Deconstructional Excercises December Edition.

 Dancing Backwards in Time 

 

What is an image, if not just material, visual information on a two-dimensional background? Images are, above all, an experience whose content exceeds the actual sensory stimulus.

WIP Ann Schomburg overdone

Lost in translation, I wander through time, space, and abstraction. I Travel places, meet people, and enjoy their company. I capture and get captured, and sometimes I get something that makes me stumble, slide, and fall. It's all right; it's giving me new perspectives.

I got an image from an event that was highly edited. My first thought: Dang boi- If you give me a list of the changes you made to my body and me and link them to surgery, that would be quite a promotional stunt- that could work out just fine!

This approach emphasizes the notion of discovering profound significance beyond the surface level, working together to create an image between my art and the observer. It is an image of the rumor that I convey and the interpretation that you make of it. This is very similar to my previous works, where I used gold to conceal stories and truths beneath the glittering exteriors of the images."The approach I use involves finding deeper meanings behind the surface. It's a collaborative effort between my work and the viewer to create an image. The image represents the rumor I tell and what your mind makes of it. This is similar to my previous works where I covered images with gold to hide stories and truths beneath their shiny facades."

Detail: Ann Schomburg Low Budget Romance, shown Gallery Art von Frei. 2015

As my counterpart to the realities created on social media at its peak, we now have AI social media influencers.

Perfectly makes sense- we already had chatbots on dating websites for decades…. emotional support friends based on AI. Flooded by images and socialized on all social networks, it is lonely when the day is done.

Warnings that people compete against these beauty standards sometimes make me feel that instead of this censorship, we should focus more on educating people to come up with their ideas away from being the best fit into arriving at a more self-conscious attitude. I also wonder how many people desperately teach self-love to stop hating themselves. How many people do you have to save until you forgive yourself for being you?

Ann Schomburg Overdone, 2023 30x30cm

Time to travel backward in time together. Flashback!

When everyday life started to be locked away in isolation, I started a process of deconstructing images—taking the visual surface and bringing it back to its code to create a new surface.

With this method, I translate images into a series of numbers and letters, essentially encoding the visual information into a textual format. This text directly represents the image in code and is repeatedly overlaid onto the original image. As I layer this coded text over the image, the visuals gradually become concealed, transforming into an abstract composition.

This artistic process behind this repetitive and meditational gesture is my reflection on the digital age we live in, where information is often encoded, and the true essence of things can be hidden behind layers of data. The final abstract images represent how original meanings or appearances can be transformed and lost in digital translation. It's my commentary on the intersection of technology and art, showing how the digital world can reveal and conceal realities.

 

Ann Schoburg Portrait: Haus der Statistik A

Ann Schoburg Portrait: Haus der Statistik A

In 2020, my network, Saloon, organized a printing exhibit concerning "action printing" in collaboration with the gold Rausch program at Haus der Statistik. A remarkable place:

The Haus der Statistik Project is an innovative and community-oriented redevelopment project in Berlin. Located close to Alexander Platz, the Haus der Statistik has stood empty for over a decade. This model project aims to transform the area into a vibrant mixed-use space that interweaves living and working areas, cultural and social facilities, and administrative offices. The redevelopment of the Haus der Statistik is envisioned as a holistic urban project, combining affordable housing, art, culture, education, and a new town hall for Berlin-Mitte. Acquired by Berlin in 2017, the project is remarkable for its alternative approach to urban development and has garnered international interest for its unique integration of diverse urban functions. I was showing a deconstructed portrait of the place.

VoidTime- A collective memory

A Cameleon shape-shifting between collective installation and its exhibition.

As most people understand and experience it, time is linear; it has a past, present, and future. However, certain philosophical, spiritual, and scientific theories challenge this conventional perspective, suggesting that time may be cyclical or even multi-dimensional.

Artistic journeys often mirror these complexities of time. Artists embark on unique paths, shaped by their past experiences, current perceptions, and future aspirations. The work "Void Time" delves deep into this intricate relationship between time and artistic evolution, probing the foundational moments when artists first recognized their creations as "art."

Interestingly, the first conscious foray into art often sets the tone for an artist's subsequent oeuvre. For some, that debut remains a landmark, unmatched in its vigor and novelty. Others might find their initial explorations a steppingstone, evolving but retaining core themes throughout their careers. Yet, a few might divert drastically, with their beginnings bearing little resemblance to their later works.

The introspective question, "Am I important enough for someone interested in my beginnings?" is universal, transcending artistic realms. At some point, everyone ponders their origins' significance and value. In art, as in life, beginnings hold profound weight, for they encapsulate a creator's raw, unfiltered essence, untouched by external influences or self-imposed restrictions.

The very act of questioning and exploring such themes reaffirms the non-linear nature of personal and artistic journeys, suggesting that while time might be linear, our experiences within it are anything but.

So many times, I heard the question: Am I important enough that someone cares about my origin?

"...am I important enough?" underscores a deep-seated human desire for validation and recognition. In the realm of art, where expression is often intimate and vulnerable, this quest for acknowledgment becomes even more pronounced. Artists, despite their external show of confidence, frequently grapple with self-doubt and seek external validation for their work and worth.

Yet, this critical self-reflection, this ongoing internal dialogue, adds layers of depth and authenticity to their creations. It is a trait common among many profound thinkers and creators. Such introspection and genuine passion often give birth to the most resonant and timeless works of art. I saw this in so many people I cherish and admire.

 

Imagine art has its own value within itself. This value isn't always quantifiable, nor should it be. By emphasizing the intrinsic worth of art and artists, devoid of exploitative logic, you're nurturing an environment where art can flourish, unburdened by commercial expectations or societal constraints.

 

The decision to protect artists and their creations from the pervasive demands of commercialization speaks volumes, especially in this era dominated by rapid consumerism and profit motives, which was my original reason for starting the Idling Gallery.

A noncommercial pop-up gallery shows up where it's needed. No one will save us if we do not save ourselves and create our own healthy environment. Such an environment can only be temporary in this world, but it not only offers artists a sanctuary for unhindered expression but also safeguards their works from the influence of external pressures in this moment. 

Artist:

´

Floor plan

or  the individuals

pirouettes en dehors curated by Julia Brodauf

Stills: Ann Schomburg: Dancing With the Skunk 2012

Ann Schomburg, Künstlerin mit Schwerpunkt Performance,

untersucht mit ganzem Geist- und Körpereinsatz

die Kommunikationsstrukturen zwischen

den Geschlechtern und dokumentiert dies filmisch und

fotografisch, es treten auf: Ein Stinktier und eine

multiple Domina. Ann Schomburg, Künstlerin mit

Schwerpunkt Performance, untersucht mit ganzem

Geist- und Körpereinsatz die Kommunikationsstrukturen

zwischen den Geschlechtern und dokumentiert

dies filmisch und fotografisch, es treten auf: Ein

Stinktier und eine multiple Domina.

Julia Brodauf

Dancing With The Skunk (2013)

 

Rasende Liebe verkennt häufig die Realität der von ihr begehrten Objekte. Sie projiziert die Notwendigkeiten des eigenen Begehrens auf einen fremden Körper. So ergeht es Sexualpartnern wie auch Haustieren. Die Bilderserie »Dancing with the skunk« basiert auf den Drohgebährden eines Stinktiers. Als Schomburg nach einem jahrelangen Besitz von Frettchen eine Allergie entwickelte, stieg sie auf ein Stinktier um, welches eine ähnliche Körperform besitzt. Leider wandte sich das neue Haustier der Künstlerin vor allem mit dem Hintern zu. Beide mussten sich wieder trennen. Während einer nostalgischen YouTube-Suche begegnete Schomburg eine Reihe von TierbesitzerInnen, die das stressbedingte Droh- und Abwehrverhalten ihrer Tiere vielmehr als amüsante und liebenswerte Eigenart verstehenverstanden. In einer Performancestudie kleidete sich Schomburg daraufhin mit einem Burleske-Kostüm und vollzog die Bewegungen ihres Stinktiers schrittweise nach.

 

 

Raging Burning love often misjudges the reality of the its objects it of desires. She It projects the necessityies of her its own desire onto a foreign body. This is what happens to sexual partners as well as to pets. The picture series "Dancing with the skunk" is based on the threatening buildings gestures of a skunks. After years of owning ferrets, When Schomburg developed an allergy after years of owning ferrets, she and therefore switched to a pet skunk with a similar body size and shape. Unfortunately, the new pet mainly turned its butt to the artist. mainly with her butt. Both had to separate again. During a nostalgic YouTube search, Schomburg met encountered a number of animal owners who understood the stress-related threat and defensive behaviour of their animals as an amusing and endearing peculiarity. In a performance study, Schomburg then dressed herself in a burlesque costume and gradually followed mimicked the movements of her skunk.

Stills: Ann Schomburg: Chat. 2020

 

Bring in Weight Maribor

Lecture Journey with Bring in Weight, last Performance lecture before the Locdown:

warm up for the lecture 

Projektsite:

Project Bring in Weight

PODCASTing

Bring in Weight 5.-7. Dezember!!!!

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Bring in weight conference 7 hours berlin

Liebe  Leute,

hiermit möchten wir euch auf das Performance-Kunst-Theorie-Projekt               BRING in WEIGHT, a Critique on Populism  aufmerksam machen,  das vom 5. bis 7. Dezember im „7hours“ stattfindet  (Campus Humboldt-Univ. Reinhardtstraße 18-20, Eingang neben Sammlung Boros / U-Oranienburger Tor).

Dieses Themenprojekt ist der künstlerischen und akademischen Kritik am Populismus gewidmet. Wir starten in Berlin, entwickeln die Thematik weiter arbeiten Februar im GT22 in Maribor (SVN, Anfang April im KunstPavillon in München, und Mitte Juni im Kunstraum Walcheturm Zürich. Es würde uns freuen wenn ihr dieses plural agierende performative Kunst-Theorie-Projekt besuchen würdet. Ein Projekt, welches eine verantwortungsvolle menschliche (humane) Weiterentwicklung vor allem in der Annahme und Entwicklung von Human-Diversität sieht. Wir denken, dass sich gerade dadurch neue Formen von Empathie  und Sensitivität entwickeln (also auch neues Gewebe/ lese: Strukturen). Hier unten eine kurze Einführung und im Anhang ein pdf welches die detaillierte berliner Programmabende darstellt.. Mit Dank für euer Interesse!

Info: Künstler* & Theoretiker*innen treffen sich um ihre Sicht betr. der Populismus Thematik den Kolleg*innen vorzustellen, um Diskussionen und Dialoge zu stimulieren. Wir zeigen, wie unsere TeilnehmerInnen individuell die Welt wahrnehmen, welchen Einfluss diese nimmt, und wie sie diese Informationen in ihre Werke einfliessen lassen. Es ist, wie einer der Teilnehmer sagt: „Ein Virus geht um, und Bewusstseinsschärfung soll als Gegengift fungieren.“ Dies geschieht in einem Setting, in dem äußerst unterschiedliche Ansätze aufeinandertreffen, um – auch im Austausch mit dem jeweiligen Publikum - dann hoffentlich über den Verlauf der Events zu tieferen Einsichten zu führen.  

In Kurzvorträge bringen Künstler* und Akademiker*innen eine Vielfalt an Sichtweisen ein: Der Begriff „Populismus“ wird auf seine Bedeutung untersucht, etwa anhand von Science-fiction-Erzählungen, seinen ökologischen Folgen oder mit einem kritischen Blick auf Gretas Neue Grüne Welt. Lässt sich das durch populistische Präsidenten bedingte Tun der Wähler nachvollziehen? Wie verändern sich in unserer Zeit zwischenmenschliche Beziehungen, einerseits durch die binäre Welt (mit anderem Sprachumgang, Empathie und Twitter als Leitmotiv), anderseits durch das sich physisch verändernde urbane Geflecht? In einen Talk/Performance verbindet eine Künstlerin dies mit der digitalen Datingworld, ein andern Künstler integriert den Boxsport, um dies mit Rap (als Antipower) zu verbinden. An zwei längeren Abenden werden diese sehr unterschiedlichen verbal-performativen Thematiken einander begegnen. Man darf neugierig sein, was aus dieser Pluralität wächst. Beide Abende haben ganz unterschiedliche, um „Populismus“ kreisende Programmangebote, die einzeln von der Struktur her identisch sind, d.h. wir zeigen stets mehrere Performances sowie ein aus persönlichen und theoretischen Kurz-Vorträge zusammengestelltes Programm (mit Gruppenmoderation). Am 3. Tag einen 3std. Workshop, mit ganz unterschiedlichen Sichtweisen auf „Populismus“.

TeilnehmerInnen: San Keller, Philip Kojo Merz, Milenko Lazic, Morgenvogel Real Estate (Maria-Leena Räihälä/Manuel Bonik), Dennis Pohl, Robert Prosser, Philipp Rhensius, Marie Rosenkranz, Ann Schomburg, Veli & Amos und 006.

Note: Contributions- & short presentations in German /discussion also in English
Thu. 05.12, “7hours”, 19.00 hrs: Eveingprogram
19.00: Philipp Rhensius, starts with a music-sound-installation
19.30: Harm Lux, a project introduction
19.45: Marie Rosenkranz, a social-critical & acad. perspective “On Populism”
20.15: Philip Kojo Metz, an artistic Interpretation of Populism
20.25: Manuel Bonik, Populism and Greta’s green world
20.45: Milenko Lazic, -still open-
21.00: Veli & Amos, “Ways of Acting”
21.15: Group-moderation,  connecting & questioning the talks
22.00: Break
22.15: Ann Schomburg, perfo on “Dating & BDSM–Call, Stereotypes & Prejudices”
22.40: San Keller, performance “Penchant of Simplification” (distracting to pop)
 

Fr. 06.12, “7hours”  eveningprogram
19.00: Milenko Lazic, performance
19.30: Harm Lux, summary 1st evening, intro. 2nd evening
19.40: Philipp Rhensius: connects in a fictional talk his education with Pop & Populism.
20.05: San Keller, about -  “outdated thought patterns” –
20.15: Robert Prosser, about Syria; on language, egalitarians & opponents
20.35: Ann Schomburg, about relationships in a dating economy geared to desire
20.45: Dennis Pohl, Media-tec.-conditions of Politics: Populism is Hardware
21.10: Groupmoderation: questioning and connecting the talks
21.50  Break
22.10: 006, performance “You, I, and a Paranoid Past”
22.30: Robert Prosser, performance “About Propaganda & Rap”
 

Sat. 7.12, “7hours” 10.00-13.00 hrs, a Workshop (different views on populism) : Harm (Lux) starts the workshop, telling how a scared cat experiences Populism, Robert (Prosser) responds to this, taking a more relaxed but still critical position, with a reference to “handke”. Marie (Rosenkranz) responds upon these statements with a more theoretical objective attitude and San (Keller) comes to a kind of evaluation, he proposes that we have to incorporate in re-thinking the “creative forms of action!”. Slowly starts then the concrete –performative- workshop.
Highly Welcome!

Stolen Images, Ausstellungsinstallation

Stolen immages, ehibition installation at A fairytale from Saints and Sinners.

Stolen Images (2018)

 

Die Ausstellungsinstallation »Stolen Images« setzt Schomburgs Beschäftigung mit dem Wert und Charakter künstlerischer Kollaborationen fort. Als Ausstellung in der Ausstellung versammelt »Stolen Images« über 30 KünstlerInnen in einem separaten Raum. Im Zentrum der Arbeit steht eine Spiegelskulptur, die teils Projektionsfläche für Arbeiten, aber im Wesentlichen ein Multiplikator für die visuellen Bezüge der Gruppenausstellung ist. Mithilfe einer steuerbaren Drohnenkamera lässt sich dieser dynamisierte Blick ein weiteres Mal steigern. BesucherInnen senden mithilfe eines Handyinterfaces eine Drohne durch den Ausstellungsraum und betrachten die Perspektive des Flugobjekts auf dem Screen des Geräts. Im Hintergrund steht die Frage nach den Möglichkeiten der Erfahrung von Individualität im Kontext eines Kollektivs.

 

EN

 

The exhibition installation "Stolen Images" is a contuation of Schomburg's preoccupation with the value and character nature of artistic collaborations. As an exhibition in the exhibition, "Stolen Images" brings togethergathers over 30 artists in a separate room. A mirror sculpture is placed at the center of the installation  At the centre of the work is a mirror sculpture, which is partly a serves as a projection surface for works, but essentially becomes a multiplier for the visual references of the group exhibition’s visual references. With the help of a controllable drone camera, tThis dynamized gaze can be further enhanced with the help of a controllable drone camera. Using a mobile phone interface, visitors send a the drone through the exhibition space and observe the flying object’s perspective of the flying object on the screen of the device. Behind all this, In the background is the question of the possibilities of experiencing individuality in the context of a collective. Schomburg raises the question of how individuality can be experienced in the context of a collective.

Totale, Installationssicht

Ann Schomburg: Ausstellungsansicht Stolen images

Ann Schomburg: Ausstellungsansicht Stolen images

Ann Schomburg: Ausstellungsansicht Stolen images

Ann Schomburg: Ausstellungsansicht Stolen images

Manja Ebert

Jonas Blume

Vinc Rischer/ Julia Charlotte Richter

Stoll und Wachal

KünstlerInnen