In our online archive you can find materials from more than 30 years of transmediale. Browse through 12,000 artworks, events, past participants and collaborators, and texts to explore our festival history.
The 9th issue of the open-access journal APRJA under the title Research Networks is out now! It is a result of our ongoing collaboration with Aarhus University as part of which we annually organize a research/PhD workshop related to our festival themes. Read more.
Transformation is not necessarily a revolution. It is not a violent and total break with the present, but rather a process of change that reinforces, expands, and unfolds approaches that already exist. Read more.
Former artistic director Kristoffer Gansing reflects on the 2020 edition of transmediale in times of social distancing and cultural shutdown.
Through their seven theses, Aymeric Mansoux and Roel Roscam Abbing scrutinize federated networks as one of the most significant recent developments in alternative network cultures. The authors discuss how, in what they call the ‘latest episode of the never-ending saga of net and computational culture’, the emergence of federated network initiatives is challenging the established working methodologies of FLOSS (Free/Libre and Open-Source Software). This concerns critical questions on selective online presence, precarious communities, platform independent and co-developed platform infrastructures, and environmental sustainability. For Mansoux and Roscam Abbing, this opens up new ways to accomplish crucial links between independent media and the structures of owning, building, and maintaining networks.
Former artistic director Kristoffer Gansing takes up a new position at the International Center for Knowledge in the Arts. Read the full announcement here.
We have published a tender for the relaunch of our website. Find all the information here.
In the conversation Everything We Build, Lorena Juan talks to Aay Liparoto about the queer-feminist wiki platform Not Found On, which Liparoto initiated in 2019. The collaborative platform constitutes a rethinking, from an intersectional perspective, of the way that collective and open-source projects and knowledge resources are conducted and cared for. Offering a web service that is closed to the general public, Liparoto and their collaborators attempt to create the online equivalent of a ‘safe space’, for individuals (or dividuals) and communities that, due to their precarious social status, do not necessarily want to be exposed on so-called open and participatory mainstream platforms. Recalling Flavia Dzodan’s cry, ‘My feminism will be intersectional or it will be bullshit!’, it is possible to see this project as a modification of earlier cyberfeminist practices, adapting them to a post-digital public reality which is characterized both by higher LGBTQIA+ visibility, and an alarming rise in hate speech and hate crimes in the wake of right-wing politics.
Would you like to be part of the upcoming transmediale edition? We are now looking for support in our communications and administration teams. You can find more information about all open positions here.
During the development of the transmediale 2020 exhibition The Eternal Network, curator Kristoffer Gansing gathered the curatorial advisors of the show for a conversation on the status of network culture and theory today. Starting from the question ‘What was the network?’, the initial impulse was to see what it could mean to historicize networks today, looking back at more than 30 years of actually existing network culture, including the critical net culture of the 1990s. From this the conversation moved on to discuss the limits of networks today, taking in mind how the promise of the network has more tangible limitations in the contemporary situation, often characterized by a backlash against the Internet and social media platforms. Finally, the persisting potential of networks for critical and independent cultural practices, also in this contemporary situation was related to today’s widespread digitalization, with its data-centric platform economy and the techno-cultural changes wrought by artificial intelligence.
The conversation took place at the transmediale offices in Berlin on August 23, 2019.
The artist and designer Luiza Prado de O. Martin was the recipient of the transmediale Vilém Flusser Residency Program for Artistic Research in 2019. With her project Councils of the Pluriversal she set out to work across local communities in Brazil and Berlin, addressing the oppressive politics of scarcity within the global response to climate change and how this impacts marginalized groups. In this contribution, whose title quotes Subcomandante Marcos of the Zapatista movement, Prado’s call for pluriversal practices of care seems especially relevant and challenging in these post-pandemic times. Not the scarcity and “death cult” impeded by the biopolitical control of capitalism could be our central concern, but this idea of a stable center could be decolonized and destabilized by the ongoing practices of many worlds that already coexist alongside each other: “other worlds where abundance—of time, generosity, affection, patience—is possible."
The PhD workshop Research Networks took place in response to the theme of transmediale 2020 End to End and focused on the pervasiveness of networks and their limits in the present and future.
We are pleased to announce Pete Jiadong Qiang as Vilém Flusser Resident 2020: their multi-reality project Hyperbody explores the potential of game engine technologies as an emergent space for queer world-making
For the residency, Qiang will continue to develop his research in Berlin, conducting ethnographic studies of clubs, public spaces and queer communities.
Johanna Bruckner’s text is a speculative proposal for new types of interspecies sexuality and subjectivity that could take us beyond oppressive binaries, based on her work Molecular Sex which is featured in the transmediale 2020 group exhibition The Eternal Network at Haus der Kulturen der Welt. Just as quantum computing promises a world of networks in which ones and zeroes simultaneously coexist with one another, Bruckner’s artwork describes a fictive future sexbot that is seemingly able to freely mutate from one state of being to another. Taking its cue from a sea creature called the “brittle star,” this bot is a portrait of social, technological, and bio-chemical entanglements, as they exist in (non)human networks, after the impact of phenomena such as micro-plastics. Following the writings of Karen Barad, the project asks how the molecularization and indeterminacy of being, today, might inform queer and hybrid futures better tooled to deal with current technological, political and ecological changes.