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J.Warsza: Dead-Time

An Exhibition in a form of a time-based lecture illustrated by art and non-art produced by electrowaves, robots and tv screens;
The full turn of a Telecafe situated at the top of Berlin TV Tower was initially taking a full hour. After 1989 it was shortened to 30. minutes. The TV Tower time speeded up and a half an hour was cut out. Vivre sans temps mort – „live without dead time” was the appeal of the Situationists in the 1960’s. The lecture will take place in those 30 lost minutes and will refer to selected, often ignored facts and myths of the TV Tower illustrated by a choice of art and non-art. Including works by Jean-Marc Chapoulie, Bertrand Dezoteux, Mark Formanek, Niklas Roy, Rusiko Oat & Pit Schultz; Duration: ’30 min, Capacity: 64 seats; Deadline for turning up: 20.30; With the support of the Polish Culture Institut in Berlin
Foto: Patricia Lewandowska


J.Warsza: Dead-Time

In Georgia in the 90. during so-called Millenium Years, when the electricity was more absent than present, some Georgian channels were illegally broadcast on the foreign-channel frequencies. As a result there were two supposed programs and two logos on the screen and the transmission was sometimes interrupted, bringing the screen to a standstill.
A dramatic image of the face of an old lady comes from a commercial from TWIX. Labeled with the mysterious icon 'No-Signal', it creates a new image, quite remote from the original ideea of an advertising spot and bearing fantastic information. In the logic of media marketing, this was a kind of electronic magic, creating your own interpretation of neo-now.




Lena Inken Schaefer

DE: 1. Nummerierte Eisenkurbel vom Haken nehmen 2. Ausstellungsraum verlassen und mit Eisenkurbel zum Zielort Otto-Braun-Straße, Ecke Karl-Marx-Allee gehen 3. Orientierungshilfe: 1. Weltzeituhr passieren 2. Straßenbahngleisverlauf bis zu großer Straßenkreuzung folgen 3. Alexanderstraße überqueren 4. Otto-Braun-Straße überqueren 4. Alten Gehwegplattenverbund im Bauzaunbereich aufsuchen 5. Platte mit 17er-Nuss aufsuchen 6. Nicht beringtes Kurbelende in die Nuss stecken 7. Platte ist nun betriebsfertig 8. Eisenkurbel vorsichtig im Uhrzeigersinn drehen 9. Vorgang bei Gewindewiderstand sofort beenden 10. Platte kann nun betrachtet werden 11. Nach Beendigung Nuss in Ausgangsposition zurückversetzen, hierzu Drehvorgang in entgegengesetzter Richtung wiederholen
EN: 1. Take the numbered iron crank off the hook 2. Leave exhibition space with iron handle and go to destination Otto-Braun-Strasse, corner Karl-Marx-Allee 3. Orientation: 1. Pass World Clock 2. Follow tram tracks to major intersection 3. Cross Alexander Street 4. Cross Otto-Braun-Straße 4. Locate the old paving slab in composite construction fence area 5. Find plate with 17mm nut 6. Stick the not banded crank end in the nut 7. The plate is now ready for use 8. Carefully turn iron crank clockwise 9. Immediately terminate process for threaded resistance 10. The plate can now be considered 11. After finishing bring back the not to the starting position, thus repeating process of rotation in the opposite direction.


Lena Inken Schaefer, Otto-Braun-Str./Karl-Marx-Allee, Berlin

Splace, Thursday 9.9.2010 / 19.00-22.00

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Antje Majewski, Agnieszka Polska
FREISLER
Splace, Thursday 2.9.2010 / 19.00-22.00
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FILMPROGRAMM
Leopold Kessler, Olaf Nicolai, Bettina Nürnberg & Dirk Peuker, Matthias Müller, Salla Tykkä, Karl Kels, Mathilde Rosier
Splace, Donnerstag 26.8.2010 / 19 - 22 Uhr

ELEVATION SET   -  A TRIBUTE TO CASS ELLIOT

Delia Gonzalez, Jaro Straub & Special Guest Mia Von Matt

SPLACE, Donnerstag, 12. 08. 2010 /  19 - 21 Uhr

The Anxious Prop, Case 2

The Anxious Prop is a communal effort conceived by Luis Berríos-Negrón with a group of Berlin-based practitioners. These efforts have materialized in three parts: ongoing discussions, exhibition/actions (Alexanderplatz being the first public arm of this), and sporadic publications. That which is common among the group is its desire to enjoy work considering two parameters: 1. We are not in the business of assigning values and/or meanings to existing, ready made objects. We are in the labor of fabrication, of producing epistemic forms, shapes and figures that are deeply committed to alternative, preferably digital fabrication, techniques; 2. That these forms, shapes and figures have the quality, the disposition to be activated, meaning that along with the fabrication, there needs to be a simultaneous, aggressive awareness of what the performative dimension of it is, i.e. what kind of mechanism needs to be designed for it to be nothing but challenge the conventions of “prop.” Alexanderplatz serves as the site for the group’s first physical exploration of the term—a decentralization, or eccentric search for our postcapitalist selves in the form a multiplicity of spherical studies, shunning away from the finished work or nostalgia for democratic constructs and the illusion of justice ebbing from fruition.