ZERO Demonstration on the Rheinwiesen, Düsseldorf, 1962, sequence from the tv film: „0 x 0 = kunst: maler ohne farbe und pinsel“ by Gerd Winkler, Hessischer Rundfunk, first broadcast on 27 June 1962. The ZERO Demonstration took place on 17 May 1962.
From the research project “…each grows stronger when nourished by the other (György Kepes)” becomes the exhibition “from zero to he:ro”.
Initiated by the ZERO foundation, the project questions the impact of innovative technology and the power of science on the environment. What is the significance of the historical references of ZERO art for contemporary artists?
The subsequent exhibition “from zero to he:ro” at ZERO House offers young artists the opportunity to conduct artistic and curatorial experiments by creating installations with provocative visual effects and sounds and presenting them at ZERO House. They develop their artistic ideas in various media such as video works, projections, 3D-printed ceramic sculpture, paintings generated with robotics, AI chatbots and AI-generated images. If nothing else, the title was chosen with a mischievous edge to it, in response to the fact that a research project grounded in encounter and travel has made many things difficult in recent years.
The video projection from the art action “Zero Rhine Infinity” by Till Bödeker and Johannes Raimann projects the scientific image of a black hole onto a sailboat. Yunju Lee’s video work was influenced by intense observation of reflective surfaces and light vibrations. Christoph Thormann focuses on computer-generated motifs and objects that he uses the new technology of the 3D printer to create a ceramic sculpture. Sean Mullan and his artist friends* transform the ZERO stairwells into an interactive sound object where programmed AI chatbots hold a conversation about the ZERO manifesto. Margareta Bartelmess shows 1,500 images of present-day landscapes using an old projector from the 1960s to create a connection between the ZERO era and today.
Light artist Seth Riskin led the MIT group in developing the “Rainbow Grid,” a “second generation” light ballet using new LED technology inspired by Otto Piene. Participating are Adam Burke, Agnes Cameron, Adam Haar Horowitz, Ben Miller, Sarah Schwettmann and Daniel Alexander Smith.
The young artists and scientists, whom we have introduced to you in interviews in previous newsletters, explore the perceptual potential of technology and attempt to convey other ways of seeing and perceiving the world to the viewer through art; they push the boundaries of knowledge:
ZERO is infinite.
Opening on October 15, 2021, 5:00 p.m.
Dr. Barbara Könches, ZERO foundation, welcome address
Dr. Stephan Muschick/Daniela Berglehn, E.ON foundation, Essen
Wen Bi, curator, introduction in dialogue with the artists of the Kunstakademie Düsseldorf
Light installation “Rainbow Grid”, by the MIT Museum Studio and Compton Gallery of the MIT Massachusetts Institute of Technology in Cambridge (USA) via Livestream
7 pm performance by Sean Mullan
October 16 – 17, 2021, 1-5 p.m.
October 23 – 24, 2021, 1-5 p.m.
November 13 – 14, 2021, 1-5 p.m.
The research project and exhibition are supported by the E.ON Foundation, Essen and the Ministry of Culture and Science of the State of North Rhine-Westphalia.
HEINZ MACK. Skulpturen – Sculptures. 2003 – 2020
Edited by Beat Wyss, Hirmer Verlag, Munich
In addition to the variety of materials – such as natural stone, metal, wood, plaster, sand or glass – the more recent sculptures by Heinz Mack are also characterized by their elemental, powerful character in connection with light and/or movement. In his late work, the artist further develops themes from earlier work phases, such as the stele with its light-transforming and space-defining qualities. Characteristic of the last twenty years is an increased attention to sculptures made of stone, such as granite or marble, sometimes of monumental size.
In conversation with Valeria Mack and Sophia Sotke, the editors of the publication, we would like to talk about bookmaking. How do you create a catalog raisonné, how do you find the right photographer? In the following conversation, the editor Beat Wyss and the artist Heinz Mack will discuss the sculptures from the past 17 years of creativity.
Thursday, October 21, 2021, 7 p.m.
The Walther König bookstore will offer the publication for purchase that evening.
We apply the 2G rule and ask you to bring vaccination certificate or proof of convalescence. It is necessary to wear a mask in the ZERO House until you reach your seat.
Dieter Jung, Portrait, 1969.
Dieter Jung with Prism, 1985.
“Dieter Jung. The most beautiful hologram is the rainbow” Homage to the pioneer of floating images.
Rarely have art and science come as close as in holography, a “photographic” laser technique that allows objects to be stored on a flat substrate and reproduced as three-dimensional diaphanous images. Holography experienced its heyday in the 1980s in the United States and Europe. However, it was temporarily eclipsed by the rapid development of digital technologies. The combination of digital media with holography opened up completely new geat design possibilities for moving images floating freely in space. “Lighter than air”.
Far too rarely is holographic art shown. One of the artists who helped shape and develop holography is Dieter Jung.
Born in Bad Wildungen in 1941, Jung turned his interest to art after a brief interlude of studying theology, first studying at the Berlin Academy of Fine Arts from 1963 to 1968 and at the German Film and Television Academy in Berlin from 1971 to 1974. Jung was quickly drawn out into the world, to Paris in 1965, Brazil in 1975 and New York in 1977. From 1985 to 1989 Jung spent research years at CAVS/ MIT, Massachusetts Institute of Technology in Cambridge, MA, USA. Upon his return, he advised the incisive, newly founded institutions in Germany: the KHM, Academy of Media Arts Cologne and the ZKM, Center for Art and Media in Karlsruhe. From 1990 to 2007, Jung was professor of holography and light art at the KHM. In 2010, the ZERO foundation appointed the well-traveled light artist to its academic advisory board. He has traveled the world with exhibitions in Caracas, Venezuela; Tokyo, Japan; Helsinki, Finland; Quebec, Canada; San Juan, Puerto Rico; São Paulo, Brazil; Cairo, Egypt; Maribor, Slovenia; Taipei, Taiwan; Budapest, Hungary; Seoul, South Korea; and Shenzhen, Shanghai and Beijing in China, among others. He received scholarships at the École des Beaux Arts in Paris from the Institut Français; from the Studienstiftung des Deutschen Volkes and for New York from the DAAD, the German Academic Exchange Service. Countless honors have reached him over the past five decades. In 1983 Dieter Jung was artist-in-residence at the Museum of Holography in New York and in 1985 he was a CAVS fellow at the Rockefeller Foundation. Twice, in 1988 and 2003, Dieter Jung was awarded by the Shearwater Foundation/ USA.
In 2019, the Center for Art and Media presented the impressive solo exhibition “Dieter Jung. Between and Beyond”, where the visitor*s were greeted with the words: “I don’t paint with pigments anymore, but with photons.”
On October 9, 2021, the magician of light – as Otto Piene once called him – will turn 80.
As part of the project “each grows stronger when nourished by the other. Art, Science, Technology and Society”, the ZERO foundation, Düsseldorf, would like to honor the pioneer of artistic holography and is pleased to have found a wonderful partner in the ZKM Center for Art and Media, Karlsruhe, in order to review the period of artistic production with the jubilarian – always with the question in mind as to why the art public is so shy about opening up to the light messages produced by technical know-how and knowledge and their poetic magic.
Discussion partners: Dieter Jung, Barbara Könches, Peter Weibel
Saturday, October 23, 2021, 3 p.m., at ZERO House or via Zoom
We apply the 2G rule and ask that you bring proof of vaccination or convalescence. Wearing a mask in the ZERO House until you are seated is required.