Presse: Lektoren-Vereinigung Korea

12.06.2009 – 04.10.2009
Bei der Ausstellung EXPosition of mythology – ELectronic technology des Nam June Paik Centers in Yongin ist unter anderem die Installation alan∂ zu sehen – eine kollaborative Installation unter Mitwirkung der HfG Karlsruhe und des ZKM. alan∂ ist eine Abkürzung für Al-Andalus, die Region Spaniens, die vor einem Jahrtausend das Vorbild für das einzigartige Zusammenleben unterschiedlicher Kulturen und Religionen war. alan∂ huldigt dieser Einzigartigkeit, indem es Andalusiern eine Plattform bietet, ihre Bilder über mehr als 22 recycelte Flachbildmonitore und 68 hochauflösende OLED mini-Displays zu präsentieren. Die Art der Zusammenstellung zeigt die Veränderung des Denkens im gegenwärtigen künstlerischen Schaffen, welches Begriffe wie vernetzte Zusammenarbeit, geistiges und gemeinsames Eigentum hinterfragt. Die Installation wurde entwickelt von Jayoung Bang, Daniel Burckhardt, Linus Stolz, Lorenz Schwarz, Alex Wenger, Yunjun Lee, Julian Finn, Philip Pocock. Ort: Exhibition Hall 2 of Nam June Paik Art Center

The 7 zen rules of Dataism

Kanso (簡素)
simplicity, eliminating all unneeded things to find the clear structure.

Fukinsei (ä均整)
Asymmetry or irregularity. If an algorithm is to symmetric it gets boring. Try to find the balance between symmetry and the asymmetry to get dynamic.

Shibui/Shibumi (渋味)
Reaching coolness and beauty through a clear design and nothing more. Don’t decorate or hide.

Shizen (自然)
Naturalness. Try to avoid pure artificial constructions. Everything has a root in nature.

Yugen (幽玄)
Showing more by showing less.

Datsuzoku (脱ä)
Freedom from habit or formula.

Seijaku (静寂)
Tranquility or an energized calm (quite), stillness, solitude. Avoid unintentional noise and disturbance.

Diariodesevilla schreibt über uns

Autoría colectiva

Susana Serrano | Actualizado 16.12.2008 – 05:00

Google’s translation is actually readable:

Jayoung Bang, Daniel Burckhardt, Julian Finn, Yunjun Lee, Philip Pocock, Lorenz Schwarz, Linus Stolz and Alex Wenger are the components of the team since the ZKM has created for the third Biennale of Contemporary Art of Seville draft Aland (elta). Apart from the brilliance of their approaches and their complex mise en scene, the book deserves our attention because they are a clear indicator of artistic creativity more current.

This collective project, multicultural and interdisciplinary, makes visible changes in the paradigm of artistic creation in recent decades. Among them, the value given to the shared ownership. This mode of work. or collaborative networking, is a basic principle of such projects. Has a particular significance because it questions the system of institutionalized art: transforming the traditional idea of an artist, shows that have become obsolete old patterns of production and reveals inconsistencies that exist around the idea of intellectual property.

The installation presents various complexities. The physical space is organized around three half-cyborgs Cyclopean sculptures or offering a plot linked to the three protagonists of the poetic before us: Muhammed Ibn Tufail, Moses Maimonides and Federico García Lorca, three and three Andalusian cultures. In this way is an analysis of the visual culture of Andalusia, remixed through the various devices in the living room and software that continually place and used material obtained from the maelstrom of information flowing on the Internet. The multiple screens that look, they look and watch us operate in the manner of a large mosaic of the twenty-first century, inspired by an almost mythological Al-Andalus. The art and technology come together here to show the infinite spectrum of the image-code (open), mestizo, fluctuating and acronyms

Aland 2008 on the BIACS3 Bienale in Sevillia/Granada


The title of our current collaborative installation at BIACS3 Seville Biannual, Aland, is an abbreviation for Al-Andalus, celebrating the exhibition site’s unique moment of cultural and religious conviviality a millenium ago. Aland is also ‘a land’, a Deleuzian ‘any place whatever‘, such as the consensual space of cyber-documentary pictures of contemporary Andalusians from which Aland draws the bulk of its visual content, montaged, more precisely, ‘mashed up’ over 22 repaired or recycled flatscreens and 68 brilliant, hi-res OLED Organic mini displays.

Aland consists of 3 interactive and interacting sculptures, portraits if you will of a Modern, Muslim, Jewish historically acclaimed literary figures, Fedrico García Lorca, Muhammad Ibn Tufail and Moses Maimonides. They interact by simulating a conversation, exchanging dialogue composed by algorithmical linguistics, consciously dadaistic in character, yet subconsciously, subtextually retaining an uncanny verisimilitude to each interlocutor. The Lorca-presenting character draws its replies from translations of his poetry; the Ibn Tufail digital mimic recombines into workable sentences phrases from his 11th C. philosophical novel Alive, Son of Awake; and Moses II as Maimonides is often nicknamed, playfully revises the rigorous logic in his Guide for the Perplexed.

It is the vocabulary uttered by these 3 so-called Chatbots that links their never-ending verbal exchange with pools of Andalusian user images that have been tagged by descriptive words online. The main screen in each sculpture is fed by these stream of visual consciousness pictures, arrayed in a freestyle mosaical manner. Visually scripted to reduce size on-the-fly, these picture streams become fair game for batteries of webcam-modified birdwatching scopes and various optical instruments surveilling close-ups and details of their visual presence on their respective target screen. It is not an individual but their image, not a person in public space but a screen space that is surveilled. These digital monoculars and spyglasses are scripted to capture screen images and feed them into vast pools of Andalusian cyberdocumentary pictures, on the look out for similar pictures. Pictures look at pictures according to pattern, light and color. Each pictures content diverges to generate implied narrative natural to the contents’ cohesive context, Andalusia, while being informatically abstract. According to scripted levels of picture similarity, numerous playlists of pictures are displayed rhythmically on numerous screens in real time in the installation.

The public interacts by sending any image to a sculpture via their cellphone camera or storage locally via Bluetooth, by mobile- and e-mail to, by upload from the aland website, or locally again by two webcams adorning the Moses and Federico sculptures, namely, the SmileCam which locates biannual visitors faces, zooms in, and if a smiling expression is identified, a picture is taken and fed into the database to generate its movie clip mash up of similar cyber-Andalusians; the other, Linecam, only records single pixel width lines of persons before its lens over time, its morphed slices of visitor-time scripted to capture and send at intervals an image to the database and screen its resulting mashup.

The 6 scripted Linux computers themselves form the bodies of the 3 sculptures. Lorca’s computer housings have been sculpted and worked as a birdhouse on which are perched 2 bronze figures Pointer and Sitter, and draped with a discreet grey silicon mandala. Muhammad has 4 supporting tripods piercing through its working computers, only centimeters from his motherboards. Adjunct to this are 3 tripods supporting a telescope, model fruit tree and screen, Gardencam, which uses visual feedback and subtle scripting to reproduce live the magnified model tree on screen in some magical weather conditions. Moses body is perched across the upper rungs of a tall ladder. Atop his Mooncam, a vignetted realtime stream of images spied on one of his screens as the base of the ladder.