":21},"31735d44-06d9-49e6-b37d-a6d600453dce",{"id":2437,"alt":21,"name":21,"focus":21,"title":21,"filename":2438,"copyright":21,"fieldtype":124,"is_external_url":37},8106409,"https://a.storyblok.com/f/98682/1000x1500/4e0803e21c/nikolaus-gansterer_klaus-speidel_playing-with-ludwig_book07_w.jpg",{"_uid":2440,"component":128,"propRichtext":2441},"945515ab-c299-4a22-9116-42ae46a99df4",{"type":113,"content":2442},[2443],{"type":116,"content":2444},[2445],{"text":2446,"type":107},"At the centre of the book stand the paragraphs of the Philosophical Investigations themselves, to which the various works and conversations in the book refer, annotated in writing and drawing by Klaus Speidel. Memories of Colour, Just imagine a Rod and Now as One Thing, Now as Another are based on collections of hues, rods, and boxes (respectively). As Speidel, who obtained a PhD in philosophy from Sorbonne University, explains: ‘In our joint work, I am also interested in exploring the limits of philosophical abstraction. If we fail in our attempt at artistic concretization, this failure can in itself convey new insights in the sense of what Wittgenstein called ‚going against the frontiers of language’. I believe that art production enables philosophical insights.’ This interference between philosophy and art can be experienced concretely in the titular series Playing with Ludwig. In this performative experimental arrangement, two or more people sit opposite each other. Starting from a text, a new language game unfolds with drawings and objects.",{"_uid":2448,"component":120,"propImage":2449,"propAltText":21,"propCaption":21},"e4f8e43c-680f-45c2-8d5c-7635ac5a522e",{"id":2450,"alt":21,"name":21,"focus":21,"title":21,"filename":2451,"copyright":21,"fieldtype":124,"is_external_url":37},8106406,"https://a.storyblok.com/f/98682/1500x1000/9e555de4e0/nikolaus-gansterer_klaus-speidel_playing-with-ludwig_book00_w.jpg",{"_uid":2453,"component":128,"propRichtext":2454},"5db3397c-bd25-4004-9567-6540ebe822f6",{"type":113,"content":2455},[2456,2466,2474,2482,2490,2499,2504,2512,2520,2528,2536],{"type":116,"attrs":2457,"content":2458},{"textAlign":34},[2459,2461],{"text":2460,"type":107},"On the occasion of the publication of the book ",{"text":2462,"type":107,"marks":2463},"Playing with Ludwig ",[2464],{"type":140,"attrs":2465},{"class":142},{"type":116,"attrs":2467,"content":2468},{"textAlign":34},[2469],{"text":2470,"type":107,"marks":2471},"by Nikolaus Gansterer and Klaus Speidel, two performative activations are planned:",[2472],{"type":140,"attrs":2473},{"class":142},{"type":116,"attrs":2475,"content":2476},{"textAlign":34},[2477],{"text":2478,"type":107,"marks":2479},"1. 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Umzeichnung und Tischperformance / Undrawing and table game ",[2510],{"type":140,"attrs":2511},{"class":142},{"type":116,"attrs":2513,"content":2514},{"textAlign":34},[2515],{"text":2516,"type":107,"marks":2517},"Thu, 1 Jun 2023, 19:00: ",[2518],{"type":140,"attrs":2519},{"class":142},{"type":116,"attrs":2521,"content":2522},{"textAlign":34},[2523],{"text":2524,"type":107,"marks":2525},"Secession, Friedrichstraße 12, 1010 Vienna",[2526],{"type":140,"attrs":2527},{"class":142},{"type":116,"attrs":2529,"content":2530},{"textAlign":34},[2531],{"text":2532,"type":107,"marks":2533},"Performance: Gansterer and Speidel invite you to the first Viennese Language Game Lab at the Secession, where they will work with drawings and objects based on a remark by Ludwig Wittgenstein, so that in the end a temporary installation is created according to the method of 'Playing with Ludwig'.",[2534],{"type":781,"attrs":2535},{"color":21},{"type":132,"attrs":2537},{"level":2538,"textAlign":34},4,{"_uid":2540,"component":120,"propImage":2541,"propAltText":21,"propCaption":21},"929dd660-a8b8-447e-900c-12d09575a2f7",{"id":2542,"alt":21,"name":21,"focus":21,"title":21,"filename":2543,"copyright":21,"fieldtype":124,"is_external_url":37},8106407,"https://a.storyblok.com/f/98682/1000x1500/1214c1a23b/nikolaus-gansterer_klaus-speidel_playing-with-ludwig_book06_w.jpg",[2545],{"_uid":2546,"component":534,"propColor":2547,"propSubheadline":2550,"propPreviewImage":2551,"propPreviewVideo":2554,"propMakeTextWhite":37,"propDescriptionLong":2555,"propMetaInformation":2556,"propMetadescription":21,"propDescriptionShort":21},"a4a32c5d-6dbe-4d5f-97cf-bd8e0d64e9a3",{"_uid":2548,"color":2549,"plugin":538},"29c01301-369b-45ef-bd87-7001bb97b307","#7852e0","How do colours relate to memory? 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Can the invisible, such as thoughts, atmospheres or pain, be grasped through art?",{"id":2552,"alt":21,"name":21,"focus":21,"title":21,"filename":2553,"copyright":21,"fieldtype":124,"is_external_url":37},8106284,"https://a.storyblok.com/f/98682/1920x2880/f13a5bf453/nikolaus-gansterer_klaus-speidel_playing-with-ludwig_book06_w-kopie.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},"On the occasion of the publication of the book ‘Playing with Ludwig’ by Nikolaus Gansterer and Klaus Speidel, two performative activations are taking place at AIL and Secession Wien.",{"type":113,"content":2557},[2558],{"type":116},"2023-05-31 16:00","playing-with-ludwig","program/playing-with-ludwig",-210,[],"fa56c1aa-e178-47a8-9296-030501e36809","2023-04-13T16:23:43.091Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":2343,"etag":2570,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":59,"x-amz-cf-id":2571,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":2572,"x-runtime":2573,"x-xss-protection":68},"W/\"381de44f9f0ef9e5d71d15de0fdfa8bf\"","uMqXYHWXy-3RKV0eHtt0CX7A39umXy8mx_apb_UkT-Gmr13yCRj5jg==","89013039-9435-4740-8f61-fdcbf46e5d74","0.019773",{"data":2575,"headers":2735},{"story":2576,"cv":43,"rels":2733,"links":2734},{"name":2577,"created_at":2578,"published_at":2579,"updated_at":2580,"id":2581,"uuid":2582,"content":2583,"slug":2726,"full_slug":2727,"sort_by_date":34,"position":2728,"tag_list":2729,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":2730,"first_published_at":2731,"release_id":34,"lang":41,"path":34,"alternates":2732,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Threads of Life","2023-06-20T11:09:48.955Z","2023-06-26T13:11:33.584Z","2023-06-26T13:11:33.646Z",327836549,"045c0818-7b0b-4bf7-889b-bb96d6d1d375",{"_uid":2584,"component":106,"propCategory":1393,"propMainContent":2585,"propHeaderInformation":2711},"699f73e8-c49d-4643-8ebf-7881cd4b74da",[2586],{"_uid":2587,"component":111,"propCredits":2588,"propEntryInMainContent":2594},"38a3d936-ee26-4a7e-8932-e75e98c9bfc1",{"type":113,"content":2589},[2590],{"type":116,"content":2591},[2592],{"text":2593,"type":107},"Photos: Paul Pibernig",[2595,2602,2609,2634,2641,2647,2655,2662,2669,2676,2683,2690,2697,2704],{"_uid":2596,"component":128,"propRichtext":2597},"3bae075f-cc41-4a9e-a7f2-2333e6f033ca",{"type":113,"content":2598},[2599],{"type":116,"content":2600},[2601],{"text":1929,"type":107},{"_uid":2603,"component":120,"propImage":2604,"propAltText":21,"propCaption":2608},"dbb27cb8-ec39-49e0-9f1f-5c27bd2f60fb",{"id":2605,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":2606,"copyright":21,"fieldtype":124,"meta_data":2607,"is_external_url":37},9916132,"https://a.storyblok.com/f/98682/3000x2000/6ba7a257cf/23-06-15_threads-of-life-doku_c-paul-pibernig-web-19.jpg",{},"Installation view. 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Its light source is not static but dynamic and always changing. Artists, curators and architects develop a setting based on the preliminary findings from the current research into ‘light as the building block of the future museum’ by architect Andrea Graser.",{"_uid":2780,"component":128,"propRichtext":2781},"9837aa85-9766-492c-872c-b0d33bc98265",{"type":113,"content":2782},[2783,2791,2796],{"type":116,"attrs":2784,"content":2785},{"textAlign":34},[2786],{"text":2787,"type":107,"marks":2788},"Light is the key design element within the white cube. ",[2789],{"type":140,"attrs":2790},{"class":142},{"type":116,"attrs":2792,"content":2793},{"textAlign":34},[2794],{"text":2795,"type":107},"The essence of light is to define our perception of art and space. An interplay of art, space and light. A 24-hour time lapse. Between light and darkness. Between ambient light and signal lights. Putting the connection of material space and substantial light to the test. ",{"type":116,"attrs":2797,"content":2798},{"textAlign":34},[2799,2801,2804],{"text":2800,"type":107},"In cooperation with artist Friedrich Biedermann. The image shows part of his sculpture ",{"text":2743,"type":107,"marks":2802},[2803],{"type":162},{"text":2307,"type":107},{"_uid":2806,"component":120,"propImage":2807,"propAltText":2767,"propCaption":21},"02b0f99e-5468-4e4f-9f37-8ad2ef01d914",{"id":2808,"alt":21,"name":21,"focus":34,"title":21,"filename":2809,"copyright":21,"fieldtype":124},3914490,"https://a.storyblok.com/f/98682/2480x1654/d7096ba117/lighthouse_biedermann_studiookular_05.jpg",{"_uid":2811,"component":120,"propImage":2812,"propAltText":2767,"propCaption":21},"a2fdf248-a161-4217-aadf-5456dea09d8c",{"id":2813,"alt":21,"name":21,"focus":34,"title":21,"filename":2814,"copyright":21,"fieldtype":124},3914498,"https://a.storyblok.com/f/98682/2480x1654/d0da4fa2a3/lighthouse_biedermann_studiookular_04.jpg",{"_uid":2816,"component":120,"propImage":2817,"propAltText":2767,"propCaption":21},"aa511d7e-f91a-402e-b624-064da09492dd",{"id":2818,"alt":21,"name":21,"focus":34,"title":21,"filename":2819,"copyright":21,"fieldtype":124},3914527,"https://a.storyblok.com/f/98682/2480x1654/155aa649df/lighthouse_biedermann_studiookular_03.jpg",[2821],{"_uid":2822,"component":534,"propColor":2823,"propSubheadline":2826,"propPreviewImage":2827,"propPreviewVideo":2830,"propMakeTextWhite":37,"propDescriptionLong":2831,"propMetaInformation":21,"propMetadescription":2832,"propDescriptionShort":21},"bdcf4983-e91d-4003-b3e7-7a23711d342a",{"_uid":2824,"color":2825,"plugin":538},"39d90109-e165-4b0c-a4de-f6ad1bc4bb82","#e052b1","Light as the building block of the future museum by architect Andrea Graser in cooperation with artist Friedrich Biedermann",{"id":2828,"alt":21,"name":21,"focus":34,"title":21,"filename":2829,"copyright":21,"fieldtype":124},3914295,"https://a.storyblok.com/f/98682/1920x1281/bb1b2d379a/lighthouse_biedermann_studiookular.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},"The essence of light is to define our perception of art and space. ","Andrea Graser, Research, future museum","2019-03-20 16:00","lighthouse","program/lighthouse",320,[],"2bdb6119-01d8-45bd-9ade-c2ff18b204d8","2022-02-23T11:00:13.913Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":2343,"etag":2844,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":1059,"x-amz-cf-id":2845,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":2846,"x-runtime":2847,"x-xss-protection":68},"W/\"d9e1526780ed970764a6ca980bf6e0d0\"","K7F9DnoG9l9Pyv7a4POplS0IOF-HDU0dwNCxHtPDmz51CPC2o6uJOA==","871606e6-f613-4b77-82ec-7a986667add5","0.024408",{"data":2849,"headers":3073},{"story":2850,"cv":43,"rels":3071,"links":3072},{"name":2851,"created_at":2852,"published_at":2853,"updated_at":2854,"id":2855,"uuid":2856,"content":2857,"slug":3064,"full_slug":3065,"sort_by_date":34,"position":3066,"tag_list":3067,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":3068,"first_published_at":3069,"release_id":34,"lang":41,"path":34,"alternates":3070,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Holobiont. Life is Other","2022-11-22T10:28:55.627Z","2023-01-30T13:10:36.024Z","2025-12-16T14:08:53.300Z",223365731,"e2a8884a-89b9-4b7a-b3e9-6a603b7a007a",{"_uid":2858,"component":106,"propCategory":1393,"propMainContent":2859,"propHeaderInformation":3051},"0c5ddf6f-8053-4dad-850e-cc1648c74bf6",[2860],{"_uid":2861,"component":111,"propCredits":2862,"propEntryInMainContent":2872},"ceda5046-e02e-4aeb-b576-5ccc363ba3b2",{"type":113,"content":2863},[2864,2868],{"type":116,"content":2865},[2866],{"text":2867,"type":107},"The exhibition was curated originally for the Magazin 4 exhibition space in Bregenz. The content was adapted and expanded for display at Angewandte Interdisciplinary Lab (AIL). ",{"type":116,"content":2869},[2870],{"text":2871,"type":107},"All photos: Lea Dörl",[2873,2879,2885,2901,2907,2929,2935,2945,2951,2961,2967,2977,2983,2993,2999,3013,3022,3035],{"_uid":2874,"component":120,"propImage":2875,"propAltText":21,"propCaption":2878},"b20b2f15-ba04-44e4-a76e-f5d3ca187106",{"id":2876,"alt":34,"name":21,"focus":34,"title":34,"filename":2877,"copyright":34,"fieldtype":124},7038215,"https://a.storyblok.com/f/98682/2048x1365/a700dcfd93/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-194.jpg","Exhibition view, please note the following presentation does only show parts of the artworks from the exhibition.",{"_uid":2880,"component":120,"propImage":2881,"propAltText":21,"propCaption":2884},"8cdb1f49-6b44-4f0a-9dfc-bce5e82ab4dc",{"id":2882,"alt":34,"name":21,"focus":34,"title":34,"filename":2883,"copyright":34,"fieldtype":124},7038213,"https://a.storyblok.com/f/98682/1365x2048/126a76a529/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-25.jpg","On Microperformativity, Wall paper based on the Journal Performance Research 25 (3), edited by Jens Hauser and Lucie Strecker with two monitors.",{"_uid":2886,"component":128,"propRichtext":2887},"91d371d9-c837-4c75-afb9-64ed20f4c1c9",{"type":113,"content":2888},[2889,2895],{"type":211,"content":2890},[2891],{"type":116,"content":2892},[2893],{"text":2894,"type":107},"In the context of the exhibition, a multimedia wall newspaper presented artistic and theoretical contributions on the potential of microscopic physiological, chemical or biotechnological processes, taken from the journal ‘On Microperformativity’.",{"type":211,"content":2896},[2897],{"type":116,"content":2898},[2899],{"text":2900,"type":107},"Microperformative positions ask how artistic methods can critically engage with technologies that manipulate life at the microscopic and molecular levels, merging around bio- and digital media. For this finissage the contributions by international authors of the special volume of the journal Performance Research 25 (3), ‘On Microperformativity’ were presented and discussed. The term microperformativity denotes a current trend in theories of performativity and performative artistic practices to destabilize human scales (both spatial and temporal) as the dominant plane of reference and to emphasize biological and technological micro-aspects that relate the invisibility of the microscopic to the intangibility of the macroscopic. Investigations into microperformativity redefine what art, philosophy, and the technosciences now consider ‘body’ at a time when performance art is moving toward a generalized and ubiquitous performativity in art.",{"_uid":2902,"component":120,"propImage":2903,"propAltText":21,"propCaption":2906},"cd92e315-f31d-4af4-aaec-585e8ba6e60b",{"id":2904,"alt":34,"name":21,"focus":34,"title":34,"filename":2905,"copyright":34,"fieldtype":124},7038231,"https://a.storyblok.com/f/98682/2048x1365/16adaedafa/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-16.jpg","Lucie Strecker – Brains’ Shit for Shit Brains (2020) / With literary text by KT Zakravsky",{"_uid":2908,"component":128,"propRichtext":2909},"ed69c2f3-9f28-4b59-96a1-1ce62baf1aa9",{"type":113,"content":2910},[2911,2917,2923],{"type":211,"content":2912},[2913],{"type":116,"content":2914},[2915],{"text":2916,"type":107},"Brain's Shit for Shit Brains speculates on the importance of microbial diversity in sociopolitical contexts. Not only biobanks have recently been advertising the shit of celebrities, but pharmacological and medical research is also investigating the importance of microorganisms in the stool and their influence on mental and cognitive functions via the so-called microbiota-gut-brain axis. ",{"type":211,"content":2918},[2919],{"type":116,"content":2920},[2921],{"text":2922,"type":107},"Lucie Strecker designed a shooting gallery in which a microbial suppository becomes the grand prize. Porcelain anuses are the targets, placed in a coordinate system of social positions according to the French sociologist and anthropologist Pierre Bourdieu. ",{"type":211,"content":2924},[2925],{"type":116,"content":2926},[2927],{"text":2928,"type":107},"Lucie Strecker collected stool samples from people from different socio-political spaces and extracted microbes from them. They were preserved as a ‘pharmakon.’ The pharmakon is ambivalent in its effect: as magic and power it can be – simultaneously or consecutively – healing and damaging. For this installation, the literary artist KT Zakravsky wrote a literary game manual.",{"_uid":2930,"component":120,"propImage":2931,"propAltText":21,"propCaption":2934},"5dc2faad-1ee7-4e78-81df-43b9aee6d154",{"id":2932,"alt":34,"name":21,"focus":34,"title":34,"filename":2933,"copyright":34,"fieldtype":124},7038219,"https://a.storyblok.com/f/98682/2048x1365/ddfd785b9e/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-13.jpg","Henrik Plenge Jakobsen – Freiheit ist ein Geheimnis (2021). Teaching installation with a blackboard, bench, mylar curtains, stones from the Rickbach, Hörbranz.\n",{"_uid":2936,"component":128,"propRichtext":2937},"6468fb8f-eef2-4720-a792-58f7c7d73c03",{"type":113,"content":2938},[2939],{"type":211,"content":2940},[2941],{"type":116,"content":2942},[2943],{"text":2944,"type":107},"The installation by Henrik Plenge Jakobson is an imaginative lesson with rocks from the lake waiting for their teacher to appear so she can begin her lesson on where the concept of freedom is hidden. It will likely be a complex session about existence and its relationship to the environment, and where exactly the cracks of emancipation can be found within that relationship.",{"_uid":2946,"component":120,"propImage":2947,"propAltText":21,"propCaption":2950},"97b7825b-4bc6-4e5e-9d6f-dd343e92fc67",{"id":2948,"alt":34,"name":21,"focus":34,"title":34,"filename":2949,"copyright":34,"fieldtype":124},7038221,"https://a.storyblok.com/f/98682/2048x1365/1ea49bb9c8/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-22.jpg","ECOLALIA by Klaus Spiess / Ulla Rauter / Emanuel Gollob / Rotraud Kern (2022)",{"_uid":2952,"component":128,"propRichtext":2953},"178fc8c7-349d-4d86-9b0d-6a0049f6417a",{"type":113,"content":2954},[2955],{"type":211,"content":2956},[2957],{"type":116,"content":2958},[2959],{"text":2960,"type":107},"'The performance installation ECOLALIA uses artificial intelligence to uncover the complex balance between the needs of our oral microbiome and a future language. Our lab data show that the tonal, vibrating voice that unfolds primarily in singing and moaning stimulates microbes to grow, while the noise of alphabetic speech, as amplified by whispering, stresses oral microbes and causes them to die.’ — ECOLALIA makes a statement about the simultaneous loss of diversity of microbiota and languages. It shows in real time that the oral flora uses vowels differently from consonants for its growth. The flourishing of the flora, supported by artificial intelligence and a speech synthesiser, suggests new sounds for new languages. ",{"_uid":2962,"component":120,"propImage":2963,"propAltText":21,"propCaption":2966},"f2e2a3ae-2e8a-43c6-a237-0f7e4b8c7dd6",{"id":2964,"alt":34,"name":21,"focus":34,"title":34,"filename":2965,"copyright":34,"fieldtype":124},7038239,"https://a.storyblok.com/f/98682/1365x2048/57a15d7122/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-234.jpg","Thomas Feuerstein, GREEN HYDRA (2021). Hydras (many-headed Hydra viridissima), green algae (Chlorella vulgaris), glass, plastic, pump technology, refrigerator\n",{"_uid":2968,"component":128,"propRichtext":2969},"54fbae1e-00cd-4870-b8ad-2ccb275c47f2",{"type":113,"content":2970},[2971],{"type":211,"content":2972},[2973],{"type":116,"content":2974},[2975],{"text":2976,"type":107},"HYDRA (2021) by Thomas Feuerstein is a mouth-blown glass sculpture in the form of a many-headed hydra, inside of which freshwater polyps – called Hydra viridissima – are cultivated. The hydras live in a chamber of the sculpture filled with water and enter into symbiosis with chlorella algae. Through their transparent bodies, the chlorophyll of the microalgae glows and colors them green. Both creatures mutually complement their animal and plant metabolism and use light and plankton as a source of energy and food. – Symbiotic communities have gained metaphorical prominence in recent years in the debate over new models of society.",{"_uid":2978,"component":120,"propImage":2979,"propAltText":21,"propCaption":2982},"837e6951-cc68-467f-ba7f-8d387b379394",{"id":2980,"alt":34,"name":21,"focus":34,"title":34,"filename":2981,"copyright":34,"fieldtype":124},7038220,"https://a.storyblok.com/f/98682/2048x1365/2857f47b17/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-18.jpg","Maja Smrekar, Opus et Domus (2018). Glass house, metal spinning wheel, serotonin, dog hair, human hair, microfluidic lab system, hot plate\n",{"_uid":2984,"component":128,"propRichtext":2985},"f93c271b-f054-4cd9-b4db-ef99a1386e9b",{"type":113,"content":2986},[2987],{"type":211,"content":2988},[2989],{"type":116,"content":2990},[2991],{"text":2992,"type":107},"Maja Smrekar includes her Hybrid Family in the Opus et Domus by producing yarn from her dog companion’s and her own body hair that she collected since 2017, spun into a social fabric that was defined by their hybrid relationship, including artifially produced serotonine, an odoriferous mixture, combining serotonin taken from the blood of the artist with that taken from her dog. The advanced technology implemented into the installation serves to underline the contrast to the symptoms of the ever regressing society. The archetypal relationship depicted in this tableau vivant thus paraphrases a conclusion that the roots of politics are older than humanity; a thought suggesting that nowadays hybrid processes in society are solely political statements.",{"_uid":2994,"component":120,"propImage":2995,"propAltText":21,"propCaption":2998},"67038c10-63d4-4075-9754-8264826750f9",{"id":2996,"alt":34,"name":21,"focus":34,"title":34,"filename":2997,"copyright":34,"fieldtype":124},7038237,"https://a.storyblok.com/f/98682/2048x1365/ca184b9b87/20221005_leafabienne_ail-eroffnung_holobiont-life-is-other-11.jpg","Close Reading – David Berry/Lucie Strecker (2021). Microphone stand, perforated plate, glass petri dishes, nutrient medium, PH index, Journal of Performance Research 25(3).\n",{"_uid":3000,"component":128,"propRichtext":3001},"ea642e40-3155-4589-a7e8-23915711d450",{"type":113,"content":3002},[3003],{"type":211,"content":3004},[3005,3009],{"type":116,"content":3006},[3007],{"text":3008,"type":107},"Close Reading by David Berry/Lucie Strecker (2021) — In literary studies, close reading refers to the careful interpretation of a passage of text, a precise reading that traces all textual details, nuances of meaning, and linguistic effects, focusing on the text as an object. Such an approach places great emphasis on the specific as opposed to the general, paying close attention to individual words, syntax, and the order of sentences and words.",{"type":116,"content":3010},[3011],{"text":3012,"type":107},"As an installation, Close Reading is an invitation to visitors to select a short passage from the journal, read it aloud, and ‘discuss’ the Petri dish which is placed in the microphone stand with their breath and the microbes in it. The petri dish is closed and the quote is written on the lid. From that moment on, the individual microorganisms continue to grow on the nutrient medium over the period of the exhibition.",{"_uid":3014,"component":128,"propRichtext":3015},"4a778821-37e1-49bf-b6cb-d6fc66739b77",{"type":113,"content":3016},[3017],{"type":132,"attrs":3018,"content":3019},{"level":2538},[3020],{"text":3021,"type":107},"‘We’ experience ‘us’ as transitory beings drifting between digital and molecular worlds and sense the twisting of boundaries within us as the possibility of a new language beyond a symbolic distance from the world. With the exhibition Holobiont. Life is Other, the Angewandte Interdisciplinary Lab presents bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces – each of which represents a narrative about another life and about the lives of others.",{"_uid":3023,"component":128,"propRichtext":3024},"61bdac4d-f2d5-4a06-9ccf-a1c525dcdaee",{"type":113,"content":3025},[3026],{"type":116,"content":3027},[3028],{"text":3029,"type":107,"marks":3030},"More about the exhibition",[3031],{"type":152,"attrs":3032},{"href":3033,"uuid":3034,"anchor":34,"target":34,"linktype":255},"/program/holobiont","28d173ab-091b-48b5-8f0c-aaa564a10900",{"_uid":3036,"component":128,"propRichtext":3037},"8327cb41-ae32-4803-b8c5-24ae948ac1d9",{"type":113,"content":3038},[3039,3043,3047],{"type":116,"content":3040},[3041],{"text":3042,"type":107},"With contributions by",{"type":116,"content":3044},[3045],{"text":3046,"type":107},"Art Orienté Objet, Irini Athanassakis, David Berry, Julia Borovaya, Adam Brown, Juan M. Castro & Akihiro Kubota, Tagny Duff, Thomas Feuerstein, Karmen Franinovic, Ana Maria Gomez Lopez, Luis Hernan/Pei-Ying Lin/Carolina Ramirez-Figueroa, Hideo Iwasaki, Henrik Plenge Jakobsen, Eduardo Kac, Roman Kirschner, Lynn Margulis/Dorion Sagan/Bruce Clarke/David McConville, Yann Marussich, Agnes Meyer-Brandis, ORLAN, Špela Petrič, Chris Salter, Maja Smrekar, Klaus Spiess/Ulla Rauter/Emanuel Gollob, Lucie Strecker/KT Zakravsky, Tina Tarpgaard, Paul Vanouse, M R Vishnuprasad, Peter Weibel, and authors of the special issue On Micorperformativity, Performance Research: A Journal of the Performing Arts, 2020, 25 (3).",{"type":116,"content":3048},[3049],{"text":3050,"type":107},"Scenography: Wolfgang Fiel, Institute for cultural policy",[3052],{"_uid":3053,"component":534,"propColor":3054,"propSubheadline":3057,"propPreviewImage":3058,"propPreviewVideo":3061,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":21,"propMetadescription":3062,"propDescriptionShort":3063},"c7ec922a-0c96-412b-a8cd-cc51c3f1f2cf",{"_uid":3055,"color":3056,"plugin":538},"0f1f896b-275f-4130-a667-a26cb850680d","#9bfb32","Presentation of bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces / Oct 2022–Jan 2023",{"id":3059,"alt":21,"name":21,"focus":34,"title":21,"filename":3060,"copyright":21,"fieldtype":124},7038743,"https://a.storyblok.com/f/98682/1920x2881/cd23a7bb6c/20221005_leafabienne_aileroffnung_holobiont-life-is-other-25.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},"exhibition, die Angewandte, AIL, Holobiont","Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser ","exhibition-view-holobiont-life-is-other","explore/exhibition-view-holobiont-life-is-other",-470,[],"29eca862-dfbd-4879-af55-d690ed3f476b","2023-01-30T12:57:10.948Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":2343,"etag":3074,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":898,"x-amz-cf-id":3075,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":3076,"x-runtime":3077,"x-xss-protection":68},"W/\"42d10f726f721a26804a548f32495f40\"","djwmaJLVKwde6uC0irNpDISSzGzOhuxrS9qX8hmKQug_Su1aYcAGHg==","20a49ce0-2304-40f5-aac8-cb74c3710712","0.038763",{"data":3079,"headers":3218},{"story":3080,"cv":43,"rels":3216,"links":3217},{"name":3081,"created_at":3082,"published_at":3083,"updated_at":3084,"id":3085,"uuid":3086,"content":3087,"slug":3209,"full_slug":3210,"sort_by_date":34,"position":3211,"tag_list":3212,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":3213,"first_published_at":3214,"release_id":34,"lang":41,"path":34,"alternates":3215,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Labor der Plötzlichkeit. 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The different daily constellations will offer a new way of looking at the material. Additional discursive formats will expand the field of research and explore the phenomenon of electrostatic discharge in other practices and areas of expertise.",{"_uid":3165,"component":128,"propRichtext":3166},"b4619957-3a08-4d4e-89a2-92b82feb47d4",{"type":113,"content":3167},[3168,3176,3181,3186],{"type":132,"attrs":3169,"content":3170},{"level":134,"textAlign":34},[3171],{"text":3172,"type":107,"marks":3173},"Contributors:",[3174],{"type":140,"attrs":3175},{"class":142},{"type":116,"attrs":3177,"content":3178},{"textAlign":34},[3179],{"text":3180,"type":107},"Anita Bauer & Günther Oberleitner & Nadja Schreier, Dietmar Brehm, Chris Burden, Laura Egger-Karlegger & Sarah Podbelsek, Judith Fegerl, Nikolaus Gansterer, Anna Jordan & Maria Mäser, Uli Kühn & Robert Zimmermann, Peter Kutin, David Moises & Chris Janka, Stephan Pack, Lisl Ponger, Alexander Trnka, among others.",{"type":116,"attrs":3182,"content":3183},{"textAlign":34},[3184],{"text":3185,"type":107},"Lead: Christoph Kaltenbrunner & Katrin Nora Kober",{"type":116,"attrs":3187,"content":3188},{"textAlign":34},[3189],{"text":3190,"type":107},"In cooperation with Anita Bauer, Konrad Cernohous, Anna Jordan, Sarah Radatz, Philip Röttl, Stefan Ryba, Nadja Schreier, Martina Zodl, among others.",{"_uid":3192,"component":120,"propImage":3193,"propAltText":2767,"propCaption":21},"f2a4f4ff-5eec-49ec-a32f-434b0088ad35",{"id":3194,"alt":21,"name":21,"focus":34,"title":21,"filename":3195,"copyright":21,"fieldtype":124},3937930,"https://a.storyblok.com/f/98682/801x1200/ae5a23e7f3/laborplotzlichkeit_261016_martinalajczak-94.jpg",[3197],{"_uid":3198,"component":534,"propColor":3199,"propSubheadline":3202,"propPreviewImage":3203,"propPreviewVideo":3206,"propMakeTextWhite":651,"propDescriptionLong":21,"propMetaInformation":21,"propMetadescription":3207,"propDescriptionShort":3208},"93ed4c24-8abf-4c20-b54b-5c88b06ac443",{"_uid":3200,"color":3201,"plugin":538},"325f3799-a295-4e03-9caa-1278c2c37ff4","#df6f23","Different daily constellations will offer a new way of looking at the material of of lightning or electricity from 2016",{"id":3204,"alt":21,"name":21,"focus":34,"title":21,"filename":3205,"copyright":21,"fieldtype":124},3938093,"https://a.storyblok.com/f/98682/1920x3358/f63186958c/laborblitz.png",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},"Electricity, Research, Art","The highly charged collection of items will diffuse over the course of the event","exhibition-view-labor-der-ploetzlichkeit","explore/exhibition-view-labor-der-ploetzlichkeit",140,[],"476b83ce-61c7-4b03-a71b-e464a38a2f5b","2022-02-24T16:15:56.269Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":3219,"etag":3220,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":568,"x-amz-cf-id":3221,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":3222,"x-runtime":3223,"x-xss-protection":68},"Thu, 21 May 2026 13:52:31 GMT","W/\"b74b65c4dfbceb1103a6218963ce1dde\"","DmMhIIv6EdO0urKUgTPIMbOoJ1HLO4cqmjRozBaZz249WDUG41bs5A==","e423d135-605a-426a-be3c-facfdd194080","0.044966",{"data":3225,"headers":3370},{"story":3226,"cv":43,"rels":3368,"links":3369},{"name":3227,"created_at":3228,"published_at":3229,"updated_at":3230,"id":3231,"uuid":3232,"content":3233,"slug":3361,"full_slug":3362,"sort_by_date":34,"position":3363,"tag_list":3364,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":3365,"first_published_at":3366,"release_id":34,"lang":41,"path":34,"alternates":3367,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Conceptual Joining – Wood Structures from Detail to Utopia","2022-01-10T15:42:35.673Z","2026-01-12T11:56:59.388Z","2026-01-12T11:56:59.403Z",97234069,"3a4f0fb9-b8a8-4e62-8171-f7cfca891d6a",{"_uid":3234,"component":106,"propCategory":1393,"propMainContent":3235,"propHeaderInformation":3339},"71cc22c0-9a32-4dd1-85a5-b063a83a7fa3",[3236],{"_uid":3237,"component":111,"propCredits":3238,"propEntryInMainContent":3263},"4fa06270-50ab-4349-a7cc-a41a24f30ba2",{"type":113,"content":3239},[3240,3247,3251,3255,3259],{"type":116,"content":3241},[3242,3244,3245],{"text":3243,"type":107},"Projektteam:",{"type":853},{"text":3246,"type":107},"Leitung: Christoph Kaltenbrunner",{"type":116,"content":3248},[3249],{"text":3250,"type":107},"Forschungsteam: Lukas Allner, Daniela Kröhnert, Philipp Reinsberg, Mechthild Weber",{"type":116,"content":3252},[3253],{"text":3254,"type":107},"MentorInnen: Karin Raith, Anja Jonkhans und Clemens Preisinger",{"type":116,"content":3256},[3257],{"text":3258,"type":107},"Ein Projekt gefördert von österreichischer Wissenschaftsfonds (FWF) / PEEK Programm",{"type":116,"content":3260},[3261],{"text":3262,"type":107},"Photos: Zara Pfeifer",[3264,3270,3276,3282,3288,3294,3300,3306,3313],{"_uid":3265,"component":120,"propImage":3266,"propAltText":3269,"propCaption":21},"939b1cf4-9596-4260-be41-a7473bd7fc1c",{"id":3267,"alt":21,"name":21,"focus":34,"title":21,"filename":3268,"copyright":21,"fieldtype":124},3618565,"https://a.storyblok.com/f/98682/1906x2601/d1ff3e7b60/zarapfeifer_ail_selection-5.jpg","Exhibition space with wood constructions from the exhibition",{"_uid":3271,"component":120,"propImage":3272,"propAltText":3275,"propCaption":21},"5b7510a7-a080-40bb-b316-aeb499f63889",{"id":3273,"alt":21,"name":21,"focus":34,"title":21,"filename":3274,"copyright":21,"fieldtype":124},3618581,"https://a.storyblok.com/f/98682/1896x2601/2ee301f8dc/zarapfeifer_ail_selection-27.jpg","Kigumi 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constructions",{"_uid":3289,"component":120,"propImage":3290,"propAltText":3293,"propCaption":21},"a05dc658-f499-4e43-a17c-9874b35fe498",{"id":3291,"alt":21,"name":21,"focus":34,"title":21,"filename":3292,"copyright":21,"fieldtype":124},3618594,"https://a.storyblok.com/f/98682/1906x2601/5575536cf4/zarapfeifer_ail_selection-21.jpg","Details floor, markers and wood branch standing",{"_uid":3295,"component":120,"propImage":3296,"propAltText":3299,"propCaption":21},"89c18521-2dcd-4178-b75d-bc1c7598abcd",{"id":3297,"alt":21,"name":21,"focus":34,"title":21,"filename":3298,"copyright":21,"fieldtype":124},3618599,"https://a.storyblok.com/f/98682/1906x2601/f44265b0fd/zarapfeifer_ail_selection-16.jpg","wood construction in total",{"_uid":3301,"component":120,"propImage":3302,"propAltText":3305,"propCaption":21},"c34d9b31-ab98-41f9-b8d2-896cec3cecb2",{"id":3303,"alt":21,"name":21,"focus":34,"title":21,"filename":3304,"copyright":21,"fieldtype":124},3618604,"https://a.storyblok.com/f/98682/1734x2601/3860fe426a/zarapfeifer_ail_selection-22.jpg","Model for Wood construction",{"_uid":3307,"component":120,"propImage":3308,"propAltText":3311,"propCaption":3312},"5dfe4e5c-cd39-462e-b01a-eee5c2b64803",{"id":3309,"alt":21,"name":21,"focus":34,"title":21,"filename":3310,"copyright":21,"fieldtype":124},3618569,"https://a.storyblok.com/f/98682/1906x1395/4c855ab2c8/zarapfeifer_ail_selection-12.jpg","Team behind Conceptual Joining standing in front of a wooden tower","Team behind Conceptual Joining",{"_uid":3314,"component":128,"propRichtext":3315},"0ebebde8-daf7-43ed-ac37-1f505749d995",{"type":113,"content":3316},[3317,3325,3335],{"type":116,"content":3318},[3319,3323],{"text":3320,"type":107,"marks":3321},"Conceptual Joining – Wood Structures from Detail to Utopi",[3322],{"type":162},{"text":3324,"type":107},"a was shown at AIL in October 2019. ",{"type":116,"content":3326},[3327,3329,3333],{"text":3328,"type":107},"The artistic research project ",{"text":3330,"type":107,"marks":3331},"Conceptual Joining",[3332],{"type":162},{"text":3334,"type":107}," investigates wood constructions in a series of structural and spatial experiments. By combining the intelligence of traditional craftsmanship with the potential of computational techniques different design methods and techniques are developed.",{"type":116,"content":3336},[3337],{"text":3338,"type":107},"The exhibition focuses on two projects that explore the relationship between material, structure and space. Branch Formations is about utilizing naturally grown wood elements as components of a spatial framework. In Interlocking Spaces joining principles, derived from traditional Japanese Architecture, are expanded by digital systematics, forming complex configurations. The working process and results of 2.5 years of research are presented. Full scale installations, models, videos and Augmented Reality allow for an interactive experience of an architectural speculation.",[3340],{"_uid":3341,"component":534,"propColor":3342,"propSubheadline":3345,"propPreviewImage":3346,"propPreviewVideo":3349,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":3350,"propMetadescription":21,"propDescriptionShort":3360},"ee9135a4-35aa-4e17-a00d-c3e49ff56f2d",{"_uid":3343,"color":3344,"plugin":538},"99a4077d-256a-4d58-827e-3d879d20ea5c","#b1e052","Investigation on wood constructions in a series of structural and spatial experiments from 2019",{"id":3347,"alt":21,"name":21,"focus":34,"title":21,"filename":3348,"copyright":21,"fieldtype":124},3624252,"https://a.storyblok.com/f/98682/1920x3361/f32f69f27f/zarapfeifer_conceptualjoining.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"type":113,"content":3351},[3352],{"type":116,"content":3353},[3354],{"text":3355,"type":107,"marks":3356},"More about the project",[3357],{"type":152,"attrs":3358},{"href":3359,"uuid":34,"anchor":34,"target":254,"linktype":155},"https://conceptual-joining.com/","The exhibition focuses on two projects that explore the relationship between material, structure and space","exhibition-view-conceptual-joining-wood-structures-from-detail-to-utopia","explore/exhibition-view-conceptual-joining-wood-structures-from-detail-to-utopia",470,[],"88c5529b-a556-4ac4-b9e4-cb453d88671f","2022-01-28T09:12:52.167Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":3219,"etag":3371,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":59,"x-amz-cf-id":3372,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":3373,"x-runtime":3374,"x-xss-protection":68},"W/\"4e0b6ae78e27b00d3053927321c7e356\"","WXHAxYgNxE7dLHMCZvkaXHrWQQpyEo4ZcUs1lELDL1AvK-Gz_HXXHg==","c50b742f-72bf-4d4e-b51c-6e3293cc120d","0.062264",{"data":3376,"headers":3514},{"story":3377,"cv":43,"rels":3512,"links":3513},{"name":3378,"created_at":3379,"published_at":3380,"updated_at":3381,"id":3382,"uuid":3383,"content":3384,"slug":3505,"full_slug":3506,"sort_by_date":34,"position":3507,"tag_list":3508,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":3509,"first_published_at":3510,"release_id":34,"lang":41,"path":34,"alternates":3511,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Fabric of Dreams. Towards a Technodiversity","2023-05-11T11:16:47.088Z","2025-12-16T14:03:06.940Z","2025-12-16T14:03:06.958Z",306083914,"3f831e02-df6e-46e9-bc71-b97da477f39d",{"_uid":3385,"component":106,"propCategory":1393,"propMainContent":3386,"propHeaderInformation":3487},"5923ffe3-50ce-4b6a-bbfe-15c660b6047f",[3387],{"_uid":3388,"component":111,"propCredits":3389,"propEntryInMainContent":3392},"6beb7bab-12e0-445f-a5f5-e06c1218286e",{"type":113,"content":3390},[3391],{"type":116},[3393,3410,3417,3424,3431,3438,3445,3452,3459,3466,3473,3480],{"_uid":3394,"component":128,"propRichtext":3395},"5e5e55f7-2cae-4df5-b15d-3e56d8ad321e",{"type":113,"content":3396},[3397,3402],{"type":116,"attrs":3398,"content":3399},{"textAlign":34},[3400],{"text":3401,"type":107},"Today, the prospects of digital technologies are both auspicious and frightening: With digital assistance and whole new virtual environments, as well as promising advances in AI and machine learning on the one hand, and surveillance capitalism, discriminating datasets and life-threatening cyberwars on the other. How did this conflicting situation come about? To answer this question, we have to acknowledge that technologies are temporally and spatially produced, affected by different epistemes, ideologies, political interests, economic forces and cultural practices.",{"type":116,"attrs":3403,"content":3404},{"textAlign":34},[3405],{"text":3406,"type":107,"marks":3407},"Accordingly, technological development is always fragmented.",[3408],{"type":140,"attrs":3409},{"class":142},{"_uid":3411,"component":120,"propImage":3412,"propAltText":21,"propCaption":3416},"f9494f1e-c00d-4fbc-9c16-c382f3cc509c",{"id":3413,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":3414,"copyright":21,"fieldtype":124,"meta_data":3415,"is_external_url":37},9457849,"https://a.storyblok.com/f/98682/3543x2362/70272053be/26-fabric-of-dreams-doku_c-paul-pibernig-web-36-kopie.jpg",{},"Christian Freude/Christina Jauernik/Johann Lurf/Fabian Puttinger/Rüdiger Suppin\nVelvet Eyes, 2023, Installation, Auto-stereoscopic medium format slide projection. Projectors, wood, steel, ­plexiglass, paper, velvet, velcro, and engine \n(Photo: Paul Pibernig)\n",{"_uid":3418,"component":120,"propImage":3419,"propAltText":21,"propCaption":3423},"2690027d-16b7-47d4-b762-bebfede87198",{"id":3420,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":3421,"copyright":21,"fieldtype":124,"meta_data":3422,"is_external_url":37},9458405,"https://a.storyblok.com/f/98682/3543x2531/34e92ff8dc/3-leafabienne_ail-ausstellungseroffnung_123-kopie.jpg",{},"Luiza Prado O. 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Pibernig)",{"_uid":3481,"component":120,"propImage":3482,"propAltText":21,"propCaption":3486},"19bb40aa-e7df-48f3-af51-a69aea1ad3bd",{"id":3483,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":3484,"copyright":21,"fieldtype":124,"meta_data":3485,"is_external_url":37},9460434,"https://a.storyblok.com/f/98682/3543x1993/c5680ff45a/20-credit_kennedy-swan_delphi-demons_episodecirce-6-kopie.jpg",{},"kennedy+swan, Delphi Demons, Stereoscopic film, 2022 (Photo: kennedy+swan, video still)",[3488],{"_uid":3489,"component":534,"propColor":3490,"propSubheadline":3493,"propPreviewImage":3494,"propPreviewVideo":3498,"propMakeTextWhite":651,"propDescriptionLong":21,"propMetaInformation":3500,"propMetadescription":3503,"propDescriptionShort":3504},"f62cfa9c-2c0d-475c-aabb-e0dafcc000a7",{"_uid":3491,"color":3492,"plugin":538},"4e0b2ffe-c909-4778-b5a8-7899f65f08c3","#df77db","Curated by Elisabeth Falkensteiner and Clemens \nApprich. \n17 Mar 2023 – 12 May 2023",{"id":3495,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":3496,"copyright":21,"fieldtype":124,"meta_data":3497,"is_external_url":37},9308232,"https://a.storyblok.com/f/98682/600x900/e6e29427db/20230316_leafabienne_ail-ausstellungseroffnung_116.jpg",{},{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":3499},{},{"type":113,"content":3501},[3502],{"type":116},"Elisabeth Falkensteiner, Clemens Apprich, Talks, Performances, Exhibition, Fabric of Dreams. Towards a Technodiversity \n\n","\nA cooperation with the department of Media Theory, concluding the series of talks and performances on ‘Decolonizing Technology’\n","exhibition-view-fabric-of-dreams-towards-a-technodiversity","explore/exhibition-view-fabric-of-dreams-towards-a-technodiversity",-580,[],"23f2087a-3adf-46b5-aa25-0eb5255f02e0","2023-05-15T09:14:50.575Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":3219,"etag":3515,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":898,"x-amz-cf-id":3516,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":3517,"x-runtime":3518,"x-xss-protection":68},"W/\"a560e98a2fecb48aca75c7b585904da2\"","sGIGRGv6LTzvCpZoTEHlC6E36l2eu1ezHg6jXoleX9pE93kmTVqPxQ==","f910a20f-0f07-4b74-b1a0-fd466b38b7f7","0.024267",{"data":3520,"headers":3800},{"story":3521,"cv":43,"rels":3798,"links":3799},{"name":3522,"created_at":3523,"published_at":3524,"updated_at":3525,"id":3526,"uuid":3527,"content":3528,"slug":3791,"full_slug":3792,"sort_by_date":34,"position":3793,"tag_list":3794,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":3795,"first_published_at":3796,"release_id":34,"lang":41,"path":34,"alternates":3797,"default_full_slug":34,"translated_slugs":34},"Conceptual Joining: Backstage Report","2022-01-10T15:16:45.082Z","2026-01-12T11:56:38.899Z","2026-01-12T11:56:38.923Z",97221528,"d59b62b8-df4f-43f5-9020-97dc09791b06",{"_uid":3529,"component":106,"propCategory":107,"propMainContent":3530,"propHeaderInformation":3773},"408b55c1-06bb-4e1f-835e-26c68e65dd61",[3531],{"_uid":3532,"component":111,"propCredits":3533,"propEntryInMainContent":3568},"127bde36-a78f-4d82-9a09-c8fc3f64c01b",{"type":113,"content":3534},[3535,3542,3545,3550,3553,3556,3559,3560,3567],{"type":116,"content":3536},[3537,3538,3541],{"text":3328,"type":107},{"text":3330,"type":107,"marks":3539},[3540],{"type":162},{"text":3334,"type":107},{"type":116,"content":3543},[3544],{"text":3338,"type":107},{"type":116,"content":3546},[3547,3548,3549],{"text":3243,"type":107},{"type":853},{"text":3246,"type":107},{"type":116,"content":3551},[3552],{"text":3250,"type":107},{"type":116,"content":3554},[3555],{"text":3254,"type":107},{"type":116,"content":3557},[3558],{"text":3258,"type":107},{"type":116},{"type":116,"content":3561},[3562,3564,3565],{"text":3563,"type":107},"All Photos: Conceptual Joining",{"type":853},{"text":3566,"type":107},"Questions by Eva Weber ",{"type":116},[3569,3575,3588,3607,3613,3623,3641,3647,3657,3671,3677,3687,3701,3707,3713,3723,3733,3739,3749],{"_uid":3570,"component":120,"propImage":3571,"propAltText":3574,"propCaption":21},"b5f0420e-fba7-4d45-98ff-a55493675a2a",{"id":3572,"alt":21,"name":21,"focus":34,"title":21,"filename":3573,"copyright":21,"fieldtype":124},3618469,"https://a.storyblok.com/f/98682/2000x757/78dffdc687/01_branch_conncetion_principle.jpg","figure of stacking system",{"_uid":3576,"component":128,"propRichtext":3577},"0299aa5b-08b1-4819-9871-52f2c7418f2d",{"type":113,"content":3578},[3579],{"type":116,"content":3580},[3581,3583,3586],{"text":3582,"type":107},"Das Forschungsteam von ",{"text":3330,"type":107,"marks":3584},[3585],{"type":162},{"text":3587,"type":107}," zeigte im Winter 2019 in Form einer Ausstellung im AIL ihre Arbeit und Ergebnisse, im Rahmen dessen haben wir Daniela Kröhnert and Lukas Allner gebeten uns einige Hintergründe und Erfahrungen zum Projekt zu beleuchten:",{"_uid":3589,"component":128,"propRichtext":3590},"e31c55c7-2775-41f6-afb7-35883ec3147f",{"type":113,"content":3591},[3592,3600],{"type":116,"attrs":3593,"content":3594},{"textAlign":34},[3595],{"text":3596,"type":107,"marks":3597},"Wir haben im Grunde untersucht wie das Wesen des Materials Holz raum- und strukturbildend erlebbar wird. Unsere Überlegungen begannen im Detail, in Prinzipien und Systemen zunächst losgelöst von einem konkreten Gebrauchszweck. ",[3598],{"type":140,"attrs":3599},{"class":142},{"type":211,"content":3601},[3602],{"type":116,"attrs":3603,"content":3604},{"textAlign":34},[3605],{"text":3606,"type":107},"Wir wollen mit den entstandenen Experimenten Spekulationen über eine materialorientierte Architektur anregen, die auf eine mögliche Funktion und Deutung aus dem sich ergebenden Potential verweisen.",{"_uid":3608,"component":120,"propImage":3609,"propAltText":3612,"propCaption":21},"9d0e8c76-e4aa-44e8-b6af-44406f993627",{"id":3610,"alt":21,"name":21,"focus":34,"title":21,"filename":3611,"copyright":21,"fieldtype":124},3618479,"https://a.storyblok.com/f/98682/650x366/063d061b40/conjoin02.jpg","Team at work",{"_uid":3614,"component":128,"propRichtext":3615},"f075a5c4-23ff-4af3-aa74-433bc58b0bea",{"type":113,"content":3616},[3617],{"type":116,"content":3618},[3619],{"text":3620,"type":107,"marks":3621},"Wie setzt sich euer Team zusammen, wer kommt aus welchem Kontext?",[3622],{"type":162},{"_uid":3624,"component":128,"propRichtext":3625},"a6943f7c-c59f-40b6-9280-6a66c5d7b56a",{"type":113,"content":3626},[3627],{"type":211,"content":3628},[3629,3633,3637],{"type":116,"content":3630},[3631],{"text":3632,"type":107},"Wir sind alle Architekten, mit verschiedenen Hintergründen und Expertisen, zum Beispiel ist Philipp Reinsberg auch Zimmermann und Daniela Kröhnert Spezialistin für CNC Fabrikation. Unsere Mentoren sind Professor*innen und Unterrichtende an der Angewandten in verschiedenen Bereichen mit weiteren Kompetenzen zum Beispiel als Ingenieur*innen, Industriedesigner und Wissenschaftler*innen.",{"type":116,"content":3634},[3635],{"text":3636,"type":107},"Unser Team wird angeleitet von Prof. Christoph Kaltenbrunner, momentan Professor am Institut für Kunstpädagogik und leitet die Abteilung Darstellung, Architektur und Environment und vereint den Architekten, Produktdesigner und Maschinenbauer in einer Person.",{"type":116,"content":3638},[3639],{"text":3640,"type":107},"Das Forschungsteam sind Lukas Allner, Daniela Kröhnert, Philipp Reinsberg und Mechthild Weber, alle studierte Architekt*innen, mit unterschiedlichen Vorausbildungen und Spezialisierungen. Philipp ist gelernter Zimmerer, Daniela Spezialistin in Digitaler Fabrikation, Lukas Stärken liegen vor allem im Entwurf und der konzeptionellen Entwicklung unserer Experimente und sorgt für eine kohärente Umsetzung der Forschungsagenda, Mechthild ist Expertin wenn es darum geht die komplexen Prozesse in der Bauausführung mit der Kunst zu verbinden und steuert unsere Forschungsagenda indem sie für den Wissensaustausch zwischen allen Beteiligten (auch Forschungspartner*innen) sorgt. Zusätzlich werden wir betreut durch die Mentor*innen, Prof. Karin Raith und Anja Jonkhans aus der Abteilung Baukontruktion des Instituts für Architektur und Clemens Preisinger, Bauingenieur und Entwickler der parametrischen Tragwerkssoftware Karmaba3D.",{"_uid":3642,"component":120,"propImage":3643,"propAltText":3646,"propCaption":21},"6c7e0bb5-ca1a-4e4b-881e-40a500d4af3c",{"id":3644,"alt":21,"name":21,"focus":34,"title":21,"filename":3645,"copyright":21,"fieldtype":124},3618486,"https://a.storyblok.com/f/98682/650x325/6de50b3f8b/conjoin04.jpg","workshop in the woods",{"_uid":3648,"component":128,"propRichtext":3649},"4196cc05-0ad3-470c-be50-1976442e77ab",{"type":113,"content":3650},[3651],{"type":116,"content":3652},[3653],{"text":3654,"type":107,"marks":3655},"Wie entsteht so ein Forschungs-Projekt?",[3656],{"type":162},{"_uid":3658,"component":128,"propRichtext":3659},"23784e67-7704-4b8e-b7c8-234aa991988e",{"type":113,"content":3660},[3661],{"type":211,"content":3662},[3663,3667],{"type":116,"content":3664},[3665],{"text":3666,"type":107},"Es gibt vom österreichischen Wissenschaftsfond (FWF) ein Förderprogramm zu künstlerischer Grundlagenforschung (PEEK). Es werden Projekte von 2,5 Jahren Dauer gefördert. Das Tolle an diesem Programm ist die vollkommen ergebnisoffene Ausschreibung, als Forschende*r ist man also sehr frei in der Untersuchung von Fragestellungen. Wir haben uns als Gruppe von befreundeten ehemaligen Kommiliton*innen, zunächst zu dritt zusammengefunden, als wir die Themenstellung für den Förderungsantrag entwickelten, kamen die weiteren Team-Mitglieder dazu.",{"type":116,"content":3668},[3669],{"text":3670,"type":107},"Der Ausgangspunkt war eine weitergeleitete Anfrage, ein Projektkonzept zu einem innovativen Klebstoff zu entwickeln. Durch die Auseinandersetzung mit dem Zusammenfügen von verschiedenen Materialien / Teilen (per Verklebung) kamen wir sehr schnell auf das Material Holz. Uns faszinierten einerseits die komplexen Materialeigenschaften und -formen, andererseits die vielfältige Kultur der Fügemethoden in der Handwerks- und Baukunst.",{"_uid":3672,"component":120,"propImage":3673,"propAltText":3676,"propCaption":21},"15bb58e1-746f-4252-b717-d5eaa6e2cb6f",{"id":3674,"alt":21,"name":21,"focus":34,"title":21,"filename":3675,"copyright":21,"fieldtype":124},3618482,"https://a.storyblok.com/f/98682/650x365/2f4336745f/conjoin03.jpg","excursion to Japan",{"_uid":3678,"component":128,"propRichtext":3679},"34d79954-b4ce-4372-8438-a41b1861ab00",{"type":113,"content":3680},[3681],{"type":116,"content":3682},[3683],{"text":3684,"type":107,"marks":3685},"Ihr habt zur Recherche eine Exkursion nach Japan gemacht, was ist euch besonders in Erinnerung geblieben?",[3686],{"type":162},{"_uid":3688,"component":128,"propRichtext":3689},"64d00cee-80ec-46b5-b2e5-a3b3fbb071c2",{"type":113,"content":3690},[3691],{"type":211,"content":3692},[3693,3697],{"type":116,"content":3694},[3695],{"text":3696,"type":107},"Besonders beeindruckend war wie gleichzeitig uralte Tradition und High Tech überall präsent sind. Die Einzigartigkeit der zeitgenössischen japanischen Architektur kommt auch daher, dass traditionelle mit futuristischen Ansätzen sich zu etwas Neuartigem verbinden.",{"type":116,"content":3698},[3699],{"text":3700,"type":107},"Ein besonderes Erlebnis war wie traditionelle Zeder-Bäume aufwändig gezüchtet werden, um perfekt gerade Stämme zu bilden, diese Wälder wirken wie riesige Säulenhallen. Noch extremer ist die Kunst des “Daisugi”, einer speziellen Baumzucht, in der oben auf einer Art Mutterbaum gerade gewachsene Nebentriebe als Pfetten (eine Form von Dachlatten) für Teehäuser im spezifischen Sukiya-Stil wachsen gelassen werden. Herr Iwai, der allerletzte, der dieses Handwerk noch betreibt, hat uns großzügig in sein schönes uraltes Holzhaus zu einem traditionellen Tee eingeladen und Einblick in das alltägliche japanische Leben in einem Bergdorf nördlich von Kyoto gegeben. Überhaupt ist die Liebe zum Detail und zur Perfektion in allem spürbar.",{"_uid":3702,"component":120,"propImage":3703,"propAltText":3706,"propCaption":21},"ae45de9a-7bc1-4614-9e41-244f83009e7b",{"id":3704,"alt":21,"name":21,"focus":34,"title":21,"filename":3705,"copyright":21,"fieldtype":124},3618491,"https://a.storyblok.com/f/98682/1920x1080/d7ed568eb1/conjoin06.jpg","preparing the wood",{"_uid":3708,"component":120,"propImage":3709,"propAltText":3712,"propCaption":21},"eefd915f-00ae-4980-a4aa-e147ebfd7a1f",{"id":3710,"alt":21,"name":21,"focus":34,"title":21,"filename":3711,"copyright":21,"fieldtype":124},3618488,"https://a.storyblok.com/f/98682/650x433/316e5122da/conjoin05.jpg","augmented reality in the exhibition",{"_uid":3714,"component":128,"propRichtext":3715},"3bcbe045-b66c-4dad-b0ec-ad624459fcb2",{"type":113,"content":3716},[3717],{"type":116,"content":3718},[3719],{"text":3720,"type":107,"marks":3721},"Welches Potential seht ihr in der Verbindung von Handwerk und neuer Technik?",[3722],{"type":162},{"_uid":3724,"component":128,"propRichtext":3725},"548fcc40-28e0-492b-988b-6fae23147228",{"type":113,"content":3726},[3727],{"type":211,"content":3728},[3729],{"type":116,"content":3730},[3731],{"text":3732,"type":107},"Wir glauben dass mit den Möglichkeiten von Computern und Technologie mit hoher Irregularität und Komplexität umgegangen werden kann. Es ist nicht mehr unbedingt notwendig in gleichförmigen Standards zu denken, individuelle Realisierungen von Räumen und Objekten als Unikate sind möglich. Durch Technologie wird ein neuer Zugang zu Material und Handwerkskunst möglich.",{"_uid":3734,"component":120,"propImage":3735,"propAltText":3738,"propCaption":21},"74c35672-c49b-427f-ae46-92ee5cdf7deb",{"id":3736,"alt":21,"name":21,"focus":34,"title":21,"filename":3737,"copyright":21,"fieldtype":124},3618475,"https://a.storyblok.com/f/98682/2000x1209/9f13951148/04_robotic.jpg","robot and graphic working with wood",{"_uid":3740,"component":128,"propRichtext":3741},"1ac71c7f-5613-48cb-b83b-a63092c1bf4b",{"type":113,"content":3742},[3743],{"type":116,"content":3744},[3745],{"text":3746,"type":107,"marks":3747},"Daniela hatte mir im Vorfeld von \"Robotic Production der Branch Formation\" und \"Augmented Reality Programmierung\" geschrieben – Worum geht es hier genau, wie sieht der Arbeitsprozess aus?",[3748],{"type":162},{"_uid":3750,"component":128,"propRichtext":3751},"c255782a-8d4f-452c-9693-2337a7639096",{"type":113,"content":3752},[3753,3757,3761,3765,3769],{"type":116,"content":3754},[3755],{"text":3756,"type":107},"Im Holzbau werden immer öfter computergesteuerte Maschinen und automatisierte Prozesse eingesetzt, diese ermöglichen eine komplexe Bearbeitung mit hoher Präzision. Solche CNC Maschinen, wie etwa eine automatische “Abbundanlage” werden dazu verwendet vorgefertigte Holzbalken herzustellen, die auf der Baustelle ohne grossen Aufwand montiert werden. Hauptsächlich werden so konventionelle (\"konservative\") Satteldächer hergestellt, wir sehen aber ein großes Potential für komplexe erlebbare Architekturen, die sich so realisieren lassen. Über die Dauer des Projektes haben wir verschiedene Prototypen von irregulären Stabstrukturen umgesetzt, einige davon sind in unserer Ausstellung zu sehen.",{"type":116,"content":3758},[3759],{"text":3760,"type":107},"Heterogene Werkstücke wie Astgabeln lassen sich schwer mit herkömmlichen Maschinen bearbeiten, es gibt keine geraden Flächen oder gleiche Teile. Für diese Herausforderung ist die räumliche 7-Achs-Bearbeitung mit einem Roboterarm besonders interessant. Diese Maschinen kennt man vielleicht von vollautomatisierten Produktionsstraßen in der Autoindustrie, wo diese Roboter komplexe Arbeitsabläufe präzise ausführen. An den Arm können viele verschiedene Werkzeuge montiert werden.",{"type":116,"content":3762},[3763],{"text":3764,"type":107},"Die Angewandte besitzt eine solche Maschine, wir haben für dieses Projekt eine spezielle Vorrichtung entwickelt, auf der Äste eingespannt werden. Nach einigen Versuchen hat sich ein Ablauf etabliert indem jedes Teil über drei Referenzpunkt eingemessen wird, wodurch die digitale 3D Geometrie mit dem physischen Objekt synchronisiert wird, anschließend wird mit einer Kettensäge bearbeitet. Vorrausgesetzt alle Dateien sind erstellt, dauert die Bearbeitung für ein Teil inklusive Befestigung und Einmessen 30 bis 40 min, der Roboter wird von einer Person bedient.",{"type":116,"content":3766},[3767],{"text":3768,"type":107},"Als Alternative haben wir ein Verfahren entwickelt, in dem wir mit Hilfe einer Augmented Reality Anwendung auf einem Smartphone Äste von Hand bearbeiten können. Mit sogenannten AR Apps lassen sich virtuelle Informationen mit der physischen Umgebung überlagern. In unserem Fall haben wir dieses Werkzeug dazu genutzt virtuelle Umrisslinien der Verbindungsdetails auf die physischen Elemente zu projizieren, nachzuzeichnen und schließlich mit einfachen Handwerkzeugen (Handsäge, etc.) auszuschneiden. Dieser Prozess war sehr interessant für uns, weil wir darin das Potential sehen durch Computer Software mit einfachen, leicht verfügbaren Werkzeugen ein hochkomplexes Projekt zu realisieren.",{"type":116,"content":3770},[3771],{"text":3772,"type":107},"Ähnliche AR Anwendungen haben wir auch verwendet, um die großen Gesamtstrukturen zusammenzusetzen und aufzubauen. Es gab keinerlei physische Pläne oder Zeichnungen, lediglich eine virtuelle Bauanleitung fuer ein 3D Puzzle.",[3774],{"_uid":3775,"component":534,"propColor":3776,"propSubheadline":3779,"propPreviewImage":3780,"propPreviewVideo":3781,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":3782,"propMetadescription":21,"propDescriptionShort":3790},"f0b8615d-c9c2-4934-90c0-b0b9667a6b0c",{"_uid":3777,"color":3778,"plugin":538},"150b4cb6-44f7-499c-8d04-06f8f7412134","#eecc3b","From our Newsletter 2019 (Interview in German) ",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"type":113,"content":3783},[3784],{"type":116,"content":3785},[3786],{"text":2152,"type":107,"marks":3787},[3788],{"type":152,"attrs":3789},{"href":3359,"uuid":34,"anchor":34,"target":254,"linktype":155},"Daniela Kröhnert and Lukas Allner giving us insights in their research project and experiences","conceptual-joining-backstage-report","explore/conceptual-joining-backstage-report",460,[],"1e7a5738-bf81-42f6-bee8-6fe45e8fefc8","2022-01-26T12:23:03.328Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":3219,"etag":3801,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":2169,"x-amz-cf-id":3802,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":3803,"x-runtime":3804,"x-xss-protection":68},"W/\"5096e9c7995d1baf5102848f44ba90be\"","VD95EU-D2ZRuNXbTAFhMd8nGS5dg2pMpd4VK-6ZPTYGzlMCJO8Bs9g==","34665cfd-5ab3-48ae-a3a0-fd04c126a591","0.030140",{"data":3806,"headers":3954},{"story":3807,"cv":43,"rels":3952,"links":3953},{"name":3808,"created_at":3809,"published_at":3810,"updated_at":3811,"id":3812,"uuid":3813,"content":3814,"slug":3945,"full_slug":3946,"sort_by_date":34,"position":3947,"tag_list":3948,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":3949,"first_published_at":3950,"release_id":34,"lang":41,"path":34,"alternates":3951,"default_full_slug":34,"translated_slugs":34},"Wendy Hui Kyong Chun: The Rage of Data ","2022-10-20T14:41:21.262Z","2025-12-16T14:10:32.861Z","2025-12-16T14:10:32.887Z",206827941,"3e9029d7-ab5d-4ac9-901e-597148689cda",{"_uid":3815,"component":106,"propCategory":583,"propMainContent":3816,"propHeaderInformation":3922},"c17ad4f2-c0e0-4056-8045-ae832105877a",[3817],{"_uid":3818,"component":111,"propCredits":21,"propEntryInMainContent":3819},"058665f0-0b0e-41a5-b499-abac69d0b9fa",[3820,3823,3855,3875,3892,3914],{"_uid":3821,"component":593,"propVideoId":3822,"propVideoType":595},"a0e478d8-17b1-4309-b5c8-9a596e30ae4c","761756605",{"_uid":3824,"component":128,"propRichtext":3825},"84058311-004a-4911-be77-b5ea9b2dfa0b",{"type":113,"content":3826},[3827,3835,3840,3845,3850],{"type":132,"attrs":3828,"content":3829},{"level":134,"textAlign":34},[3830],{"text":3831,"type":107,"marks":3832},"Participants:",[3833],{"type":140,"attrs":3834},{"class":142},{"type":116,"attrs":3836,"content":3837},{"textAlign":34},[3838],{"text":3839,"type":107},"Wendy Hui Kyong Chun, Director of the Digital Democracies Institute, Simon Fraser University, Canada",{"type":116,"attrs":3841,"content":3842},{"textAlign":34},[3843],{"text":3844,"type":107},"Nishant Shah, Chair Professor Aesthetics and Cultures of Technology, ArtEZ University of the Arts / Radboud University, The Netherlands",{"type":116,"attrs":3846,"content":3847},{"textAlign":34},[3848],{"text":3849,"type":107},"Moderated by Clemens Apprich, Head of the Departmentent Media Theory, University of Applied Arts Vienna",{"type":116,"attrs":3851,"content":3852},{"textAlign":34},[3853],{"text":3854,"type":107},"Reception by Gerald Bast, Rector of the University of Applied Arts",{"_uid":3856,"component":128,"propRichtext":3857},"11e884f4-e151-44df-87f5-9335efc5eb96",{"type":113,"content":3858},[3859,3863,3867,3871],{"type":116,"content":3860},[3861],{"text":3862,"type":107},"In her new book Discriminating Data, Wendy Hui Kyong Chun reveals how polarization is a goal – not an error – within big data and machine learning.",{"type":116,"content":3864},[3865],{"text":3866,"type":107},"These methods, she argues, encode segregation, eugenics, and identity politics through their default assumptions and conditions. Chun, who has a background in media studies and cultural theory as well as systems design engineering, will talk about her book with Nishant Shah. The conversation will revolve around the question of how big data and machine learning encode discrimination, create agitated clusters of comforting rage and call for alternative algorithms to foster a more democratic future.",{"type":116,"content":3868},[3869],{"text":3870,"type":107},"How can we release ourselves from the vice-like grip of discriminatory data?",{"type":116,"content":3872},[3873],{"text":3874,"type":107},"Chun calls for alternative algorithms, defaults, and interdisciplinary coalitions in order to desegregate networks and foster a more democratic big data.",{"_uid":3876,"component":128,"propRichtext":3877},"51a20d22-708d-42fc-b089-c731658e881a",{"type":113,"content":3878},[3879,3887],{"type":132,"attrs":3880,"content":3881},{"level":134,"textAlign":34},[3882],{"text":3883,"type":107,"marks":3884},"Wendy Chun",[3885],{"type":140,"attrs":3886},{"class":142},{"type":116,"attrs":3888,"content":3889},{"textAlign":34},[3890],{"text":3891,"type":107}," has a background in systems design engineering as well as media studies and cultural theory, explains that although machine learning algorithms may not officially include race as a category, they embed whiteness as a default. Facial recognition technology, for example, relies on the faces of Hollywood celebrities and university undergraduates—groups not famous for their diversity. Homophily emerged as a concept to describe white U.S. resident attitudes to living in biracial yet segregated public housing. Predictive policing technology deploys models trained on studies of predominantly underserved neighborhoods. Trained on selected and often discriminatory or dirty data, these algorithms are only validated if they mirror this data.",{"_uid":3893,"component":128,"propRichtext":3894},"533b40a4-2242-4af7-9763-4b933bdd1ec1",{"type":113,"content":3895},[3896,3904,3909],{"type":132,"attrs":3897,"content":3898},{"level":134,"textAlign":34},[3899],{"text":3900,"type":107,"marks":3901},"Nishant Shah",[3902],{"type":140,"attrs":3903},{"class":142},{"type":116,"attrs":3905,"content":3906},{"textAlign":34},[3907],{"text":3908,"type":107}," is a feminist, humanist, technologist working in digital cultures. He wears many hats as an academic, researcher, educator and annotator, interested in translating research for public discourse and being informed by public discourse to orient his research.",{"type":116,"attrs":3910,"content":3911},{"textAlign":34},[3912],{"text":3913,"type":107},"In his official capacity, he is Chair and Professor of Aesthetics and Cultures of Technologies at ArtEZ University of the Arts (NL), Endowed Professor in Cultural Studies at the Radboud University (NL), as well as Knowledge Partner to Oxfam Novib (NL) and the Digital Asia Hub (Hong Kong/ Singapore). His work is at the intersections of body, identity, digital technologies, artistic practice, and activism. His current interest is in thinking through questions digital narrative practices towards building inclusive, diverse, resilient, and equitable societies.",{"_uid":3915,"component":128,"propRichtext":3916},"17b9f307-9837-4917-935a-3abebd5ae3cd",{"type":113,"content":3917},[3918],{"type":116,"content":3919},[3920],{"text":3921,"type":107},"The event is part of the series Decolonizing Technology in cooperation with the department of Media Theory",[3923],{"_uid":3924,"component":534,"propColor":3925,"propSubheadline":3928,"propPreviewImage":3929,"propPreviewVideo":3930,"propMakeTextWhite":651,"propDescriptionLong":21,"propMetaInformation":3933,"propMetadescription":3943,"propDescriptionShort":3944},"ec242000-ec3b-4be4-9195-76877388565a",{"_uid":3926,"color":3927,"plugin":538},"efbd436f-373b-4153-8090-6dac678f928d","#e33228","Talk in English from October 2022 ",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"id":3931,"alt":21,"name":21,"focus":21,"title":21,"filename":3932,"copyright":21,"fieldtype":124,"is_external_url":37},7847675,"https://a.storyblok.com/f/98682/x/8307c5599b/pv_the_rage_of_datara02-720p.mp4",{"type":113,"content":3934},[3935],{"type":116,"content":3936},[3937,3939],{"text":3938,"type":107},"About the series ",{"text":659,"type":107,"marks":3940},[3941],{"type":152,"attrs":3942},{"href":663,"uuid":664,"anchor":34,"target":254,"linktype":255},"Rage of Data, die Angewandte, Media Theory","Wendy Hui Kyong Chun in Conversation with Nishant Shah – Moderation: Clemens Apprich ","the-rage-of-data","explore/the-rage-of-data",-440,[],"369f523e-5f2d-4e5b-b320-4f2f7294d33c","2023-01-30T09:04:27.143Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":3219,"etag":3955,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":1059,"x-amz-cf-id":3956,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":3957,"x-runtime":3958,"x-xss-protection":68},"W/\"dab768c0c400aa04416cfa1089a4f3cc\"","xH7n-N8uEB9RB484SedFc-0eNUCxLORkOixWMo-OhYMep9RdBqN4Fg==","cf6c3a97-b35f-4c77-aeea-f91836ca92c6","0.023518",{"data":3960,"headers":4335},{"story":3961,"cv":43,"rels":4333,"links":4334},{"name":3962,"created_at":3963,"published_at":3964,"updated_at":3965,"id":3966,"uuid":3967,"content":3968,"slug":4326,"full_slug":4327,"sort_by_date":34,"position":4328,"tag_list":4329,"is_startpage":37,"parent_id":889,"meta_data":34,"group_id":4330,"first_published_at":4331,"release_id":34,"lang":41,"path":34,"alternates":4332,"default_full_slug":34,"translated_slugs":34},"Loose Threads – Towards a Technodiversity","2023-03-06T10:46:37.989Z","2023-04-22T07:34:34.890Z","2026-01-13T12:06:55.039Z",271090090,"6ce6e974-355a-4f3e-95be-70bacf3323fd",{"_uid":3969,"component":703,"propDateEnd":3970,"propCategory":3971,"propIsOnline":37,"propDateStart":21,"propMainContent":3972,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":4278,"propDateAndTimeOfOpening":4325},"ab371d74-a4db-4b40-b665-4b17393ba9c3","2023-05-04 20:00","discussion",[3973],{"_uid":3974,"component":111,"propCredits":3975,"propEntryInMainContent":3978},"dcf76d8a-9754-475f-93fa-b614cf3ac7b0",{"type":113,"content":3976},[3977],{"type":116},[3979,3982,4006,4035,4047,4056,4072,4077,4085,4105,4110,4122,4141,4146,4154],{"_uid":3980,"component":120,"propImage":3981,"propAltText":21,"propCaption":21},"a22c31ac-b10c-45b6-bd0f-83664ff3544a",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":34,"copyright":34,"fieldtype":124,"is_external_url":37},{"_uid":3983,"component":128,"propRichtext":3984},"4453f1a8-c799-476b-817d-04f43b2bd55f",{"type":113,"content":3985},[3986],{"type":132,"attrs":3987,"content":3988},{"level":2538},[3989,3995,4001],{"text":3990,"type":107,"marks":3991},"The side program entitled ",[3992],{"type":781,"attrs":3993},{"color":3994},"rgb(0, 0, 0)",{"text":3996,"type":107,"marks":3997},"Loose Threads",[3998,3999],{"type":162},{"type":781,"attrs":4000},{"color":3994},{"text":4002,"type":107,"marks":4003}," weaves together different and diverse understanding of technology. The panel discussion looks at the reductive history of technology and its mode of representation.",[4004],{"type":781,"attrs":4005},{"color":3994},{"_uid":4007,"component":128,"propRichtext":4008},"5f0b1c6e-b807-45ef-a1ff-24d0e365227d",{"type":113,"content":4009},[4010,4034],{"type":116,"content":4011},[4012,4017,4023,4028],{"text":4013,"type":107,"marks":4014},"The current exhibition ",[4015],{"type":781,"attrs":4016},{"color":3994},{"text":4018,"type":107,"marks":4019},"Fabric of Dreams. Towards a Technodiversity",[4020,4021],{"type":162},{"type":781,"attrs":4022},{"color":3994},{"text":4024,"type":107,"marks":4025}," raises the question of how we can escape the singular vision of technology and its rather definitive configuration as a fully automated machine intelligence. According to the Western conception, technology is described as a history of development on the way to progression and expansion, be it in a dystopian or utopian implementation. 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",{"type":116,"content":4808},[4809,4811],{"text":4810,"type":107},"This event is kindly supported by ",{"text":4812,"type":107,"marks":4813},"RD Foundation",[4814],{"type":152,"attrs":4815},{"href":4816,"uuid":34,"anchor":34,"target":254,"linktype":155},"http://www.rd-foundation-vienna.org/",[4818,4821,4837,4854,4871],{"_uid":4819,"component":593,"propVideoId":4820,"propVideoType":595},"a525da6f-69e1-4cce-954a-bcc4cc80e3d0","895918357",{"_uid":4822,"component":128,"propRichtext":4823},"c7cc8432-cd22-4333-a7db-f68696f3f4bd",{"type":113,"content":4824},[4825,4829,4833],{"type":116,"content":4826},[4827],{"text":4828,"type":107},"Lena Schilling grew up with the climate movement and has become one of the most prominent and well-known activists in Austria. She helped organize the occupation of the Lobau and became the face of these protests; today she is committed to climate justice and social issues. But how can such concerns be addressed most effectively?",{"type":116,"content":4830},[4831],{"text":4832,"type":107},"What networks both within civil society and internationally are necessary and possible in order to really change existing structures? How can social and political movements be created without them derailing? Can activists really challenge the power of multinational corporations, and break through the political incapacity of governments?",{"type":116,"content":4834},[4835],{"text":4836,"type":107},"Philipp Blom talks to Lena Schilling about whether radical change is possible, and if so, how.",{"_uid":4838,"component":128,"propRichtext":4839},"ea19a94d-f440-4113-85ad-615c61d922a4",{"type":113,"content":4840},[4841,4849],{"type":132,"attrs":4842,"content":4843},{"level":134,"textAlign":34},[4844],{"text":4845,"type":107,"marks":4846},"About the guest Lena Schilling:",[4847],{"type":140,"attrs":4848},{"class":142},{"type":116,"attrs":4850,"content":4851},{"textAlign":34},[4852],{"text":4853,"type":107},"Lena Schilling, born in Vienna in 2001, is an Austrian climate activist who came to public attention with the Fridays for Future movement. She was the spokesperson for the initiative for a supply chain law, is the founder of Jugendrat, and has been writing a weekly column in the Kronen Zeitung since June 2023. She is primarily committed to the issues of climate justice, feminism and migration.",{"_uid":4855,"component":128,"propRichtext":4856},"edea2085-1038-4ab0-8a2b-b0e97b72c4b3",{"type":113,"content":4857},[4858,4866],{"type":132,"attrs":4859,"content":4860},{"level":134,"textAlign":34},[4861],{"text":4862,"type":107,"marks":4863},"About Philipp Blom:",[4864],{"type":140,"attrs":4865},{"class":142},{"type":116,"attrs":4867,"content":4868},{"textAlign":34},[4869],{"text":4870,"type":107},"Philipp Blom was born in Hamburg in 1970. After living and working in Oxford, London, and Paris, he is now based in Vienna. His historical works, essays, and novels have been translated into 16 languages and have received numerous awards, including a scholarship at the Getty Research Institute in Los Angeles and the German Non-Fiction Book Prize. Blom is also a prolific radio journalist and public speaker. Among his most recent German and English publications are: Diebe des Lichts, Karl Blessing 2021; Das große Welttheater, Zsolnay 2019; Eine italienische Reise, Hanser 2018; Was auf dem Spiel steht, Hanser 2017; Die Welt aus den Angeln, Hanser 2017 / Nature’s Mutiny; Bei Sturm am Meer, Zsolnay 2016; Die zerrissenen Jahre. 1918–1938, Hanser 2014; Böse Philosophen. Ein Salon in Paris und das vergessene Erbe der Aufklärung, Hanser 2011 / A Wicked Company; Der taumelnde Kontinent. 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The interdisciplinary conversations covered topics from the field of art, science, culture, technology and politics and give audiences a chance to join the discussion.",{"type":116,"attrs":4894,"content":4895},{"textAlign":34},[4896],{"text":4897,"type":107},"As a sequel of the series, the program is now broadened: In spring 2023 together with the Bruno Kreisky Forum and the Institute for Human Sciences (IWM), the University of Applied Arts hosts experts from different disciplines to discuss future challenges. Ranging from climate change to democracies in crisis, current wars and social controversies: this time it is historian, journalist and author Philipp Blom who will be in conversation with renowned, innovative, intelligent and provocative international guests to talk about transformation, reasonable change, necessary steps and new conceptual spaces.",[4899],{"_uid":4900,"component":534,"propColor":4901,"propSubheadline":4904,"propPreviewImage":4905,"propPreviewVideo":4907,"propMakeTextWhite":651,"propDescriptionLong":21,"propMetaInformation":4911,"propMetadescription":4929,"propDescriptionShort":4930},"5eddd76f-afe5-42dc-a294-fedeb8dfb111",{"_uid":4902,"color":4903,"plugin":538},"c6bf63e3-3d2e-4e23-8a84-a55b7fb116e3","#941651","Discussion in German from December 2023",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":4906},{},{"id":4908,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":4909,"copyright":21,"fieldtype":124,"meta_data":4910,"is_private":21,"is_external_url":37},13652469,"https://a.storyblok.com/f/98682/x/16b50ad41c/03dialogues_for_tomorrow-_radical_change-720p.mp4",{},{"type":113,"content":4912},[4913,4921],{"type":116,"content":4914},[4915],{"text":4916,"type":107,"marks":4917},"Institute for Human Sciences (IWM)",[4918],{"type":152,"attrs":4919},{"href":4920,"uuid":34,"anchor":34,"target":254,"linktype":155},"https://www.iwm.at/",{"type":116,"content":4922},[4923],{"text":4924,"type":107,"marks":4925},"Kreisky Forum",[4926],{"type":152,"attrs":4927},{"href":4928,"uuid":34,"anchor":34,"target":254,"linktype":155},"https://www.kreisky-forum.org/","Lena Schilling, Activism, Dialogue for Tomorrow","Philipp Blom in Conversation with climate activist Lena Schilling","dialogues-for-tomorrow-radikale-wende-weil-wir-eine-welt-zu-gewinnen-haben","explore/dialogues-for-tomorrow-radikale-wende-weil-wir-eine-welt-zu-gewinnen-haben",-850,[],"9e787d7b-0e8e-4d1e-8dd9-f545d5563d81","2024-01-05T13:19:32.558Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":4336,"etag":4941,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":898,"x-amz-cf-id":4942,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":4943,"x-runtime":4944,"x-xss-protection":68},"W/\"1bbb36a6dd8b4bcf4f7914a175712d74\"","njKUQfcsRA89VBBATJWKnIEunhqB4GmiH8Q-B2GWPsRRuwrBrrJBQQ==","59081292-8f24-4d65-8df1-75e923b03f00","0.021027",{"data":4946,"headers":5078},{"story":4947,"cv":43,"rels":5076,"links":5077},{"name":4948,"created_at":4949,"published_at":4950,"updated_at":4951,"id":4952,"uuid":4953,"content":4954,"slug":5069,"full_slug":5070,"sort_by_date":34,"position":5071,"tag_list":5072,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":5073,"first_published_at":5074,"release_id":34,"lang":41,"path":34,"alternates":5075,"default_full_slug":34,"translated_slugs":34},"Dialogues for Tomorrow: The Global South and the Future of World Order","2023-12-12T10:03:00.399Z","2025-12-16T09:43:22.468Z","2025-12-16T09:43:22.486Z",417537172,"d23e336a-b194-40ea-a745-41b6b061034d",{"_uid":4955,"component":106,"propCategory":583,"propMainContent":4956,"propHeaderInformation":5043},"3c3c0988-a664-4af8-8a01-eec24359a240",[4957],{"_uid":4958,"component":111,"propCredits":4959,"propEntryInMainContent":4984},"722f76e9-c58a-43de-a0a5-b1769dc5bc33",{"type":113,"content":4960},[4961,4965,4972,4978],{"type":116,"content":4962},[4963],{"text":4964,"type":107},"A cooperation of the Bruno Kreisky Forum, the Institute for Human Sciences (IWM Vienna) and the University of Applied Arts Vienna.",{"type":116,"content":4966},[4967,4968],{"text":4810,"type":107},{"text":4812,"type":107,"marks":4969},[4970],{"type":152,"attrs":4971},{"href":4816,"uuid":34,"anchor":34,"target":254,"linktype":155},{"type":116,"content":4973},[4974],{"text":4916,"type":107,"marks":4975},[4976],{"type":152,"attrs":4977},{"href":4920,"uuid":34,"anchor":34,"target":254,"linktype":155},{"type":116,"content":4979},[4980],{"text":4924,"type":107,"marks":4981},[4982],{"type":152,"attrs":4983},{"href":4928,"uuid":34,"anchor":34,"target":254,"linktype":155},[4985,4988,4996,5004,5021],{"_uid":4986,"component":593,"propVideoId":4987,"propVideoType":595},"23e14f57-a06b-4963-ab09-a583e15ba1d9","890572785",{"_uid":4989,"component":128,"propRichtext":4990},"1c98ae84-a220-4213-80e8-03fbd4f9e2ad",{"type":113,"content":4991},[4992],{"type":116,"content":4993},[4994],{"text":4995,"type":107},"In a restless, multipolar world order, South America’s great powers — Brazil, Argentina, Colombia — are claiming a stronger voice and more agency in global politics. Their strategic position and their political alliances mean that international arrangements need to be readjusted or entirely rethought.",{"_uid":4997,"component":128,"propRichtext":4998},"fb60d043-3a7f-408d-a890-68505147c8aa",{"type":113,"content":4999},[5000],{"type":116,"content":5001},[5002],{"text":5003,"type":107},"Their stance on issues as diverse as the Russo-Ukrainian War and global trade issues are less and less aligned to the interests of the USA or the EU and more open towards China, India, and Russia, while the size of their economies, internal and external migration, as well as organized crime, armed conflicts and political instability make them a volatile and increasingly crucial factor of the international order. How will South America’s influence evolve, and which interests will South American countries prioritize as the international order is creaking under the strains of multiple crises?",{"_uid":5005,"component":128,"propRichtext":5006},"1b11b4d2-7887-4b1b-81b5-32f01f0940a4",{"type":113,"content":5007},[5008,5016],{"type":132,"attrs":5009,"content":5010},{"level":134,"textAlign":34},[5011],{"text":5012,"type":107,"marks":5013},"About the guest Oliver Stuenkel:",[5014],{"type":140,"attrs":5015},{"class":142},{"type":116,"attrs":5017,"content":5018},{"textAlign":34},[5019],{"text":5020,"type":107},"Oliver Stuenkel is a Professor at the School of International Relations at Fundação Getulio Vargas (FGV) in São Paulo. He is also a non-resident scholar at the Carnegie Endowment for International Peace in Washington DC and a columnist for Estado de São Paulo and Americas Quarterly. His research focuses on geopolitics and global order, Brazilian foreign policy, Latin American politics and emerging powers. He is the author of several books about geopolitics, including The BRICS and the Future of Global Order (Lexington) and the Post-Western World: How Emerging Powers Are Remaking Global Order (Polity).",{"_uid":5022,"component":128,"propRichtext":5023},"08fa0c13-1ba1-4124-bcbc-391fe095e064",{"type":113,"content":5024},[5025,5033,5038],{"type":132,"attrs":5026,"content":5027},{"level":134,"textAlign":34},[5028],{"text":5029,"type":107,"marks":5030},"About the host Philipp Blom:",[5031],{"type":140,"attrs":5032},{"class":142},{"type":116,"attrs":5034,"content":5035},{"textAlign":34},[5036],{"text":5037,"type":107},"Philipp Blom was born in Hamburg in 1970. After living and working in Oxford, London, and Paris, he is now based in Vienna. His historical works, essays, and novels have been translated into 16 languages and have received numerous awards, including a scholarship at the Getty Research Institute in Los Angeles and the German Non-Fiction Book Prize. Blom is also a prolific radio journalist and public speaker.",{"type":116,"attrs":5039,"content":5040},{"textAlign":34},[5041],{"text":5042,"type":107},"Among his most recent German and English publications are: Diebe des Lichts, Karl Blessing 2021; Das große Welttheater, Zsolnay 2019; Eine italienische Reise, Hanser 2018; Was auf dem Spiel steht, Hanser 2017; Die Welt aus den Angeln, Hanser 2017 / Nature’s Mutiny; Bei Sturm am Meer, Zsolnay 2016; Die zerrissenen Jahre. 1918–1938, Hanser 2014; Böse Philosophen. Ein Salon in Paris und das vergessene Erbe der Aufklärung, Hanser 2011 / A Wicked Company; Der taumelnde Kontinent. Europa 1900–1914, Hanser 2009 / The Vertigo Years - Change and Culture in the West, 1900-1914",[5044],{"_uid":5045,"component":534,"propColor":5046,"propSubheadline":5049,"propPreviewImage":5050,"propPreviewVideo":5052,"propMakeTextWhite":651,"propDescriptionLong":5056,"propMetaInformation":5057,"propMetadescription":21,"propDescriptionShort":21},"345dcd73-a06a-4794-b32c-f3a15d3f5e78",{"_uid":5047,"color":5048,"plugin":538},"6a8b5a39-0cec-4200-a724-53de09623f55","#009192","Philipp Blom in Conversation with political scientist Oliver Stuenkel ",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":5051},{},{"id":5053,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":5054,"copyright":21,"fieldtype":124,"meta_data":5055,"is_external_url":37},13247036,"https://a.storyblok.com/f/98682/x/2e36354e80/1kurz_dot_03.mp4",{},"Conversation in English, from November 2023.",{"type":113,"content":5058},[5059],{"type":116,"content":5060},[5061,5062],{"text":4305,"type":107},{"text":5063,"type":107,"marks":5064},"discussion series",[5065],{"type":152,"attrs":5066},{"href":5067,"uuid":5068,"anchor":34,"target":432,"linktype":255},"/explore/dialogues-for-tomorrow","da363ab8-f819-4e78-922d-4bc36440843a","dialogue-for-tomorrow-the-global-south-and-the-future-of-world-order","explore/dialogue-for-tomorrow-the-global-south-and-the-future-of-world-order",-840,[],"59b60fc0-6f5c-4c1b-908e-71230963b87a","2023-12-12T10:05:55.255Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":4336,"etag":5079,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":1059,"x-amz-cf-id":5080,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":5081,"x-runtime":5082,"x-xss-protection":68},"W/\"b02d53cf3e1576c15d17bd2ddd4ca9f2\"","9cDe_uURA7ydu6K60QhV4r66J-oWU7rmI8EwT3GhR9LlnJUciRBsIw==","960b1b3f-2b55-4939-bd7c-c9ebde5cfb6a","0.025961",{"data":5084,"headers":5248},{"story":5085,"cv":43,"rels":5246,"links":5247},{"name":5086,"created_at":5087,"published_at":5088,"updated_at":5089,"id":5090,"uuid":5091,"content":5092,"slug":5239,"full_slug":5240,"sort_by_date":34,"position":5241,"tag_list":5242,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":5243,"first_published_at":5244,"release_id":34,"lang":41,"path":34,"alternates":5245,"default_full_slug":34,"translated_slugs":34},"Dialogues for Tomorrow: A Green and Global Europe? ","2023-05-24T12:57:39.546Z","2025-12-16T12:46:41.707Z","2025-12-16T12:46:41.744Z",312796906,"37c0b98f-988a-4a74-b8fc-93f510559946",{"_uid":5093,"component":106,"propCategory":583,"propMainContent":5094,"propHeaderInformation":5222},"034784b2-a329-4b2e-ac88-c093a9a4f10a",[5095],{"_uid":5096,"component":111,"propCredits":5097,"propEntryInMainContent":5100},"ce25ac1f-6520-4fdd-a993-bf23cd6a9f60",{"type":113,"content":5098},[5099],{"type":116},[5101,5104,5180,5207],{"_uid":5102,"component":593,"propVideoId":5103,"propVideoType":595},"622c2c77-7735-4e17-9d9a-cf0354e92a38","828999351",{"_uid":5105,"component":128,"propRichtext":5106},"3e692908-83de-4083-9d09-c4e17707262e",{"type":113,"content":5107},[5108,5112,5118,5124,5125,5129,5133,5137,5142,5146,5156,5159,5174,5175,5176,5178],{"type":116,"content":5109},[5110],{"text":5111,"type":107},"Historian, journalist and author Philipp Blom invites international guests to talk about transformation, reasonable change, necessary steps and new conceptual spaces.",{"type":116,"content":5113},[5114],{"text":4916,"type":107,"marks":5115},[5116],{"type":152,"attrs":5117},{"href":4920,"uuid":34,"anchor":34,"target":254,"linktype":155},{"type":116,"content":5119},[5120],{"text":4924,"type":107,"marks":5121},[5122],{"type":152,"attrs":5123},{"href":4928,"uuid":34,"anchor":34,"target":254,"linktype":155},{"type":116},{"type":116,"content":5126},[5127],{"text":5128,"type":107},"Beset by a crisis of democracy and geopolitical challenges, by demographic imbalances and environmental disaster, an economically weakened Europe, bereft of its old, liberal narrative, seems to be staggering, a waning force losing both credibility and power. ",{"type":116,"content":5130},[5131],{"text":5132,"type":107},"Not so, says Nathalie Tocci, director of the Istituto Affari Internazionali in Rome and Europe’s Futures Fellow at the IWM in Vienna. If Europe is ambitious enough, it can secure future influence and prosperity by fully committing to a true green revolution, expanding on the goals of the energy transition that has already become the new heart of the European project. Tocci is one of the foremost thinkers on Europe and its future in the world. Even while faced with new uncertainties and challenges, Europe can find a new global role by championing and driving an agenda for green transition that recognizes only global solutions and global justice will be effective in the fight for a European future.",{"type":116,"content":5134},[5135],{"text":5136,"type":107},"Philipp Blom speaks with Nathalie Tocci about a European future between energy transition and new strategic challenges, as well as the challenges for European democracies faced with popular discontent and a loss of trust in the European project or its institutions.",{"type":132,"attrs":5138,"content":5139},{"level":2538},[5140],{"text":5141,"type":107},"Is the future green and global, or will the European moment be swallowed up in epochal change?",{"type":132,"attrs":5143,"content":5144},{"level":2538},[5145],{"text":4879,"type":107},{"type":116,"content":5147},[5148,5150,5154],{"text":5149,"type":107},"The debate series ",{"text":5151,"type":107,"marks":5152},"Dialogues for Tomorrow",[5153],{"type":162},{"text":5155,"type":107}," critically examines the present from multiple perspectives in order to create a better understanding of tomorrow.",{"type":116,"content":5157},[5158],{"text":4892,"type":107},{"type":116,"content":5160},[5161,5163,5167,5169,5172],{"text":5162,"type":107},"As a sequel of the series, the program is now broadened: In spring 2023 together with the ",{"text":5164,"type":107,"marks":5165},"Bruno Kreisky Forum ",[5166],{"type":162},{"text":5168,"type":107},"and the ",{"text":4916,"type":107,"marks":5170},[5171],{"type":162},{"text":5173,"type":107},", the University of Applied Arts hosts experts from different disciplines to discuss future challenges. Ranging from climate change to democracies in crisis, current wars and social controversies: this time it is historian, journalist and author Philipp Blom who will be in conversation with renowned, innovative, intelligent and provocative international guests to talk about transformation, reasonable change, necessary steps and new conceptual spaces.",{"type":116},{"type":116},{"type":132,"attrs":5177},{"level":2538},{"type":132,"attrs":5179},{"level":2538},{"_uid":5181,"component":128,"propRichtext":5182},"dad5e9c0-f654-42cf-a2b6-ce0725936237",{"type":113,"content":5183},[5184,5192,5197,5202],{"type":132,"attrs":5185,"content":5186},{"level":134,"textAlign":34},[5187],{"text":5188,"type":107,"marks":5189},"About the guest Nathalie Tocci:",[5190],{"type":140,"attrs":5191},{"class":142},{"type":116,"attrs":5193,"content":5194},{"textAlign":34},[5195],{"text":5196,"type":107},"Nathalie Tocci is Director of the Istituto Affari Internazionali IAI, Honorary Professor at the University of Tübingen, Pierre Keller Visiting Professor at the Harvard Kennedy School and Adjunct Professor at the European Union Institute. She has been Special Advisor to EU High Representative and Vice President of the Commission Josep Borrell. As Special Advisor to HRVP Federica Mogherini she wrote the European Global Strategy and worked on its implementation. She has been a member of Eni's Board of Directors since May 2020. In 2022–23 she is a Europe’s Futures Fellow at the Institute for Human Sciences IWM.",{"type":116,"attrs":5198,"content":5199},{"textAlign":34},[5200],{"text":5201,"type":107},"Previously she held research positions at the Centre for European Policy Studies, Brussels, the Transatlantic Academy, Washington and the Robert Schuman Centre for Advanced Studies, Florence.",{"type":116,"attrs":5203,"content":5204},{"textAlign":34},[5205],{"text":5206,"type":107},"Her research interests include European foreign policy, conflict resolution, the Middle East and the Mediterranean.",{"_uid":5208,"component":128,"propRichtext":5209},"7aa970f3-9668-4bd0-ab40-ae962d73ac1b",{"type":113,"content":5210},[5211,5218],{"type":132,"attrs":5212,"content":5213},{"level":134,"textAlign":34},[5214],{"text":4862,"type":107,"marks":5215},[5216],{"type":140,"attrs":5217},{"class":142},{"type":116,"attrs":5219,"content":5220},{"textAlign":34},[5221],{"text":4870,"type":107},[5223],{"_uid":5224,"component":534,"propColor":5225,"propSubheadline":5228,"propPreviewImage":5229,"propPreviewVideo":5231,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":5235,"propMetadescription":21,"propDescriptionShort":5238},"be93d1df-bd0c-477a-b6d0-6637bb71335a",{"_uid":5226,"color":5227,"plugin":538},"32ad64ed-bac0-49ed-ac44-c26202a164ce","#5865df","Philipp Blom and Political Scientist Nathalie Tocci in Conversation\n",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"source":34,"filename":21,"copyright":34,"fieldtype":124,"meta_data":5230},{},{"id":5232,"alt":21,"name":21,"focus":21,"title":21,"source":21,"filename":5233,"copyright":21,"fieldtype":124,"meta_data":5234,"is_external_url":37},12177965,"https://a.storyblok.com/f/98682/x/15e93fbe54/1green.mp4",{},{"type":113,"content":5236},[5237],{"type":116},"A cooperation between the Bruno Kreisky Forum, the Institute for Human Sciences (IWM), and the University of Applied Arts Vienna ","dialogues-for-tomorrow-a-green-and-global-europe","explore/dialogues-for-tomorrow-a-green-and-global-europe",-610,[],"3ccf75bf-025e-4304-8c00-29d6a34cf23f","2023-07-17T07:56:23.561Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":5249,"etag":5250,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":568,"x-amz-cf-id":5251,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":5252,"x-runtime":5253,"x-xss-protection":68},"Thu, 21 May 2026 13:52:33 GMT","W/\"32d1b6522b0aa990d4a171338725e9f0\"","bqnAYI_I6B0EQx-yhuOwIa3oYgReeJAvKiQGRdCXLLniJVA7r2njqQ==","0bbe3aef-8e62-407a-960c-ba540be2172d","0.035833",{"data":5255,"headers":5388},{"story":5256,"cv":43,"rels":5386,"links":5387},{"name":5257,"created_at":5258,"published_at":5259,"updated_at":5260,"id":5261,"uuid":5262,"content":5263,"slug":5379,"full_slug":5380,"sort_by_date":34,"position":5381,"tag_list":5382,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":5383,"first_published_at":5384,"release_id":34,"lang":41,"path":34,"alternates":5385,"default_full_slug":34,"translated_slugs":34},"Dialogues for Tomorrow: Russia – A Society in Meltdown","2023-03-30T12:56:20.552Z","2025-12-16T14:04:44.297Z","2025-12-16T14:04:44.321Z",284551297,"b7b77eb3-77fe-41c3-bae6-28b69aba11db",{"_uid":5264,"component":106,"propCategory":583,"propMainContent":5265,"propHeaderInformation":5364},"1b5fb583-89fd-4ed2-a0ec-a2809a24dddb",[5266],{"_uid":5267,"component":111,"propCredits":5268,"propEntryInMainContent":5279},"5da0d864-24f5-4e2d-bdb5-a922fd56860c",{"type":113,"content":5269},[5270,5278],{"type":116,"content":5271},[5272,5273],{"text":4810,"type":107},{"text":4812,"type":107,"marks":5274},[5275],{"type":152,"attrs":5276},{"href":4816,"uuid":34,"anchor":34,"custom":5277,"target":254,"linktype":155},{},{"type":116},[5280,5284,5304,5321,5340],{"_uid":5281,"component":593,"propVideoId":5282,"propVideoType":5283},"51bf1f06-e106-42a7-93b9-7f296ca1b8ad","rD7vLns0TXI","youtube",{"_uid":5285,"component":128,"propRichtext":5286},"510b6adb-d234-44ae-8009-27192a0199fe",{"type":113,"content":5287},[5288,5292,5296,5300],{"type":116,"content":5289},[5290],{"text":5291,"type":107},"Philipp Blom speaks with Nina Khrushcheva about Russia – a society in meltdown – and its future in the context of both its historical and political path, and of international security.",{"type":116,"content":5293},[5294],{"text":5295,"type":107},"The war on Ukraine is catastrophic for both parties. Ukraine has to bear widespread destruction of infrastructure and a terrible loss of life. The morale within the society is high, and if the country can prevail, the future appears dynamic.",{"type":116,"content":5297},[5298],{"text":5299,"type":107},"For Russia the situation is radically different, says political scientist Nina Khrushcheva, the first guest of the Dialogues for Tomorrow. Having divided her time between Moscow and the US during the past year, she has observed the changes in Russian society from within.",{"type":116,"content":5301},[5302],{"text":5303,"type":107},"How is Russian society developing in the shadow of war and political oppression? How secure is Putin’s power and are their oppositional protagonists and structures apart from the Kremlin elite and the oligarchs? Is a change of power in Russia a plausible prospect, and what will Russia look like after the war, and after Putin? How much has been destroyed already by the loss of countless people who left the country, by the tightening of dictatorship and the breakdown of trade and political relations with Western countries? What will the future hold for Russia and for European and global power politics and global alliances?",{"_uid":5305,"component":128,"propRichtext":5306},"32848972-f2ce-47dd-be18-cb91b753e7e1",{"type":113,"content":5307},[5308,5316],{"type":132,"attrs":5309,"content":5310},{"level":134,"textAlign":34},[5311],{"text":5312,"type":107,"marks":5313},"Nina Khrushcheva ",[5314],{"type":140,"attrs":5315},{"class":142},{"type":116,"attrs":5317,"content":5318},{"textAlign":34},[5319],{"text":5320,"type":107},"is Professor in the Julien J. Studley Graduate Programs of International Affairs at The New School in New York. She is an editor of and a contributor to the Project Syndicate: Association of Newspaper Around the World. Her articles have appeared in Foreign Policy, The New York Times, The Wall Street Journal, The Financial Times, and other publications. She has commented widely on Russian politics for MSNBC, CNN, BBC, and other international media outlets. Khrushcheva's latest co-authored book is In Putin's Footsteps: Searching for the Soul of an Empire Across Russia's Eleven Time Zones (St. Martin's Press, 2019). She is currently working on a biography of her great-grandfather, Nikita Khrushchev.",{"_uid":5322,"component":128,"propRichtext":5323},"e304a13d-790e-432e-9d42-b8e33aa4832d",{"type":113,"content":5324},[5325,5333,5338],{"type":132,"attrs":5326,"content":5327},{"level":134,"textAlign":34},[5328],{"text":5329,"type":107,"marks":5330},"Philipp Blom",[5331],{"type":140,"attrs":5332},{"class":142},{"type":116,"attrs":5334,"content":5335},{"textAlign":34},[5336],{"text":5337,"type":107},"was born in Hamburg in 1970. After living and working in Oxford, London, and Paris, he is now based in Vienna. His historical works, essays, and novels have been translated into 16 languages and have received numerous awards, including a scholarship at the Getty Research Institute in Los Angeles and the German Non-Fiction Book Prize. Blom is also a prolific radio journalist and public speaker. Among his most recent German and English publications are: Diebe des Lichts, Karl Blessing 2021; Das große Welttheater, Zsolnay 2019; Eine italienische Reise, Hanser 2018; Was auf dem Spiel steht, Hanser 2017; Die Welt aus den Angeln, Hanser 2017 / Nature’s Mutiny; Bei Sturm am Meer, Zsolnay 2016; Die zerrissenen Jahre. 1918–1938, Hanser 2014; Böse Philosophen. Ein Salon in Paris und das vergessene Erbe der Aufklärung, Hanser 2011 / A Wicked Company; Der taumelnde Kontinent. Europa 1900–1914, Hanser 2009 / The Vertigo Years - Change and Culture in the West, 1900-1914",{"type":116,"attrs":5339},{"textAlign":34},{"_uid":5341,"component":128,"propRichtext":5342},"36347738-90e7-4af9-b205-d9b0971b7175",{"type":113,"content":5343},[5344,5352,5356,5360],{"type":132,"attrs":5345,"content":5346},{"level":134,"textAlign":34},[5347],{"text":5348,"type":107,"marks":5349},"About the discussion series Dialogues for Tomorrow: ",[5350],{"type":140,"attrs":5351},{"class":142},{"type":116,"attrs":5353,"content":5354},{"textAlign":34},[5355],{"text":4887,"type":107},{"type":116,"attrs":5357,"content":5358},{"textAlign":34},[5359],{"text":4892,"type":107},{"type":116,"attrs":5361,"content":5362},{"textAlign":34},[5363],{"text":4897,"type":107},[5365],{"_uid":5366,"component":534,"propColor":5367,"propSubheadline":5370,"propPreviewImage":5371,"propPreviewVideo":5372,"propMakeTextWhite":651,"propDescriptionLong":21,"propMetaInformation":5375,"propMetadescription":5378,"propDescriptionShort":5238},"08ed2e10-6594-4da1-b190-1630d1c81647",{"_uid":5368,"color":5369,"plugin":538},"412a63dc-9ac5-4f06-94c3-427b3825a644","#855edf","Philipp Blom and political scientist Nina Khrushcheva in Conversation ",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"id":5373,"alt":21,"name":21,"focus":21,"title":21,"filename":5374,"copyright":21,"fieldtype":124,"is_external_url":37},7848112,"https://a.storyblok.com/f/98682/x/21ef199ea9/pvra_russia_-_a_society_in_meltdown-720p.mp4",{"type":113,"content":5376},[5377],{"type":116},"Philipp Blom, Nina Khrushcheva, Dialogues for Tomorrow ","dialogues-for-tomorrow-russia-a-society-in-meltdown","explore/dialogues-for-tomorrow-russia-a-society-in-meltdown",-540,[],"9f0d0b05-7b58-4207-816e-6defef6feb5d","2023-03-30T13:19:04.860Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":5249,"etag":5389,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":59,"x-amz-cf-id":5390,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":5391,"x-runtime":5392,"x-xss-protection":68},"W/\"681e78471eb631926ec879818e55c208\"","vI1epXcn02X4dN0ZwrFkdpTG25vQWZgHd9SmpQNYDWs4s2cbUeAMkA==","0d0e1750-4173-4787-8e71-a050d21b9c8c","0.028917",{"data":5394,"headers":5458},{"story":5395,"cv":43,"rels":5456,"links":5457},{"name":5396,"created_at":5397,"published_at":5398,"updated_at":5399,"id":5400,"uuid":5401,"content":5402,"slug":5449,"full_slug":5450,"sort_by_date":34,"position":5451,"tag_list":5452,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":5453,"first_published_at":5454,"release_id":34,"lang":41,"path":34,"alternates":5455,"default_full_slug":34,"translated_slugs":34},"Dialogues for Tomorrow: The Thirst for Illusion","2022-07-12T09:18:27.833Z","2026-01-12T11:13:50.709Z","2026-01-12T11:13:50.721Z",161885299,"5dee1d6e-8e4b-453b-86d7-bb6a9133a840",{"_uid":5403,"component":106,"propCategory":583,"propMainContent":5404,"propHeaderInformation":5436},"09a5a42a-8479-49e4-ab12-8275d9351a56",[5405],{"_uid":5406,"component":111,"propCredits":21,"propEntryInMainContent":5407},"05586abc-f226-49f9-942b-ac76c7059c68",[5408,5411,5419],{"_uid":5409,"component":593,"propVideoId":5410,"propVideoType":595},"aae96202-da41-4418-978e-28cdf16bd622","726566034",{"_uid":5412,"component":128,"propRichtext":5413},"2816fc3a-3f54-4d18-af5d-7078521700c5",{"type":113,"content":5414},[5415],{"type":116,"content":5416},[5417],{"text":5418,"type":107},"Artistic duo Ina Conradi (US, SG) and Mark Chavez (US, SG), based in Singapore and Los Angeles, have collaborated on numerous art and new media projects for the past 20 years. They both hold a Master's of Fine Arts Degree from UCLA. Ina has been an Associate Professor at the School of Art, Design and Media, Nanyang Technological University (2007 till present), living and working in Singapore since 2005. Mark is an award-winning animator, artist, educator and entrepreneur who has developed animation systems and techniques for many different media. Ina and Mark started their ongoing public art project Media Art Nexus (MAN) at Nanyang Technological University Singapore in 2016. This curatorial and educational initiative has connected students, emerging and established artists and academics globally with international cultural institutions.",{"_uid":5420,"component":128,"propRichtext":5421},"187b8ac2-af78-42d7-b665-810e9fed29a1",{"type":113,"content":5422},[5423,5431],{"type":132,"attrs":5424,"content":5425},{"level":134,"textAlign":34},[5426],{"text":5427,"type":107,"marks":5428},"About the event series:",[5429],{"type":140,"attrs":5430},{"class":142},{"type":116,"attrs":5432,"content":5433},{"textAlign":34},[5434],{"text":5435,"type":107},"In 2022, Gerald Bast, rector of the University of Applied Arts Vienna, will invite artists and experts to the new Café Exchange at Angewandte Interdisciplinary Lab. 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She holds honorary positions at the School of Social and Political Sciences at the University of Sydney, at the Department of Global Health & Social Medicine at King’s College London, at the Centre de recherche en éthique (CRE), University of Montreal, Canada, and at the Centre for Health, Law, and Emerging Technologies (HeLEX) at the University of Oxford.",{"type":116,"attrs":5523,"content":5524},{"textAlign":34},[5525],{"text":5526,"type":107},"Her latest books are: Personalized Medicine: Empowered Patients in the 21st Century? (New York University Press, 2017), and The Pandemic Within: Policy Making for a Better World (with H. 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She has delivered plenary lectures and keynote presentations at numerous conferences such as SKOLL World Forum and TED Vancouver and exhibited Superflux’s work at MoMA New York, V&A Museum, Vitra Design Museum, Design Museum London, Venice Biennale, Museum of the Future, Dubai and the National Museum of China amongst others.",[5851],{"_uid":5852,"component":534,"propColor":5853,"propSubheadline":5856,"propPreviewImage":5857,"propPreviewVideo":5860,"propMakeTextWhite":37,"propDescriptionLong":5861,"propMetaInformation":5862,"propMetadescription":5865,"propDescriptionShort":21},"96bb8551-a230-471c-90d3-817a45f69e23",{"_uid":5854,"color":5855,"plugin":538},"12af1407-b1d9-4234-b3b4-755d62e5e851","#5265e0","Will Technology Fundamentally Change the Societal Role and Occupational Image of Designers?",{"id":5858,"alt":21,"name":21,"focus":34,"title":21,"filename":5859,"copyright":21,"fieldtype":124},5774593,"https://a.storyblok.com/f/98682/1920x3073/d9a1ff6d81/anab_jain_2021_markcocksedge.jpeg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124}," Gerald Bast in conversation with Anab Jain / Please note: this talk will be held in English",{"type":113,"content":5863},[5864],{"type":116},"Anab Jain, Gerald Bast, Café Exchange, die Angewandte, Angewandte Interdisciplinary Lab","2022-11-23 18:00","dialogues-for-tomorrow-Jain","program/dialogues-for-tomorrow-Jain",130,[],"5864649b-8bca-4380-91b8-39e1b00791eb","2022-05-25T11:53:13.000Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":5764,"etag":5877,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":59,"x-amz-cf-id":5878,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":5879,"x-runtime":5880,"x-xss-protection":68},"W/\"6465b29d67dc4f2a2c504be948269a07\"","BO5BilZ9bgehLRNubR86ru_CFSyVMg7wjF3pa5mwTbK5RTS8Vix3sQ==","d07c65af-993f-4dc2-a977-12e5358bc82f","0.030601",{"data":5882,"headers":6037},{"story":5883,"cv":43,"rels":6035,"links":6036},{"name":5884,"created_at":5885,"published_at":5886,"updated_at":5887,"id":5888,"uuid":5889,"content":5890,"slug":6028,"full_slug":6029,"sort_by_date":34,"position":6030,"tag_list":6031,"is_startpage":37,"parent_id":559,"meta_data":34,"group_id":6032,"first_published_at":6033,"release_id":34,"lang":41,"path":34,"alternates":6034,"default_full_slug":34,"translated_slugs":34},"Exhibition View: Sonic Sensibility ","2022-10-20T14:39:04.205Z","2023-01-30T11:31:38.610Z","2025-12-16T14:11:20.978Z",206824746,"4a60ce98-cb81-4195-bbc9-3c43e2484a37",{"_uid":5891,"component":106,"propCategory":1393,"propMainContent":5892,"propHeaderInformation":6004},"79975124-e980-4d87-8ae2-0f3032ba6ceb",[5893],{"_uid":5894,"component":111,"propCredits":5895,"propEntryInMainContent":5898},"642f7e39-ba6d-496b-bc71-6b31c037c078",{"type":113,"content":5896},[5897],{"type":116},[5899,5916,5922,5928,5933,5938,5950,5955,5960,5965,5979,5985,5990],{"_uid":5900,"component":128,"propRichtext":5901},"78aa9500-e3a2-4f5f-8cd0-5b7f40616c8b",{"type":113,"content":5902},[5903,5908,5912],{"type":132,"attrs":5904,"content":5905},{"level":2538},[5906],{"text":5907,"type":107},"Sound is never limited to a single place but penetrates bodies and space. An acoustic event always has a social dimension. Sound can be translated, communicated and collectively evaluated. ",{"type":116,"content":5909},[5910],{"text":5911,"type":107},"For Angewandte Festival 2022 AIL explored Sound from different point of views and presented a program of formats, this exhibition was part of it. ",{"type":116,"content":5913},[5914],{"text":5915,"type":107},"Curated by Elisabeth Falkensteiner",{"_uid":5917,"component":120,"propImage":5918,"propAltText":21,"propCaption":5921},"0a386152-09f1-4f0d-8fc6-0ebeb34a3643",{"id":5919,"alt":21,"name":21,"focus":34,"title":21,"filename":5920,"copyright":21,"fieldtype":124},7037178,"https://a.storyblok.com/f/98682/2048x1365/19999370da/20220630_leafabienne_day-2_sonic-sensibility-114.jpg","Photo: Lea Dörl",{"_uid":5923,"component":120,"propImage":5924,"propAltText":21,"propCaption":5927},"744d22ae-511f-4356-a184-1ac1d95f6feb",{"id":5925,"alt":34,"name":21,"focus":34,"title":34,"filename":5926,"copyright":34,"fieldtype":124},7037184,"https://a.storyblok.com/f/98682/1376x2064/7cd9784302/ndr-cas-001.jpg","Photo: Simon Veres",{"_uid":5929,"component":120,"propImage":5930,"propAltText":21,"propCaption":5927},"48ade4ee-3eac-4760-9ea7-9d0675489211",{"id":5931,"alt":34,"name":21,"focus":34,"title":34,"filename":5932,"copyright":34,"fieldtype":124},7037185,"https://a.storyblok.com/f/98682/1376x2064/6f9b7daa85/ndr-cas-010.jpg",{"_uid":5934,"component":120,"propImage":5935,"propAltText":21,"propCaption":5927},"53edf49c-4d3a-4905-9f9c-9feedb5bb12b",{"id":5936,"alt":34,"name":21,"focus":34,"title":34,"filename":5937,"copyright":34,"fieldtype":124},7037188,"https://a.storyblok.com/f/98682/1376x2064/42a59ea111/ndr-cas-046.jpg",{"_uid":5939,"component":128,"propRichtext":5940},"49752f56-ca52-485a-8e6a-97d1361c1b85",{"type":113,"content":5941},[5942],{"type":116,"content":5943},[5944,5948],{"text":5945,"type":107,"marks":5946},"Connecting Acoustic Spaces",[5947],{"type":162},{"text":5949,"type":107}," by Natalia Domínguez Rangel call into question our own acoustic actions and acoustic environment. Audio recordings from six different continents recorded during the Corona pandemic emanate from the glass objects.",{"_uid":5951,"component":120,"propImage":5952,"propAltText":21,"propCaption":5921},"170c4fb9-64e4-4321-89ad-0ef1f5da251d",{"id":5953,"alt":34,"name":21,"focus":34,"title":34,"filename":5954,"copyright":34,"fieldtype":124},7037173,"https://a.storyblok.com/f/98682/2048x1365/4fbb783052/20220628_leafabienne_day-1_sonic-sensibility-126.jpg",{"_uid":5956,"component":120,"propImage":5957,"propAltText":21,"propCaption":5921},"563734b1-d3bb-4e36-acdf-9d24a3e3d8e2",{"id":5958,"alt":34,"name":21,"focus":34,"title":34,"filename":5959,"copyright":34,"fieldtype":124},7037172,"https://a.storyblok.com/f/98682/1365x2048/61378515d8/20220628_leafabienne_day-1_sonic-sensibility-123.jpg",{"_uid":5961,"component":120,"propImage":5962,"propAltText":21,"propCaption":5921},"d3cc6554-de8d-4f47-a498-dd4037ab94fc",{"id":5963,"alt":34,"name":21,"focus":34,"title":34,"filename":5964,"copyright":34,"fieldtype":124},7037174,"https://a.storyblok.com/f/98682/2048x1365/69d5863fda/20220628_leafabienne_day-1_sonic-sensibility-135.jpg",{"_uid":5966,"component":128,"propRichtext":5967},"44fefb09-48aa-43fd-9a75-17cc9dc856cd",{"type":113,"content":5968},[5969],{"type":116,"content":5970},[5971,5973,5977],{"text":5972,"type":107},"The multimedia work ",{"text":5974,"type":107,"marks":5975},"RE:SONANZ",[5976],{"type":162},{"text":5978,"type":107}," represents a performative approach to polyphony by focusing on the act of listening. As a collective, the artists Leah Dorner, Maria Kanzler, Stella Krausz, Lena Michalik have developed an artistic position to scrutinize the economization of art and knowledge production, team work, friendship and care.",{"_uid":5980,"component":120,"propImage":5981,"propAltText":21,"propCaption":5984},"d4d7163d-043c-475e-9828-d3f1c49ce91e",{"id":5982,"alt":21,"name":21,"focus":34,"title":21,"filename":5983,"copyright":21,"fieldtype":124},7037156,"https://a.storyblok.com/f/98682/3000x2000/6b97565cf6/angewandtefestival2022_all-sonic-sensibility_003_foto_jorit_aust.jpg","Photo: Jorit Aust",{"_uid":5986,"component":120,"propImage":5987,"propAltText":21,"propCaption":5984},"3b9c6b91-5b16-4330-a221-486991a70b27",{"id":5988,"alt":21,"name":21,"focus":34,"title":21,"filename":5989,"copyright":21,"fieldtype":124},7037161,"https://a.storyblok.com/f/98682/3000x2000/5c88f5deb0/angewandtefestival2022_all-sonic-sensibility_004_foto_jorit_aust.jpg",{"_uid":5991,"component":128,"propRichtext":5992},"58805914-4b29-4134-af42-8846365faeb6",{"type":113,"content":5993},[5994],{"type":116,"content":5995},[5996,5998,6002],{"text":5997,"type":107},"In ",{"text":5999,"type":107,"marks":6000},"Para-Listening",[6001],{"type":162},{"text":6003,"type":107},", Ricarda Denzer analyzes and deepens the practice of listening through form-finding, both textually and spatially. The sound paper revolves around the understanding of learning and mediation as a sonic act, and also as a correlation of different sensory experiences.",[6005],{"_uid":6006,"component":534,"propColor":6007,"propSubheadline":6010,"propPreviewImage":6011,"propPreviewVideo":6014,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":6015,"propMetadescription":6026,"propDescriptionShort":6027},"b5fe287f-4269-4010-ae9f-89aef4f8ce3f",{"_uid":6008,"color":6009,"plugin":538},"a6adfec1-163e-482e-8d7e-d202930b75eb","#cea8ea","Critical Engagement in Sound – Part of Angewandte Festival, June 2022",{"id":6012,"alt":21,"name":21,"focus":34,"title":21,"filename":6013,"copyright":21,"fieldtype":124},7037309,"https://a.storyblok.com/f/98682/1920x2881/2436a99773/20220628_leafabienne_day-1_sonic-sensibility-123.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"type":113,"content":6016},[6017],{"type":116,"content":6018},[6019],{"text":6020,"type":107,"marks":6021},"Sonic Sensibility Program",[6022],{"type":152,"attrs":6023},{"href":6024,"uuid":6025,"anchor":34,"target":254,"linktype":255},"/explore/sonic-sensibility","bc7794a1-bbc7-4a67-806f-2a1ac0355831","Angewandte Festival, Sonic Sensibility, AIL, Angewandte Interdisciplinary Lab","About social dimension of sound and practices of listening","exhibition-view-sonic-sensibility","explore/exhibition-view-sonic-sensibility",-430,[],"5cf91f72-2273-4079-8717-f031b82cb457","2023-01-30T11:25:49.012Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":5764,"etag":6038,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":2169,"x-amz-cf-id":6039,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":6040,"x-runtime":6041,"x-xss-protection":68},"W/\"7661faa6e15f47cdfaf11218f6103f6f\"","2PmkHP6M9SIKucm5NNYycocD5Rn9Ox9MhsLgWLxkl7wlXClGC8xPNQ==","bfa16a47-5a79-46c7-8ef8-bb43bf015a16","0.032923",{"data":6043,"headers":6202},{"story":6044,"cv":43,"rels":6200,"links":6201},{"name":6045,"created_at":6046,"published_at":6047,"updated_at":6048,"id":6049,"uuid":6050,"content":6051,"slug":6193,"full_slug":6194,"sort_by_date":34,"position":6195,"tag_list":6196,"is_startpage":37,"parent_id":889,"meta_data":34,"group_id":6197,"first_published_at":6198,"release_id":34,"lang":41,"path":34,"alternates":6199,"default_full_slug":34,"translated_slugs":34},"Sonic Sensibility","2022-05-24T11:32:58.686Z","2026-01-13T13:56:58.260Z","2026-01-13T13:56:58.274Z",140238092,"3bbc8e5c-e89d-4ab6-83ff-de6b87a36ca7",{"_uid":6052,"component":703,"propDateEnd":6053,"propCategory":3971,"propIsOnline":37,"propDateStart":21,"propMainContent":6054,"propLocationLink":21,"propLocationName":21,"propHeaderInformation":6180,"propDateAndTimeOfOpening":6192},"8be7ac78-eedb-4ec9-83e6-02b342836ea9","2022-06-29 15:00",[6055],{"_uid":6056,"component":111,"propCredits":21,"propEntryInMainContent":6057},"094a1d4d-7449-4592-81c8-4a9b4142a640",[6058,6067,6072,6092,6114,6136,6153],{"_uid":6059,"component":128,"propRichtext":6060},"8129d929-12fb-41d5-ae01-932868a8d656",{"type":113,"content":6061},[6062],{"type":116,"attrs":6063,"content":6064},{"textAlign":34},[6065],{"text":6066,"type":107},"The panel discussion will focus on sound as a research instrument: How can situated hearing and acoustic thinking affect the things we do, and how can a feminist practice influence the composition process? What constitutes the materiality of sound, and how does a spatial analysis of sound change the human perception of time and space?",{"_uid":6068,"component":120,"propImage":6069,"propAltText":21,"propCaption":21},"61043637-118c-46ef-bdcc-1a0b091bf2e1",{"id":6070,"alt":21,"name":21,"focus":34,"title":21,"filename":6071,"copyright":21,"fieldtype":124},4943924,"https://a.storyblok.com/f/98682/1568x784/4befaa6633/bildschirmfoto-2022-05-25-um-10-15-51.png",{"_uid":6073,"component":128,"propRichtext":6074},"b5f253af-5b54-43c2-88cd-11f48db3529b",{"type":113,"content":6075},[6076,6084],{"type":116,"attrs":6077,"content":6078},{"textAlign":34},[6079],{"text":6080,"type":107,"marks":6081},"Discussion with Ricarda Denzer, Peter Kutin, Pia Palme and Karl Salzmann",[6082],{"type":140,"attrs":6083},{"class":142},{"type":116,"attrs":6085,"content":6086},{"textAlign":34},[6087],{"text":6088,"type":107,"marks":6089},"Moderation by Elisabeth Falkensteiner",[6090],{"type":140,"attrs":6091},{"class":142},{"_uid":6093,"component":128,"propRichtext":6094},"4a9e25fa-0153-40b3-b263-7ce0f7abf541",{"type":113,"content":6095},[6096,6104,6109],{"type":132,"attrs":6097,"content":6098},{"level":134,"textAlign":34},[6099],{"text":6100,"type":107,"marks":6101},"Ricarda Denzer",[6102],{"type":140,"attrs":6103},{"class":142},{"type":116,"attrs":6105,"content":6106},{"textAlign":34},[6107],{"text":6108,"type":107},"studied architecture in Innsbruck and visual arts at the University of Applied Arts in Vienna where she was member of the TransArts directorial team (2013-2018), currently involved in the Angewandte Performance Lab and Senior Lecturer at the Department of Art and Communication Practices. ",{"type":116,"attrs":6110,"content":6111},{"textAlign":34},[6112],{"text":6113,"type":107},"Her cross-media works - audio-visual research spaces - combine video, text, photography, audio pieces, drawings, objects, installations, editorial and curatorial work. Most recently, she realised the Sounding Research Listening Session #1, University of Applied Arts, Vienna (2022), edited the eJournal #13 of the ZHDK Zürich (with Jo Schmeiser, 2016), curated the art project About the House and edited the books Perplexities (Revolver 2013) and Silence Turned Into Objects (edition NÖ, 2014). Her most recent solo exhibitions were at Kunstraum Lakeside (2019) and at Neue Galerie Innsbruck (2018). Currently Denzer is involved in the project Communities in Movement (KMD Bergen, August 2022); She is a member of the board of the Vienna Secession since 2019. Ricarda Denzer lives and works in Vienna.",{"_uid":6115,"component":128,"propRichtext":6116},"930a4749-1e63-40bb-ad93-3a6fb26828ed",{"type":113,"content":6117},[6118,6126,6131],{"type":132,"attrs":6119,"content":6120},{"level":134,"textAlign":34},[6121],{"text":6122,"type":107,"marks":6123},"Peter Kutin",[6124],{"type":140,"attrs":6125},{"class":142},{"type":116,"attrs":6127,"content":6128},{"textAlign":34},[6129],{"text":6130,"type":107},"His artistic output has been exhibited, commissioned, performed, screened or discussed at various notable occasions and venues across the globe. He has composed music and developed sonic-environments for film, theatre, performance, ensembles, contemporary dance, and multimedia-works. ",{"type":116,"attrs":6132,"content":6133},{"textAlign":34},[6134],{"text":6135,"type":107},"His interest in moving image expands beyond music, having also written and directed a series of experimental short films and radioplays. He received several awards & scholarships: For the composition Desert Bloom, a cooperation with the german composer and pioneer of sound-art Christina Kubisch & Kutin's long time collaborator Florian Kindlinger, the trio received the prestigious Karl-Szucka award in 2016. In 2019 he was praised with the Prix Ars-Elctronica for the kinetic sound-sculpture Torso#1. Kutin’s music and art has been described as ’undeniably effective’ (The Wire Magazine), and ’not only good but important’ (A closer listen). He is a founding member of the label Ventil-Records, Velak (platform for experimental music) and the RealDeal Festival.",{"_uid":6137,"component":128,"propRichtext":6138},"4584cbf8-5a11-4867-806c-04bf80560b7f",{"type":113,"content":6139},[6140,6148],{"type":132,"attrs":6141,"content":6142},{"level":134,"textAlign":34},[6143],{"text":6144,"type":107,"marks":6145},"Pia Palme",[6146],{"type":140,"attrs":6147},{"class":142},{"type":116,"attrs":6149,"content":6150},{"textAlign":34},[6151],{"text":6152,"type":107},"is a composer and artistic researcher from Vienna, Austria, with a focus on experimental music theatre. Known for her interdisciplinary formats, her practice often involves interactions with electronic music, writing texts, and visual art. The backbone of her work is the physicality of performance, a theme she regularly and personally revisits as a musician with her bass recorders. Since 2019 she directs the comprehensive artistic research project ‘On the Fragility of Sounds’ funded by the Austrian Science Fund FWF at the University of Music and Performing Arts Graz, Austria, where she explores alternative forms of music theatre and composition as feminist practices. The project ends in mid-2021. In her music and research, she regularly collaborates with the theatre scholar Dr. Irene Lehmann, musicologist Christina Lessiak, ensembles such as Airborne Extended, Phace (Vienna), and Schallfeld (Graz), with singers Juliet Fraser, Anna Clare Hauf and Annette Schönmüller, as well as with harpsichord soloist Sonja Leipold, the specialist in historical oboe instruments Molly McDolan and the dancer Paola Bianchi.",{"_uid":6154,"component":128,"propRichtext":6155},"e1407e12-4f65-4438-a7bd-f135d36d545c",{"type":113,"content":6156},[6157,6165,6170,6175],{"type":132,"attrs":6158,"content":6159},{"level":134,"textAlign":34},[6160],{"text":6161,"type":107,"marks":6162},"Karl Salzmann",[6163],{"type":140,"attrs":6164},{"class":142},{"type":116,"attrs":6166,"content":6167},{"textAlign":34},[6168],{"text":6169,"type":107},"is an artist, curator and researcher using sound within performance, concept and installation art. Within process-oriented and experimental setups, he develops and presents works that study the materiality of sound and its social, cultural and metaphorical levels of meaning. His artistic activities mainly concern the interaction between sound and visual arts and often relate to works and topics of (sound) art history.",{"type":116,"attrs":6171,"content":6172},{"textAlign":34},[6173],{"text":6174,"type":107},"He was teaching at the University of Applied Arts in Vienna, the University of Applied Sciences in St. Pölten as well as HDPK - Hochschule der populären Künste Berlin, was the founder and artistic director of the Soundart Festival Klangkunsttage and Co-Founder of Zentrale – Raum für Klang- und Prozesskunst (2016-2019).",{"type":116,"attrs":6176,"content":6177},{"textAlign":34},[6178],{"text":6179,"type":107},"Solo exhibitions (among others) at ACFNY New York (2017), Kunsthaus Graz (2013) & Kunsthalle Bratislava (2014). Prizes: 2017 Erste Bank Art Prize, 2019 Austrian State Scholarship for Media Art. 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Ebhart performing Beuma, with gadgets and in costume, audience applauding",{"_uid":6421,"component":128,"propRichtext":6422},"05ec129c-587c-4e82-8f76-7592538bb129",{"type":113,"content":6423},[6424,6428,6438],{"type":116,"content":6425},[6426],{"text":6427,"type":107},"Paul Ebhart – BEUMA",{"type":116,"content":6429},[6430,6432,6436],{"text":6431,"type":107},"With ",{"text":6433,"type":107,"marks":6434},"BEUMA",[6435],{"type":162},{"text":6437,"type":107},", Paul Ebhart stages the story of a sound researcher who investigates and documents the sonic environment in search of the origin of a creature that is believed to be real. He scours various locations and finds different receivers, through which he captures the noises and sounds. As a kind of intermediary, the scientist sees himself as an explorer of another reality beyond the human one. He is utterly convinced that there is more to be found than what we humans are capable of perceiving.",{"type":116,"content":6439},[6440,6442,6445],{"text":6441,"type":107},"In his piece ",{"text":6433,"type":107,"marks":6443},[6444],{"type":162},{"text":6446,"type":107},", Paul Ebhart explores the question of what sonic reality surrounds us and what we perceive as such. 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",{"_uid":7255,"component":120,"propImage":7256,"propAltText":21,"propCaption":21},"670ae461-f60a-4eed-aadd-b87a4f3695ef",{"id":6962,"alt":21,"name":21,"focus":34,"title":21,"filename":6963,"copyright":21,"fieldtype":124},{"_uid":7258,"component":128,"propRichtext":7259},"49b79b6e-fd2d-43bb-b503-ca08af2ef3a0",{"type":113,"content":7260},[7261],{"type":116,"content":7262},[7263],{"text":7264,"type":107,"marks":7265},"Natalia Domínguez Rangel (NL/CO)is composer/sound artist living and working between Vienna and Amsterdam. Her work has been connected with architecture, acoustics, technology and nature. 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Angélica Castelló met biologist and bioacoustics researcher Heike Vester, who founded the organization Ocean Sounds, which is dedicated to the research of marine mammals and the protection of the marine environment. The vibrations, caused by underwater detonations of the expanding oil industry, that are reflected back provide information to map the location, density, shape and composition of the rock layers, but they are also a massive intervention in the natural sound world of aquatic life.",[7342],{"type":140,"attrs":7343},{"class":21},{"type":853,"marks":7345},[7346],{"type":140,"attrs":7347},{"class":21},{"text":7349,"type":107,"marks":7350},"With “sonic blue”, the musician creates her own imaginary underwater world that immerses the audience into the great sea of sound produced by her subgreatbass recorder, Castelló’s main instrument. The composition process of this piece is an examination of the profound in yet another respect, for to Angélica Castelló the sea also symbolizes the subconscious. ",[7351],{"type":140,"attrs":7352},{"class":21},{"type":853,"marks":7354},[7355],{"type":140,"attrs":7356},{"class":21},{"text":7358,"type":107,"marks":7359},"In 2014, “Sonic Blue” won the Outstanding Artist Award – Interdisciplinarity from the Austrian Federal Ministry for the Arts and Culture",[7360],{"type":140,"attrs":7361},{"class":21},{"_uid":7363,"component":120,"propImage":7364,"propAltText":7367,"propCaption":7368},"58ee3796-5334-4062-b8c7-67f0d761a7b2",{"id":7365,"alt":21,"name":21,"focus":34,"title":21,"filename":7366,"copyright":21,"fieldtype":124},3197878,"https://a.storyblok.com/f/98682/1024x768/36bb8a508d/sea.jpg","Water Surface, Ocean","Foto: A. Castelló",{"_uid":7370,"component":128,"propRichtext":7371},"0d5e616a-5db5-4adc-a233-06cf9182f3c9",{"type":113,"content":7372},[7373,7386],{"type":116,"content":7374},[7375,7381],{"text":7376,"type":107,"marks":7377},"Angélica Castelló ",[7378,7379],{"type":162},{"type":140,"attrs":7380},{"class":21},{"text":7382,"type":107,"marks":7383},"is a composer and Sound Artist. Her sound work and compositions concentrates on fragility, dreamworld and the subconscious. Performs continuously solo or in cooperations everywhere between Mexico City and Vienna. Numerous compositions for ensembles, radio works as well as installations that operate at the interface of music, performance and visual arts. Several releases on labels like Interstellar records, Mikroton recordings, Monotype records, Mosz, chamafu nocords, Orlando Records, einklang_records, Mandorla Label, Thalamos, upside down records.",[7384],{"type":140,"attrs":7385},{"class":21},{"type":116},{"_uid":7388,"component":128,"propRichtext":7389},"c465e673-127c-4358-9a47-43b70cf908ff",{"type":113,"content":7390},[7391],{"type":132,"attrs":7392,"content":7393},{"level":134,"textAlign":34},[7394],{"text":7395,"type":107,"marks":7396},"Carsmemory – Christian Schröder",[7397],{"type":140,"attrs":7398},{"class":142},{"_uid":7400,"component":128,"propRichtext":7401},"431619b7-4255-4997-bb7c-7e83a202b9c5",{"type":113,"content":7402},[7403],{"type":116,"attrs":7404,"content":7405},{"textAlign":34},[7406],{"text":7407,"type":107},"Christian Schröder brings together field recordings of isolated cars at night and digital noise bursts simulating rain. The digitally generated drop sound depicts nature in its hyper-realistic and spatial dimension. The stereo field recordings of the lonely vehicles are collaged into unreal intersections in the 4-channel setup at the Kassenhalle.",{"_uid":7409,"component":120,"propImage":7410,"propAltText":7413,"propCaption":7414},"6540f603-6668-4a1e-bb66-06255b01f74f",{"id":7411,"alt":21,"name":21,"focus":34,"title":21,"filename":7412,"copyright":21,"fieldtype":124},3197254,"https://a.storyblok.com/f/98682/320x181/e1ae9476a3/tnz_b.jpeg","Christian Schöder blowing air intensely","Foto: C. Schröder",{"_uid":7416,"component":128,"propRichtext":7417},"03f0afe3-8613-4a1d-956a-6e199c0460f0",{"type":113,"content":7418},[7419],{"type":116,"attrs":7420,"content":7421},{"textAlign":34},[7422],{"text":7423,"type":107},"Christian Schröder makes sound and composition tangible and expands them in different media. Since studying sound and media art, composition, electronic music and conceptual art, he has been interested in interdisciplinarity. He works as a sound artist in the visual arts and as a composer and musician in the performing arts. In addition to solo performances, in which algorithmic compositions and improvisations are often used, he often collaborates with artists from different disciplines.",{"_uid":7425,"component":128,"propRichtext":7426},"b59a8dbb-6f78-42a9-82d1-dc8fde8fb9f7",{"type":113,"content":7427},[7428],{"type":116,"attrs":7429,"content":7430},{"textAlign":34},[7431],{"text":7432,"type":107},"The series of sound interventions at the Otto Wagner Kassenhalle explores the concept of living matter and questions the notion of nature. 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Nuclear wars and animal extinction. ",{"type":116,"attrs":7552,"content":7553},{"textAlign":34},[7554],{"text":7555,"type":107},"Fanta-sociology and Mars. “Music for Androids and Sheeps” is inspired by Anna Tsing's and Donna J. Haraway's concept of Plantationocene and by the dystopias highlighted in Philipp K. Dick's novel “Do Androids dream of electric Sheep”.",{"_uid":7557,"component":128,"propRichtext":7558},"5b1502f5-b6f1-40a4-9a89-184203d1d751",{"type":113,"content":7559},[7560,7564],{"type":116,"content":7561},[7562],{"text":7563,"type":107},"Isabella Forciniti is a Vienna based sound artist from Italy. Her work maneuvers within tensions evoked by the substantial aspects of sound and improvised music. Her intention is to explore deliberate states of sounds through examining relationships among interwoven sound surroundings, informal practice as well as their intrinsic abilities. Her work thrives to release streams of thoughts at the margins of the unknown.",{"type":116,"content":7565},[7566],{"text":6346,"type":107,"marks":7567},[7568],{"type":152,"attrs":7569},{"href":7570,"uuid":34,"anchor":34,"target":34,"linktype":155},"https://isabella.klingt.org/about",{"_uid":7572,"component":120,"propImage":7573,"propAltText":21,"propCaption":7576},"89adcd3d-526d-4b0a-90bd-51d87be65e7b",{"id":7574,"alt":21,"name":21,"focus":34,"title":21,"filename":7575,"copyright":21,"fieldtype":124},5809768,"https://a.storyblok.com/f/98682/623x831/5da1abe331/foto-benjamin-ail-foto-credit-marlene-a-schenk.jpg","Credit: Marlene Schenk",{"_uid":7578,"component":128,"propRichtext":7579},"029505a0-a19f-41ed-bb93-1ad9d0d58476",{"type":113,"content":7580},[7581,7589],{"type":132,"attrs":7582,"content":7583},{"level":134,"textAlign":34},[7584],{"text":7585,"type":107,"marks":7586},"Benjamin Tomasi",[7587],{"type":140,"attrs":7588},{"class":142},{"type":116,"attrs":7590},{"textAlign":34},{"_uid":7592,"component":128,"propRichtext":7593},"90d87a0c-c896-44d6-b9cb-87bcb896d395",{"type":113,"content":7594},[7595,7603,7608,7613],{"type":116,"attrs":7596,"content":7597},{"textAlign":34},[7598],{"text":7599,"type":107,"marks":7600},"Gentle Breeze",[7601],{"type":140,"attrs":7602},{"class":142},{"type":116,"attrs":7604,"content":7605},{"textAlign":34},[7606],{"text":7607,"type":107},"With the project \"gentle breeze\", Benjamin Tomasi deals with the sonic qualities of weather phenomena and their acoustic simulation. Kinetic sculptures form the starting point for an acoustic meditation on a fictitious course of the weather.",{"type":116,"attrs":7609,"content":7610},{"textAlign":34},[7611],{"text":7612,"type":107},"The sounds of weather phenomena are not taken from the \"real\" world but are acoustically recreated. ",{"type":116,"attrs":7614,"content":7615},{"textAlign":34},[7616],{"text":7617,"type":107},"This synthesized sound, however, is triggered by real objects that are driven by the respective natural phenomena. The perfect mimetic quality of the sounds plays a minor role. The focus is rather on the interplay between the synthetic and natural-sounding parts of the sound material.",{"_uid":7619,"component":128,"propRichtext":7620},"0e295abf-2265-4086-b2cd-0adc2c1b94e6",{"type":113,"content":7621},[7622,7626],{"type":116,"content":7623},[7624],{"text":7625,"type":107},"Benjamin Tomasi works as an artist between and within the categories of sound art/ composition/performance and visual art.",{"type":116,"content":7627},[7628],{"text":6346,"type":107,"marks":7629},[7630],{"type":152,"attrs":7631},{"href":7632,"uuid":34,"anchor":34,"target":34,"linktype":155},"http://www.benjamintomasi.com/",[7634],{"_uid":7635,"component":534,"propColor":7636,"propSubheadline":7639,"propPreviewImage":7640,"propPreviewVideo":7643,"propMakeTextWhite":37,"propDescriptionLong":21,"propMetaInformation":7644,"propMetadescription":21,"propDescriptionShort":7656},"72002528-ced0-455d-927e-05b5ecdfce62",{"_uid":7637,"color":7638,"plugin":538},"f7156e1e-97b5-445c-ae99-ebdfc753d5f4","#8BE052","Live Performances by Isabella Forciniti & Benjamin Tomasi",{"id":7641,"alt":21,"name":21,"focus":34,"title":21,"filename":7642,"copyright":21,"fieldtype":124},5806838,"https://a.storyblok.com/f/98682/1920x2877/640e9fa931/soundsofliving_flyer_credit_tomasi.jpg",{"id":34,"alt":34,"name":21,"focus":34,"title":34,"filename":21,"copyright":34,"fieldtype":124},{"type":113,"content":7645},[7646],{"type":116,"content":7647},[7648,7650],{"text":7649,"type":107},"More info about the series see ",{"text":7651,"type":107,"marks":7652},"here",[7653],{"type":152,"attrs":7654},{"href":7655,"uuid":34,"anchor":34,"target":34,"linktype":155},"https://ail.angewandte.at/explore/sounds-of-the-living","Using the acoustics of Otto Wagner's Kassenhalle, the series of sound interventions at Café Exchange explores the concept of living matter and nature.","2022-10-20 17:00","sounds-of-the-living-v","program/sounds-of-the-living-v",[],"d3d7e30d-a30d-4212-b754-237ca2d20c54","2022-09-15T14:09:05.405Z",[],[],[],{"cache-control":48,"connection":49,"content-encoding":50,"content-type":51,"date":7192,"etag":7667,"referrer-policy":54,"sb-be-version":55,"server":56,"transfer-encoding":57,"vary":58,"via":1059,"x-amz-cf-id":7668,"x-amz-cf-pop":61,"x-cache":570,"x-content-type-options":63,"x-frame-options":64,"x-permitted-cross-domain-policies":65,"x-request-id":7669,"x-runtime":7670,"x-xss-protection":68},"W/\"16c08035edd0511ad0a23bdc697fc19d\"","A3JX2vc4h1MJyTEsO_Tr2tcJhXf0zF36sSUwHJwY-j3CiAwgFBX-Gw==","e632d9b9-fe48-4166-ad0a-b5c4fea31c42","0.033172",1779371546055]