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.

Talk: Games with Frontiers #Decad

Games with Frontiers
A two-day symposium organised by the artist Philip Kojo Metz
in English 

On 29 and 30 October, diverse perspectives surrounding Philip Kojo Metz’s project, The Mimicry Games, will be offered and its broader themes addressed by an interdisciplinary series of presenters including Ann Schomburg, Stefanie Sylla, Ismal Duá, Monika Kalinauskaitė, Sascha Boldt and Zeina Idris.

Taking football as the medium – within the context of the UEFA European Championship – The Mimicry Games approaches the history of European colonization of Africa by forming a visual and physical connection between the sport and this history. Shifting the location of the European Cup to its colonial counterpart on the African continent, the project places African football players in competition against each other, while uniformed in the national team jerseys of their former colonizers. As the 2016 European Cup was held in France, The Mimicry Games were carried out in Senegal, a former French colony, and were internationally and intercontinentally broadcasted and discussed in a series of public viewings and studio talks. Through this widely accessible game that establishes connections on an international scale, the work addresses notions of national identity, processes of cultural exchange, mimesis and the remnants of a colonial past.

Contributions on the first day of the symposium will consider the relationships and interactions between the African and European continents. On the second day, the presentations will expand the scope of the topic, examining possible parallels in other cultures and continents.

October 29 - 30, 2016
Decad
Gneisenaustrasse 52
Berlin

Saturday, 29 October
4 - 8 PM
Philip Kojo Metz
Annabelle Schulte
Ismael Duá

Sunday, 30 October
4 – 8 PM
Zeina Idris
Monika Kalinauskaité
Ann Schomburg und Sascha Bolt

photo p.Maibach

Amplification Excersise 

 

warm up

Amplification Excersise

 

# ++++ live Performance Ann Schomburg & Sascha Boldt 

 

„The Essence of Art is infinite!“ – Kunst differenziert ihre Begrifflichkeit stets fließend in Gegenüberstellung zu ihrem jeweiligen Publikum aus.
Das Involvieren der Rezipienten wird zu einem eigendynamischen Bestandteil kreativer Erlebnishorizonte.

Am 28.April zwischen 00.30 und 1:00 inszeniert das Berliner Künstlerduo Ann Schomburg und Sascha Boldt eine live Performance zur Wiedereröffnung der Artist Night in der Kingsizebar, Friedrichstraße 112b.
In ihren Performances und Installationen beschäftigen sich Schomburg und Boldt mit der Entfaltung inszenierter Realitätszusammenhänge im Wechselspiel mit den Rahmenbedingungen des jeweiligen Veranstaltungsortes.
Die Kingsize Bar als Treffpunkt der Kunst und Kulturszene bildet mit der legendären Artist Night eine Bühne auf der die verschiedenen Definitionshoheiten von Kunst ausgehandelt und in rauschender Clubatmosphäre gefeiert werden. Als vibrierende soziale Plastik wird das Miteinander der einzelnen Protagonisten in diesen Räumlichkeiten zu einem temporär akkumulierten Gesamtkunstwerk.

Schomburg und Boldt zeigen mit ihren Interventionen vielfältige Schnittstellen zwischen scheinbar alltäglicher und zu Kunst verdichteter Realität auf. Für die Artistnight zum Auftakt des Gallery Weekends Berlin haben sie eine Performance geplant, in denen Künstler und Gäste im gemeinsamen Dialog mit dem Unerwarteten ein ganz besonderes Zwischenspiel gestalten.

Ann Schomburg: „Nichts ist wie es scheint und es ist an der Zeit, dass die Dinge so sind wie wir sie uns erschaffen“ Sascha Boldt: „If you choose Art – Art chooses you!“. #performanceart #instagram #annschomburg #saschaboldt #artistnight #kingsize #kingsizebar #berlin #nightlife#youtube #amplification #excercise #extacy #neo #nightclub

Ohne Titel (2012)

Materialangabe:

 

»(...) man muss diese versteinerten Verhältnisse dadurch zum Tanzen zwingen,

daß man ihnen ihre eigne Melodie vorsingt!« (Marx)

 

Die Arbeit »Ohne Titel« beendete anstelle einer Theoriearbeit das Studium der Künstlerin. Sie setzt Reize für die Transformation von Erwartungen und Erinnerungen. Im Auftrag von Schomburg betrat ein als Polizist verkleideter Stripper überraschend die Räume der Examensausstellung. Das anwesende Publikum hatte zuvor vornehmlich negative Erfahrungen mit Polizeikräften gemacht, welche regelmäßig studentischen Veranstaltungen ein vorzeitiges Ende setzen. Der Auftritt des Strippers verschob diese negative Konnotation. »Ohne Titel« erfuhr 2016 während einer Artist Night in der Berliner King Size Bar eine erneute Aufführung unter veränderten Bedingungen.

 

Zeichen: 781

"(...) one must force these petrified conditions to dance, that their own melody will be sung to them!" (Marx)

 

Instead of a theoretical work, tThe work "Untitled" ended completed the artist's studies university education instead of a theoretical work. It stimulates the transformation of expectations and memories. On behalf of Schomburg, a stripper disguised as a policeman surprisingly entered the rooms of the exam exhibition. The audience had previously had went through mainly negative experiences with police forces who regularly put an end to student events prematurely. The appearance of the stripper shifted this negative connotation. Under changed conditions, "Untitled" was performed again in 2016 during an Artist Night in Berlin's King Size Bar under changed conditions..

 

potenzierte Gerüchte

Atelierupdate Warm up Alltagschoreographien

DE

Die permanente Überwachung im öffentlichen Raum hat den gleichen gesellschaftlich wahrgenommenen Normalitätsgrad wie das Händewaschen in einem als tendenziell eher privat definierten Raum, der Toilette, bzw. deren Vorraum. Allerdings ist das Bewusstsein über das „überwacht werden“ im Alltag verdrängt. Überwachungskameras, die im realen Einsatz sind, sind nur noch sichtbar, wenn sie in beispielsweise Geschäften abschreckende Wirkung haben sollen. Handelt es sich in einer Einrichtung um eine Videoüberwachung aus Sicherheitsgründen sind die Geräte mittlerweile so klein, dass sie ohne genaue Suche nicht erkenntlich sind. Selbst mit suchendem Auge zeigt sich eine Herausforderung.

Für die Interventionen werden 18 Waschbecken überwacht. Sichtbar vom Subjekt sind lediglich die Hände. Die Person hinter den Händen bleibt anonym. Vom dreh bleibt ein Objekt im Raum eine gut wahrnehmbare Kamera. Sichtbarkeit durch die sehr präsenten Kameras und die offene Überwachung kreist die Frage ob es sich um eine reale Kamera oder einen Fake handelt.

Im ersten Stock des Hauptgebäudes in der ehemaligen Telefonzelle befindet sich eine Überwachungszentrale, die auf 2 Monitoren die 18 überwachten Waschbecken zeigt.

Die Banalität der überwachten Handlung mit all ihrer Symbolik und die Unkenntlichkeit des

Subjektes sollen den Fokus vom voyeuristischen „Kollegen betrachten“ auf eine generalisieren, abstrakte Ebene bringen und Raum für entstehende Fragen lassen. Der beengte Raum mit seiner Glastür suggeriert eine Teilöffentlichkeit, die Abstinenz eines Wächters einen unbeobachteter Moment in der Kontrolle.

EN

In public space, the permanent surveillance has the same socially perceived normality like washing hands after the restroom visit. However, the consciousness, of potentially being watched, is suppressed. Surveillance cameras are only visible if they are supposed to have a special effect for example in shops. If there is a surveillance for “safety reasons” only, the cameras tend to be so small that they stay unrecognized. Even with a careful look its hard to find them.

For the interventions in the governmental bureau in Kassel I place 18 camera dummies over the sinks, observing the hands while they get washed. The dummies blink. People have to deal with this direct interaction in their daily routine.

Considering them as fake or real cameras in combination of the symbolism of the action in connection the the exhibition space are the comments or questions I want to leave to the officials working in the governmental bureau

The monitored sinks are presented in a surveillance office. Two monitors with 18 video images, cables, receiver and traces of an absent security guard can be seen. The room numbers of the restrooms are in each video image, so the viewer can find the camera in the specific room

Atelier Update, set 01 check 01

ignoring some struggles, the set finally grows, looking forward to come closer to the systhem,surveillance and stuff





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