iHamburger KunsthalleAltstadt
About 40 key works from the Centre Pompidou's New Media Collection on some of today's most radical voices in media art.
Προεπισκόπηση: γράφτηκε πριν από τα εγκαίνια της έκθεσης
One work in this show is a silent video by Christian Marclay that runs for about 11 hours. That is longer than the train from Hamburg to Paris, where its home museum, the Centre Pompidou, is shut for renovation until 2030 anyway.
The Kunsthalle has borrowed some 40 works from the Pompidou's New Media Collection and hung them in eight chapters on how artists have bent screens, sound, computers and sensors since the 1980s. You move between Harun Farocki's four-part video study, Fiona Tan's wall of 150 archive photographs and an installation run by an overclocked computer and a silicone robot.
Plan on time, not just a walk-through: several pieces are films of 15 to 77 minutes. It fills the first floor, atrium and basement of the Galerie der Gegenwart, on the normal museum ticket (€18, under-18s free), with Thursdays open until 21:00.
About 40 works from the Centre Pompidou's New Media Collection, the Paris museum's holdings of video and installation art, Phan Thao Nguyen's film Mute Grain among them. Mostly moving image, so leave time to sit through the films.
Christian Marclay, Subtitled
A silent single-channel video of about 11 hours, so you only ever catch a slice of it.
Delay Lines (feedback)
Melissa Dubbin and Aaron S. Davidson combine water, glass, an overclocked computer, a silicone robot and sensors in one installation.
Fiona Tan, Ascent
150 mounted archive photographs on the wall, shown with a 77-minute video.
Salomania
Pauline Boudry and Renate Lorenz set palm sculptures, prints and a fanzine around a 16-minute HD video.
C.B. Evans, Notations for an Adaptation of Gisele
Six videos running alongside computers, plants and microbial fuel cells.
Under-18s get in free. On 23 February at 11:00 there is a tour for parents with babies up to 14 months (€5 per adult, plus admission for non-members of the Friends).
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