About the event: Stephen Zepke’s reading ofLotta Ingman’s paintings is a sensitive and thoughtful analysis of what contemporary painting is today. With careful observations and elaborate lines of thought, philosopher Stephen Zepke introduces the reader to Ingman’s both playful and serious research into abstract painting. A research that in Zepke’s words “strives to offer the spectator an aesthetic experience that transcends both the corporeal and conceptual dimension, enabling the painting to retain its enigmatic openness of meaning.”
Treten Sie ein in das Future Lab Delphi 2.0, das Sie bei Ihren Ängsten, Wünschen und Fragen berät.
Unser Labor ist ein Ort der Begegnung, des Austauschs, der Entspannung, des Zweifelns und der Kommunikation. Die Phyto-Pythia, unser Pflanzenorakel, erzeugt Ihren persönlichen Orakelspruch, der als Grundlage für Diskussionen über mögliche Zukunftsszenarien dient.
ENGLISH
Step into the Future Lab Delphi 2.0 advising you on your fears, wishes and questions.
Our Lab welcomes everyone and serves as a space for connecting, interacting, relaxing, doubting and sharing.
The Phyto-Pythia, our plant oracle, generates your personal oracle spell serving as the basis for discussions about possible future scenarios.
The bathtub is a means of transport of liminality. Here, media-, book- and magazine- worlds merge with our inner conversations and fantasy. Thoughts and worlds pass lucidly by while we navigate our presence into transcendence with ease in the bathtub. The submersion not least as a symbol of the little death. The uncertain letting go – breathless – and the emergence from the water as the resurrection not from ashes – and visibly new – but inwardly transcendental. But the option of failure is inevitable. Lying in the bathtub, the protagonist of Tina Kult’s video work negotiates their paralyzed and tired state in a soliloquy. In a supposed manifestation of relaxation, the video installation Power & Sleep questions the effects of the questionable high-performance society and the relationship between time, work and productivity.The face of high pressure from the neoliberal outside world is swimming along with the protagonist. So it only becomes a distorted image of an unfulfilled promise of salvation.
Mz* Baltazar’s Laboratory (Stefanie Wuschitz, Patricia J. Reis, Taguhi Torosyan, Olivia Jaques, Anna Watzinger, Lale Rodgarkia-Dara)
LOCATIONS
Academy of Fine Arts Vienna / Mz* Baltazar’s Lab / AIL
ABOUT
Queer, non-binary and female-identified media artists come together to rethink the notion of hardware from a feminist perspective. They extend the ethics of feminist hacking to ecological circuits. By using decentralized, fair-traded, modular, renewable, non-toxic materials they speculate upon future alternative technologies: they create hardware made from water, air, bubbles, waste, body liquids, microbes, glass, soil or plants.
We proudly present a diverse selection of local and international artists who generate empathic, eco-sentient and anti-racist soft/hardware. They investigate the use of organic, biodegradable, microbial matter for creating ethical technology that helps to unpack the late capitalist industrial complexity of the high-tech.
Building their artistic circuits the artists are learning from biocultural, reciprocal restoration, feminist data science and environmental movements. By doing so, they prototype models of generative and subsistent commons with human and non-human agents.
Through workshops, talks, performances and exhibitions we will debate artistic, anti-colonial alternatives to sexist, toxic and extractivist commodity chains. This way we propose the term feminist hardware as a vehicle to diffract gender equality with sustainable and healing ecologies. The 1st Feminist Hardware Festival is a synergetic extension of Feminist Hacking: Building Circuits as an Artistic Practice international 3-year art-based research project (PEEK AR580) conducted by Stefanie Wuschitz, Patricia J. Reis and Taguhi Torosyan at the Academy of Fine Arts Vienna in collaboration with Mz* Baltazar’s Laboratory
Institut ramon llull, Government of Catalonia (Delegation to Central Europe), Istituto di Cultura Italiano, Barcelona City Council, Wetlab Barcelona, Hangar Barcelona
PARTNERS
Akademie der bildenden Künste Wien, AIL – Angewandte Innovation Lab
Während dieses Festivals soll Hardware Produktion aus einer feministischen Perspektive überdacht werden, und zwar von queeren, non-binären und sich als weiblich bezeichnenden Medien-Künstler:innen. Gemeinsam wollen wir feministische Hacker-Ethik auf ökologische Kreisläufe anwenden. Beim Spekulieren über die Technologien der Zukunft nutzen wir also ausschließlich dezentral verfügbare, modulare, fair gehandelte, erneuerbare, schadstoff-freie Materialien. Die eingeladenen Künstler:innen schaffen Hardware aus Wasser, Luft, Bläschen, Abfall, Körperflüssigkeiten, Mikroben, Erde oder Pflanzen.
Wir sind begeistert, eine so feine Auswahl an internationalen Künstler:innen begrüßen zu dürfen, die selbst bereits empathische, nachhaltige, anti-rassistische Soft/Hardware entwickelt haben. Um ethische Technologien zu erfinden, untersuchen sie dabei u.a. organisches und verrottendes Material und tragen dazu bei, kapitalistisch-industrielle Zusammenhänge in der High-Tech Industrie zu erkennen.
Wenn Künstler:innen in ihrer Praxis diese Art von elektrischen Schaltkreisen herstellen, fließt viel Wissen aus bio-kultureller, wechselseitiger Erneuerung sowie Wissen aus feministischen Daten Wissenschaften und Umweltbewegungen ein. Es entstehen Prototypen für Allmenden der Selbstversorgung für Menschen und nicht-Menschen.
In Workshops, Vorträgen, Performances und Ausstellungen diskutieren wir künstlerische, anti-koloniale Alternativen zu sexistischen, toxischen und ausbeuterischen Lieferketten. Der Begriff “Feministische Hardware” soll ein Gespräch über das Verschränken von Gleichberechtigung mit Nachhaltigkeit und sich regenerierenden ökologischen Systemen in Gang bringen.
Dieses Feministische Harware Festival ist Teil des vom FWF geförderten künstlerischen Forschungsprojekts Feminist Hacking: Building Circuits as an Artistic Practice von Stefanie Wuschitz, Patricia J. Reis and Taguhi Torosyan an der Akademie der bildenden Künste Wien in Zusammenarbeit mit Mz* Baltazar’s Laboratory.
Der Hohe Gerichtshof des Feminismus lädt zum Tribunal gegen das Patriarchat!
Angeklagt sind: die Täter, die Justiz, die Medien, die Gesellschaft.
Sie werden angeklagt für die Untätigkeit, wenn es um Femizid und Gewalt gegen Frauen* geht.
Das Verharmlosen und Bagatellisieren, (“Beziehungstat”), Ausreden Suchen, warum nicht geholfen wurde, das Victim Blaming, aber auch das alltägliche Abwerten und Heruntermachen von Frauen* und Mädchen*.
Denn: Man tötet nicht aus Liebe!
Nieder mit dem Patriarchat!
Ausstellungseröffnung am 8. April 2022 um 19h
und Finissage am 22.April 19h
Mz* Baltazar’s Labratory, Jägerstr. 52-54, 1200 Wien
Der Hohe Gerichtshof des Feminismus erhebt Anklage
Mz* Baltazars Laboratory präsentiert das Tribunal gegen das Patriarchat
Wien – “Ich eröffne heute das Verfahren gegen das Patriarchat!” donnert die “Vorsitzende des Hohen Gerichtshof des Feminismus” vom Richter*innenpult. “Your silence will not protect you” sagte die US-amerikanische Aktivistin und Theoretikerin Audre Lorde. Daher nimmt das feministische Kollektiv Hippocampa – feministische Alltagsoffensive das verdrängte Phänomen Femizid und Gewalt an Frauen*, das in allen Schichten und allen sozialen Gruppen auftritt, trotz aller Tabus zum Ausgangspunkt einer künstlerisch-aktivistischen Arbeit. In dem “Tribunal” werden die Täter, die Justiz, die Medien, die Polizei, die Gesellschaft und die Politik zur Rechenschaft gezogen. Damit erheben die Überlebenden von Femizid und all jene, die brutale Attacken, Übergriffe und physische oder psychische Gewalt von Männern erlebten oder erleben müssen, ihre Stimme. Denn „Männergewalt muss benannt werden. Nicht nur von den Opfern oder solidarischen Frauen. Wir warten noch immer auf die Männer, die sich ebenfalls mit dem Thema beschäftigen und ihren Beitrag leisten. Die Tatsache, das Frauen ungleich mehr Opfer von Gewalt durch Männer sind, sie aber diejenigen sind, die auch noch die Kraft aufwenden müssen, sich dagegen zu wehren und die Problematik sichtbar zu machen, muss ein Ende haben. Denn, schlussendlich ist Männergewalt ein Problem von Männern. Sie müssen endlich ebenfalls ihren Beitrag leisten“, fordert das Kollektiv.
Am 25.3.2022 verzeichnet Österreich den 8. mutmaßlichen Femizid. Ein Femizid ist laut internationaler Definition der Weltgesundheitsorganisation die “vorsätzliche Tötung einer Frau, weil sie eine Frau ist”. Die Täter sind in den allermeisten Fällen der (Ex-)Partner, Bekannte oder Personen aus dem nahen Umfeld. Femizide und andere Formen von Gewalt an Frauen* nehmen in Österreich seit Jahren zu. Jede fünfte Frau* ist in Österreich ab ihrem 15. Lebensjahr körperlicher und/oder sexueller Gewalt ausgesetzt, EU-weit ist sogar jede dritte Frau betroffen. “Es reicht! Mainstream-Medien und Politik schenken dem Thema nach wie vor zu wenig Aufmerksamkeit, und wenn sie es tun, reproduzieren sie viel zu oft patriarchale Muster”, so das Kollektiv. Die Gruppe von Künstlerinnen und Aktivistinnen setzt sich nicht zuletzt aufgrund persönlicher Betroffenheit mit dem Thema auseinander. “Im vergangenen Jahr überlebten zwei von uns schwer verletzt Männergewalt. Das hat uns besonders wütend und betroffen gemacht. Die Ausstellung ist allen Opfern und Überlebenden von Femizid und geschlechtsspezifischer Gewalt gewidmet”.
Das Tribunal wird im Zuge der aktuellen Ausstellung von Mz* Baltazar’s Laboratory präsentiert.
Ausstellungseröffnung ist am 8. April um 19.00 Uhr.
The High Feminist Court invites to the tribunal against patriarchy! Accused are: the perpetrators, the judiciary, the media, the society. They are accused of inaction when it comes to femicide and violence against women*: trivializing and minimizing, keyword “relationship act”, looking for excuses why no help was given, victim blaming, but also the everyday devaluing and belittling of women* and girls*. Because: You don’t kill for love! Down with the patriarchy!
Exhibition opening on April 8, 2022 at 7pm
Finissage 22nd of April at 7pm Mz* Baltazar’s Laboratory, Jägerstr. 52-54, 1200 Vienna.
Friday, March 11th, 7 – 10 p Artist Talk: Sat, March 19th, 4 pm
with Michael Wonnerth-Magnusson
Finissage:
Sat, March 26th, 12 – 4 pm
Öffnungszeiten/Opening hours:
Fri 4 – 7 pm & Sat 12 – 4 pm und nach Voranmeldung and by appointment
Mz* Baltazar‘s Laboratory Jägerstraße 52-54 A – 1200 Vienna
DEUTSCH
Die Ausstellung „Blend Together“ von Janine Schranz und Daniela Zeilinger, die im Rahmen der diesjährigen Foto Wien bei Mz* Baltazar’s Laboratory präsentiert wird, schließt thematisch an die gemeinsame Ausstellung „Passepartout“, die 2021 im hoast in Wien zu sehen war, an. Galt die Aufmerksamkeit im letzten Jahr Prozessen des Auswählens, Croppens und Ausblendens, stehen diesmal Situationen der Transparenz und der Überblendung im Zentrum. Ging es im hoast um Techniken der Inklusion und Exklusion innerhalb einer gegebenen Architektur bzw. innerhalb des Bildfeldes, so wird die Ausstellungssituation bei Mz* Baltazar‘s auf Möglichkeiten der Kommunikation zwischen Innen und Außen, von Kunstwerk zu Kunstwerk, sowie zwischen Realraum und Bildraum befragt.
ENGLISH
The exhibition “Blend Together” by Janine Schranz and Daniela Zeilinger is presented at Mz* Baltazar’s Laboratory and part of this year’s Foto Wien. It thematically continues a joint exhibition called “Passepartout,” which has been on display at hoast in Vienna 2021. While last year’s show focused on processes of selecting, cropping and fading out, the emphasis now is on situations of transparency and blending. While at hoast the focus was on techniques of inclusion and exclusion within a given architecture or within the image field, the exhibition at Mz* Baltazar’s Lab will examine possibilities of communication between inside and outside, from artwork to artwork, and between real space and image space.
Janine Schranz (*1985, Switzerland) is a visual artist and photographer currently living in Vienna (AT). In her practice she explores the (pre-)conditions of photography, its components and interrelations with architecture. Labor conditions, recording processes and the exhibition context play equal roles as working materials. In its essence, she understands photography as a time-based medium and puts bodily-spatial experiences in relation to visual perception and questions forms of (un-)documentation. She studied photography (Zurich University of the Arts, Switzerland) and transdisciplinary arts (University of Applied Arts, Vienna).
Daniela Zeilinger (*Linz/Austria) lives and works in Vienna. She studied fine arts at the Academy of Fine Arts Vienna as well as dance, context, choreography at the UDK Berlin and free art at the Kunsthochschule Berlin Weißensee. The artist works at the interface of different disciplines, especially painting and photography. An ontological reflection upon the space of photographic images is a central motif. Her works, as analogue photographs, are created in a multi-layered process of transformation and translation. They oscillate between image and imagination, and photography and painting. Zeilinger’s works have been presented in numerous solo and group exhibitions in Germany and abroad. In 2020, the artist received the State Scholarship for Artistic Photography.
“Live and Audio-Reactive w/ TouchDesigner” is a workshop using the node based visual programming language TouchDesigner, a tool that allows to create visual content that is generative, audio-reactive and runs real time. This is of interest if you are interested in the fields of live cinema, installations, interactive installations and/or vjing. This workshop includes a brief introduction to TouchDesigner and its interface, so it’s suitable for a beginner level. It will focus mainly on how to interpret audio input to generate audio-reactive visuals, such as, 3d transformations, translations, and point-cloud simulations. In this workshop, you will learn how to achieve this but also how to get yourself to experiment and make it your own. It is required of you a laptop with the latest version of TouchDesigner already installed. It work on both Windows and macOS. Please try it beforehand, you will need to register and create a key in order to use it for free. But don’t worry, it’s not too as complicated as it sounds!
Short Bio !BZ is Beatriz Lacerda, an Interaction Designer and a Creative Technologist based in Vienna, whose practice sits in the intersection of art, design, and technology. Through the use of public spaces, they are interested in establishing a relationship with people by combining the digital and the physical through various mediums of installation. Moreover, they actively engage in the creation of generative visual work under the alias of ‘iBZ’. They embrace the unpredictability and lack of control of such tools, as they manipulate and shape them to their purpose.
Breeder or Sucker; the TV show is a production about the lives and failures of art school students. The viewer follows a group of young people who are struggling; to secure an education; to be offered exhibitions and to get laid.
Breeder or Sucker delves into the mundane “everyday” aspects of being an artist. The series is made up of ten episodes, each 20-40 minutes long.
The scripts satirize situations of privilege and failure, whilst unapologetically commenting on female sexuality. The episodes also indulge in the time wasted procrastinating and partying.
Each episode is played out through the eyes of Charlotte Gash, a character based on the artist’s semi-autobiographical experiences. Gash uses cardboard props in her work – highlighting absurd and humorous aspects of real life.
“He makes us laugh to make us learn. There’s salvation in that.”
– John Lahr discussing Joe Orton’s play Loot
SHORT BIO
Charlotte Gash is a British artist living and working in Vienna. She is currently completing her MA from the Akademie der Bildender Kunst under Carola Dertnig in the performance class. Gash takes inspiration from humorous, everyday situations and her work takes the form of text, sculpture, performance and video.
WHERE:
Mz Baltazar’s Lab, Jägerstraße 52-54, 1200 VIENNA
WHEN:
9th February – 13th February, 7.30 pm screening
REGISTER:
There will be about 15 places each screening so please register to do this Email to register a space dearcharlottegash@gmail.com 2G+ rules mandatory
Artistic Bokeh in collaboration with Mz Baltazar’s Laboratory presents a discussion with US media theorist Elizabeth Losh on
‘A Woman’s Touch: Pink Collar Workers and Feminist Origin Stories’
Wednesday October 28, 18:30 – 20:00 Raum D, MuseumsQuartier
(Achtung: diesmal nicht in Mz Baltazar’s Lab Raum auf der Sechshauserstraße)
In recent years there have been a number of significant theoretical shifts in the study of digital media. By emphasizing the material, situated, contingent, embodied, affective, and labor-intensive characteristics of digital media rather than friction-free visions of “virtual reality” or “cyberspace,” theorists of media archeology are also expressing their concerns about present-day power relations around apparatuses and interfaces and signifying interest in collective consciousness-raising efforts. As science and technology studies (STS) and tactical media play a greater role in media studies, international feminist collectives like FemTechNet and the Fembot Collective are growing. At the same time, cyberfeminist work from decades before – by seminal figures, such as Lynn Hershman Leeson, Faith Wilding, and Shu Lea Cheang — is gaining recognition. Unfortunately elitism can insinuate itself into these discourses by ignoring women’s long history of engagement with computational media as low-status pink collar workers and how they continue to supply manual labor in the supply chains of digital media today.
BIOGRAPHY
Elizabeth Losh is the author of Virtualpolitik: An Electronic History of Government Media-Making in a Time of War, Scandal, Disaster, Miscommunication, and Mistakes (MIT Press, 2009) and The War on Learning: Gaining Ground in the Digital University (MIT Press, 2014) and has been a co-facilitator of FemTechNet, an international collective of feminist scholars, artists, activists, and learners who work with and about technology. She is also the co-author of the comic book textbook Understanding Rhetoric: A Graphic Guide to Writing (Bedford/St. Martin’s, 2013) with Jonathan Alexander.
She has also written a number of frequently cited essays about communities that produce, consume, and circulate online video, videogames, digital photographs, text postings, and programming code. The diverse range of subject matter analyzed in her scholarship has included coming out videos on YouTube, videogame fan films created by immigrants, combat footage from soldiers in Iraq shot on mobile devices, video evidence created for social media sites by protesters on the Mavi Marmara, remix videos from the Arab Spring, the use of Twitter and Facebook by Indian activists working for women’s rights after the Delhi rape case, and the use of Instagram by anti-government activists in Ukraine.
Before coming to William and Mary, she was Director of the Culture, Art, and Technology program at Sixth College at U.C. San Diego, where she taught courses on digital rhetoric and new media. She is also a blogger for Digital Media and Learning Central, and a Steering Committee member of FemTechNet.
