transmediale partner of thingworld: International Triennial of New Media Art 2014

transmediale collaborates with the International Triennial of New Media Art in Beijing, China: Our artistic director Kristoffer Gansing was part of their advisory board and former artist in residence in our Vilém Flusser Program for Artistic Research, Pinar Yoldas, exhibits work An Ecosystem of Excess this summer in Beijing (starting 10 June).

Opening: 10 June 2014
On View: 11 June ‐ 7 July 2014
Galleries: 3, 5, 7, 13, 14, 15, 16, 17, 19, 20, 21
Address: National Art Museum of China (NAMOC), No. 1 Wusi Street Dongcheng District
Beijing 100010 P. R. China

> mediartchina.org

transmediale collaborates with the International Triennial of New Media Art in Beijing, China: Our artistic director Kristoffer Gansing was part of their advisory board and former artist in residence in our Vilém Flusser Programme for Artistic Research, Pinar Yoldas, exhibits work An Ecosystem of Excess this summer in Beijing. The project is supported by the Ernst Schering Foundation.

thingworld: International Triennial of New Media Art 2014 is the third edition following the internationally acclaimed Olympic Cultural Project Synthetic Times: Media Art China 2008 and transLife: International Triennial of New Media Art which was officially instituted as a triennial of new media art at the National Art Museum of China in 2011.

These triennials have investigated the most current intellectual trends in the discourse of media art and culture, providing a prominent platform for a global presentation and theorisation of cutting edge media artwork. The 2014 edition will present 58 works by 65 artists and artistic collectives from 22 countries. Most of the works in the exhibition will be shown in China for the first time.

From metal balls ascending in an uncanny anti-gravitational movement to a Victorian sofa standing precariously à l’attitude; from miniature instruments which require a magnifying glass to peek at their elegance to monumental inflatables that entwine and elongate to permeate 5,000 square feet of gallery space; from murmuring tweets from the virtual void to billions of algorithmically generated configurations of a mere 24 cards depicting an 18th-century genre painting; from the umwelt of artifacts shuffling through a galaxy to a new ecosystem that emerges from the chemical sludges and trash vortex of the Pacific Ocean, the exhibition unfolds its three themes: Monologue: Ding An Sich; Dialogue: Ding to Thing; and Ensemble: Parliament of Things in a reciprocal interrelation. By aligning Physical Being, Technical Being and Psychic Being (to borrow a concept of being from Gilbert Simondon) as the new vista of equality, Technology (as the reciprocal transduction of humanity and technicity) with its initiating motility may be the surprise candidate to turn anthropocentrism on its head: physical beings via technical beings achieve their own vivid presences, their own agency and autopoiesis, their own generativity, thereby evoking a conative penetration for the human being. They act and interact, dialogue and monologue, or chorus in the assemblage of the thingworld. In celebration of thingworld, there emerges an opportunity to reinvigorate the impasse of cultural production that is contingent solely on the premise of a human subject through a much-‐expanded field of operation; there will be a newfound world of discussions, concerns giving rise to new forms of artistic experimentation and new vocabularies of aesthetic manifestation that resonate with a vision of equity molded by a renewed political ecology, that is the Equality of All Things.

The catalogue accompanying the exhibition is co-published by The National Art Museum of China and The Liverpool University Press. Essay contributors include Graham Harman, Carolyn Christov-‐Bakargiev, Mark B.N. Hanson, Sean Cubitt, Timothy Morton, WANG Hui and ZHANG Ga. It will be on sale on the transmediale website soon.

Participating Artists

Visual identity and catalogue design: Natasha Jen, Pentagram

Organised by The National Art Museum of China

Exhibition Committee

Chair: FAN Di’An 范迪安 (Director, NAMOC)

Artistic Director / Curator: ZHANG Ga 张尕

Advisory Board: Alex Adriaansens (Director, V2), Carolyn Christov-Bakargiev (Artistic Director, Documenta 13), Bjorn Norberg (Bonniers Konsthall) Andree Duchaine (Director, Groupe Molior), Kristoffer Gansing (Director, transmediale), Graham Harman (Professor, American University in Cairo), LU Xiaobo 鲁晓波(Dean, Academy of Arts and Design, Tsinghua University),Kim Machan (Director, MAAP), Olga Majcen (Director, Kontenjner), Joel Slayton (Director, ZERO1) Mike Stubbs (Director, FACT), WANG Hui 汪晖 (Professor, Tsinghua University), Peter Weibel (President, ZKM)

With special thanks to Peter Anders, Monica Bello, Sabine Himmerlsbach, Caroline A. Jones, and Benjamin Weil

In collaboration with Le Groupe Molior (CA), MAAP, Media Art Asia Pacific (AU), V2_Institute for the Unstable Media (NL), Kontejner (HR), ZERO1, The Art and Technology Network (US), Goethe Institut (China) (CN), transmediale (DE), Academy of Arts and Design, Tsinghua University (CN), TASML | Tsinghua University Art and Science Research Center Media Lab (CN), FACT | The Foundation for Art and Creative Technology (UK)

Produced by The National Art Museum of China

Implemented by Exhibition Dept. NAMOC

Transportation Logistics Dept. NAMOC

Public Education Education Dept. NAMOC Public Relations and Promotions PR Dept.

NAMOC Catalogue

Co-Published by The National Art Museum of China and the Liverpool University Press

Edited by FAN Di’An 范迪安, ZHANG Ga 张尕

Essays By Carolyn Christov-‐Bakargiev, Graham Harman, Mark B.N. Hanson, Sean Cubitt, Timothy Morton, WANG Hui 汪晖, ZHANG Ga 张尕

Design By Natasha Jen, Pentagram

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transmediale partner of thingworld: International Triennial of New Media Art 2014

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Vilém Flusser Residency for Artistic Research 2013: Pinar Yoldas