|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
▐▌ ▐▌ ▀
|
|
|
|
|
|
▐▌ ▐▌▐▙█▙ ▗▟██▖ ▟█▙ ▐███ ▐███ ██ ▐▙██▖ ▟█▟▌
|
|
|
|
|
|
▐▌ ▐▌▐▛ ▜▌▐▙▄▖▘▐▙▄▟▌ ▐▌ ▐▌ █ ▐▛ ▐▌▐▛ ▜▌
|
|
|
|
|
|
▐▌ ▐▌▐▌ ▐▌ ▀▀█▖▐▛▀▀▘ ▐▌ ▐▌ █ ▐▌ ▐▌▐▌ ▐▌
|
|
|
|
|
|
▐▙▄█▌▐█▄█▘▐▄▄▟▌▝█▄▄▌ ▐▙▄ ▐▙▄ ▗▄█▄▖▐▌ ▐▌▝█▄█▌
|
|
|
|
|
|
▀▀▝▘▐▌▀▘ ▀▀▀ ▝▀▀ ▀▀ ▀▀ ▝▀▀▀▘▝▘ ▝▘ ▞▀▐▌
|
|
|
|
|
|
▐▌ ▜█▛▘
|
|
|
|
|
|
█
|
|
|
|
|
|
▐▌ ▐▌ ▀
|
|
|
|
|
|
▗▟██▖ ▟█▙ ▐███ ▐███ ██ ▐▙██▖ ▟█▟▌▗▟██▖
|
|
|
|
|
|
▐▙▄▖▘▐▙▄▟▌ ▐▌ ▐▌ █ ▐▛ ▐▌▐▛ ▜▌▐▙▄▖▘
|
|
|
|
|
|
▀▀█▖▐▛▀▀▘ ▐▌ ▐▌ █ ▐▌ ▐▌▐▌ ▐▌ ▀▀█▖
|
|
|
|
|
|
▐▄▄▟▌▝█▄▄▌ ▐▙▄ ▐▙▄ ▗▄█▄▖▐▌ ▐▌▝█▄█▌▐▄▄▟▌
|
|
|
|
|
|
▀▀▀ ▝▀▀ ▀▀ ▀▀ ▝▀▀▀▘▝▘ ▝▘ ▞▀▐▌ ▀▀▀
|
|
|
|
|
|
▜█▛▘ (TM)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Upsetting Settings presents graduation projects initiated by Alexander Roidl,
|
|
|
|
|
|
Alice Strete, Angeliki Diakrousi, Joca van der Horst, Natasha Berting, and
|
|
|
|
|
|
Zalán Szakács. The concept of this exhibition arises from the idea of the
|
|
|
|
|
|
default setting, a situation in which a specific mode of interaction is
|
|
|
|
|
|
selected automatically, pre-configured to work out of the box without the need
|
|
|
|
|
|
to tinker with its underlying apparatus. Every system comes with default
|
|
|
|
|
|
settings predefined by its creators, and most of the time, these settings
|
|
|
|
|
|
remain unchanged by us, the users of such systems. These defaults do not
|
|
|
|
|
|
represent our needs but are possibly the materialisation of biases from the
|
|
|
|
|
|
system's makers, from corporate or political interests, from a society at
|
|
|
|
|
|
large. The projects engage with the concept of default modes and propose
|
|
|
|
|
|
interventions in their core structure/source/root so as to start thinking
|
|
|
|
|
|
collectively about better places from which to begin. You are invited to become
|
|
|
|
|
|
root users, active listeners, smart speakers, intentional eaters, counter
|
|
|
|
|
|
trolls, sensorial spectators!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
▗█▙▄▌▗█▙▄▌▗█▙▄▌
|
|
|
|
|
|
▝ ▝▀ ▝ ▝▀ ▝ ▝▀
|
|
|
|
|
|
|
|
|
|
|
|
UPSETTERS
|
|
|
|
|
|
|
|
|
|
|
|
▗█▙▄▌▗█▙▄▌▗█▙▄▌
|
|
|
|
|
|
▝ ▝▀ ▝ ▝▀ ▝ ▝▀
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Alexander Roidl
|
|
|
|
|
|
---------------
|
|
|
|
|
|
|
|
|
|
|
|
Poetic Software challenges the default mode of software as a tool where
|
|
|
|
|
|
functionality and productivity are predominant through an intervention that
|
|
|
|
|
|
involves software as a non-functional, emotional, and cultural object of
|
|
|
|
|
|
artistic practice.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Alice Strete
|
|
|
|
|
|
------------
|
|
|
|
|
|
|
|
|
|
|
|
Is it time to eat, or is there no more time to eat? questions the default mode
|
|
|
|
|
|
of techno-solutionism through an intervention that subverts the culture of
|
|
|
|
|
|
reviews, peering through the lens of food to shed light onto an ideology built
|
|
|
|
|
|
on patterns of authoritativeness and bland lifestyle choices.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Angeliki Diakrousi
|
|
|
|
|
|
------------------
|
|
|
|
|
|
|
|
|
|
|
|
Let's Amplify Unspeakable Things challenges the default mode of authoritative
|
|
|
|
|
|
voices, that establish exclusive speech platforms, through an intervention that
|
|
|
|
|
|
creates a safe space for excluded voices to be explored, in situated meetings
|
|
|
|
|
|
and on an online audio archive.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Joca van der Horst
|
|
|
|
|
|
------------------
|
|
|
|
|
|
|
|
|
|
|
|
The Smart Speaker Theatre questions the default mode of smart speakers as
|
|
|
|
|
|
digital assistants, through an intervention that involves kidnapping a Google
|
|
|
|
|
|
Home and having it interrogated by a team of rogue speakers and by you, their
|
|
|
|
|
|
user.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Tash Berting
|
|
|
|
|
|
------------
|
|
|
|
|
|
|
|
|
|
|
|
Instant Warnet confronts the default mode of who is included and who is
|
|
|
|
|
|
excluded in contemporary social media spaces through an intervention that uses
|
|
|
|
|
|
play and performance to turn the tables on networks of harassment online.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Zalán Szakács
|
|
|
|
|
|
-------------
|
|
|
|
|
|
|
|
|
|
|
|
Eigengrau challenges the default mode of rituals in the club space through an
|
|
|
|
|
|
intervention that involves a collective experience while creating a
|
|
|
|
|
|
transcendental oneness for body and soul through help of light, sound, and
|
|
|
|
|
|
space.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
▗█▙▄▌▗█▙▄▌▗█▙▄▌
|
|
|
|
|
|
▝ ▝▀ ▝ ▝▀ ▝ ▝▀
|
|
|
|
|
|
|
|
|
|
|
|
PROGRAMME
|
|
|
|
|
|
|
|
|
|
|
|
▗█▙▄▌▗█▙▄▌▗█▙▄▌
|
|
|
|
|
|
▝ ▝▀ ▝ ▝▀ ▝ ▝▀
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12/07 FRIDAY: OPENING & PRESENTATIONS
|
|
|
|
|
|
-------------------------------------
|
|
|
|
|
|
|
|
|
|
|
|
19:00 Welcome
|
|
|
|
|
|
19:15 Presentation by first years (15min)
|
|
|
|
|
|
19:30 2nd year student #1 (Joca) (10 mins, 5 min transition)
|
|
|
|
|
|
19:45 2nd year student #2 (Alex) (10 mins)
|
|
|
|
|
|
|
|
|
|
|
|
20:00 Break (45 mins)
|
|
|
|
|
|
|
|
|
|
|
|
20:45 2nd year student #3 (Natasha) (10 mins, 5 min transition)
|
|
|
|
|
|
21:00 2nd year student #4 (Alice) (10 mins, 5 min transition)
|
|
|
|
|
|
21:15 2nd year student #5 (Angeliki) (10 mins)
|
|
|
|
|
|
|
|
|
|
|
|
21:30 Break (40 mins)
|
|
|
|
|
|
|
|
|
|
|
|
22:10 Zalan performances presentation and performance as finale
|
|
|
|
|
|
22:40 Drinks with DJ Naam (Dennis de Bel): (Slash)
|
|
|
|
|
|
02:00 END
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13/07 SATURDAY: WORKSHOPS & PERFORMANCES
|
|
|
|
|
|
----------------------------------------
|
|
|
|
|
|
|
|
|
|
|
|
10:00 Open doors
|
|
|
|
|
|
11:00-12:00 MEAL REPLACEMENTS 101 – Alice Strete
|
|
|
|
|
|
Location: UBIK
|
|
|
|
|
|
FREE screening/discussion, max 10 participants, no RSVP necessary
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
‘Is it time to eat, or is there no more time to eat’ is a desktop film inspired
|
|
|
|
|
|
by my research on meal replacements, the most prominent techno-solutionist
|
|
|
|
|
|
creation in terms of food. In this short gathering, we’ll be discussing the
|
|
|
|
|
|
main points raised in my video around these products’ alleged potential of
|
|
|
|
|
|
solving problems, as well as ponder upon their role within societies which
|
|
|
|
|
|
value the authoritative roles of tech innovators, and their potential to impact
|
|
|
|
|
|
the way humans live.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12:00-13:00 INSTANT WARNET WORKSHOP – Natasha Berting
|
|
|
|
|
|
Location: UBIK
|
|
|
|
|
|
FREE workshop, max 8 participants, no RSVP necessary
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
‘Instant Warnet’ is a live action, role-playing game which pokes and prods at
|
|
|
|
|
|
networks of harassment on social media. During this game session, players will
|
|
|
|
|
|
be invited to assume fictional identities on Instagram, and perform various
|
|
|
|
|
|
tactics to talk back to online toxicity. The aim of this collective performance
|
|
|
|
|
|
is to experiment with new responses to the many forms of trolling and overall
|
|
|
|
|
|
policing that minorities (especially women) so often have to deal with online.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13:00-14:00 AMPLIFY ANGRY VOICES – Angeliki Diakrousi
|
|
|
|
|
|
Location: Slash Gallery and surrounding area
|
|
|
|
|
|
FREE workshop, max 10 participants, no RSVP necessary
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This workshop will be about channeling our gendered ‘angry’ voices in public
|
|
|
|
|
|
space. It will take the form of a short play, based on an initial discussion
|
|
|
|
|
|
about personal experiences from moments of unspoken angry thoughts. We will
|
|
|
|
|
|
capture them in sentences and use them as input for responses within an ‘angry’
|
|
|
|
|
|
dialogue. Our temporary act will be recorded and then played back, outside of
|
|
|
|
|
|
Slash gallery. This public moment will be a chance to listen and expose the
|
|
|
|
|
|
outcome of our collective process. The produced material will be included in an
|
|
|
|
|
|
online audio archive, with the potentiality of re-broadcast or use for future
|
|
|
|
|
|
workshops.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13:30-14:00 EIGENGRAU – Zalan Szakacs
|
|
|
|
|
|
Location: UBIK
|
|
|
|
|
|
FREE performance, no RSVP necessary
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The audiovisual experience features a custom-made LED circle, that in the
|
|
|
|
|
|
timespan of 12 minutes takes the audience through a non linear time of five
|
|
|
|
|
|
mental states: Deep State, Anticipation State, Weird state, Higher State and
|
|
|
|
|
|
Relaxation State. This narrative is made visible through the pre-programmed
|
|
|
|
|
|
motion of blue light gradients, referring to the colour of screen light.
|
|
|
|
|
|
Eigengrau frames the negative space, and therefore it generates an illusion of
|
|
|
|
|
|
non-material space. The installation offers a suspension from the isolation and
|
|
|
|
|
|
digital saturation of contemporary society.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
▗█▙▄▌▗█▙▄▌▗█▙▄▌
|
|
|
|
|
|
▝ ▝▀ ▝ ▝▀ ▝ ▝▀
|
|
|
|
|
|
|
|
|
|
|
|
XWAT?
|
|
|
|
|
|
|
|
|
|
|
|
▗█▙▄▌▗█▙▄▌▗█▙▄▌
|
|
|
|
|
|
▝ ▝▀ ▝ ▝▀ ▝ ▝▀
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Upsetting settings results from a year of research done at the Experimental
|
|
|
|
|
|
Publishing (XPUB) master in Fine Art and Design program of the Piet Zwart
|
|
|
|
|
|
Institute. XPUB is a two-year course that prepares students to critically
|
|
|
|
|
|
engage with societal issues and social practices within the fast changing field
|
|
|
|
|
|
of art, design and cultural production. More specifically, XPUB focuses on the
|
|
|
|
|
|
acts of making things public and creating publics in the age of post-digital
|
|
|
|
|
|
networks. XPUB’s interests in publishing are therefore twofold: first,
|
|
|
|
|
|
publishing as the inquiry and participation into the technological frameworks,
|
|
|
|
|
|
political context and cultural processes through which things are made public;
|
|
|
|
|
|
and second, how these are, or can be, used to create publics.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
