Globalisation and digitalisation are continually changing the world in an ever-increasing way. They are the most important prerequisites for our present and our future. The new art format, the GLOBALE – An Art Experience – which begins with the 300- year anniversary of the city of Karlsruhe in June 2015 and will run for 300 days until mid-April 2016, will broach the cultural effects of globalisation and digitalisation.
Polyphonic, multipolar manifestations such as exhibitions, concerts, performances, lectures, conferences and symposiums show the decisive trends of the 21st century. For a long time, art, philosophy and religion were considered the dominating but rival systems of world explanation. But in the modern era, natural science, technology and politics have been added as reference systems. They don’t just interpret the world. They have also created a new tool culture, with which they change the world.
At the start of the Anthropocene era, in which mankind and its civilisa- tion is becoming the largest force of nature to threaten the earth, the reformulation of terms such as work, tool, handling, mechanics, tech- nology, knowledge, effect, responsibility and sustainability is necessary. With the Renaissance 2.0, the GLOBALE focuses on an art term expanded to include the natural sciences, which links to the scientification of art in the Renaissance period. Art of the 21st century is no longer just about expression or self-expression. Instead, it reports on scientific and social systems and media, which are changing the world. The technical innovations, among which the global internet is decisive, formed important prerequisites for the scientific, political and social developments, which are combined under the keyword of globalisation.
In this context, the digital revolution has introduced the new era of the infosphere. As well as the atmosphere, which is inevitable for the life of mankind on this earth as a biological being, an infosphere is also necessary for the cohabitation of 7 billion people as social beings: A network of wireless radio links via electromagnetic waves (radio, televi- sion, telephone, satellites, internet, etc.), which encompasses the world. This guarantees global data exchange and the organisation of goods through data communication. Alongside the natural evolution, the man-made exo-evolution is emerging in the infosphere era, in which millions of pieces of data circulate the globe every second.
PROGRAMME OF THE OPENING WEEKEND
Fri – Sun, June 19 – June 21, 2015
The GLOBALE begins with a three-day event on the 19th June in ZKM | Karlsruhe: with a trial against the misconduct of the 20th century and its crimes against mankind, animals and nature.
The three-day event is being organised by The Center for Political Beauty, Berlin and the ZKM, on the basis of the novel The Trial by Franz Kafka and using historical trials such as the Vietnam War Crimes Tribunal, which was started in 1966 by Nobel laureate in literature Lord Bertrand Russell as a private non-governmental organisation.
Friday, June 19, 2015, 10.00 a.m. – 09.00 p.m.
Saturday, June 20, 2015, 10.00 a.m. – 6.00 p.m.
Sunday, June 21, 2015, 10.00 a.m. – 01.00 p.m.
The detailed program will be announced soon.
There will be a live stream.
Contributors: Peter Weibel, Saskia Sassen, Bazon Brock, Clive Hamilton, Peter Sloterdijk, Paul N. Edwards, Ben Kiernan, Hannibal Travis, Jürgen Zimmerer, Mihran Dabag, Boris Barth, Hans-Werner Kroesinger, Karl Schlögel, Norman M. Naimark, Lutz Dammbeck, Jörg Baberowski, Kerryn Higgs, Jan M. Piskorski, Roger Berkowitz, Claude Klein, Terike Haapoja, Frank Dikötter, Raphael Gross.
Saturday, June 20, 2015, 11.00 p.m. (Entrance at 4.00 p.m.)
OPENING CEREMONY: Illuminations on the palace façade
The GLOBALE will be officially opened on the evening of the June 20, 2015 on the stage in front of the Karlsruhe Palace as part of the opening ceremony of the city of Karlsruhe’s 300 Years Karlsruhe celebration with the Schlosslichtspiele on the Karlsruhe Palace, one of the highlights of the upcoming city celebrations and festival summer when the facade of the palace will be lit up with lights and artwork.
Sunday, June 21, 2015, 11.00 a.m. – 6.00 p.m.
OPENING OF THE EXHIBITIONS
The GLOBALE exhibitions will be open from Sunday, June 21. Entrance is free between 11.00 a.m. and 6.00 p.m.
The GLOBALE can be seen between June 21, 2015 and April 18, 2016 and will change over the course of the months – new exhibitions and events will be added and replace the previous ones.
Up-to-date information on the opening of the GLOBALE can be read here.
EXHIBITIONS FROM JUNE 21, 2015
June 19, 2015 – September 27, 2015
The City is the Star – Art at the Construction Site
From K-Punkt at the state theatre to Marktplatz
Opening: Friday, June 19, 2015, 5.30 p.m. at Marktplatz
During the GLOBALE, site-specific installations and performances will be on view, which relate to the current state of the cityscape of Karlsruhe, which looks like an everlasting building site due to extensive transport measures. The sculptures and performances will neither conceal nor gloss over this state. Instead, they will provide an artistic rendering. The machines and materials of the building works are reflected in the works of art, so that it is difficult to see whether it is an artistic intervention or a structural catastrophe, art or mishap. Bizarre objects, the beauty of defects and absurd campaigns will change the urban perception for the selfie generation. – In cooperation with Stadtmarketing Karlsruhe GmbH and Marketingrat Karlsruhe
Fascinating works of art are to be presented by the ZKM in Karlsruhe city center. Stadtmarketing Karlsruhe GmbH realized a project together with the KASIG: impressive large-scale sculptures by internationally well-known artists will be installed, and performances and Interventions carried out.
Businesses from the Marketing council of Stadtmarketing Karlsruhe GmbH, FIDUCIA IT AG, Sparkasse Karlsruhe Ettlingen, Volksbank Karlsruhe, INIT AG, Ernst Wohlfeil GmbH as well as several other businesses could all be won as project partners. All art actions are a gift to the city: along with its inhabitants, the city is the star!
The goal of the art project in public space is to extend the aesthetics of the everyday and so-called poor materials – an innovation of modern art – to the construction site and to thereby change the perception of the construction site.
During the festival summer, the Karlsruhe inner city will come to resemble a monumental construction site. With their installations, sculptures and performances, the invited artists intervene in the dynamic process of the construction project. They process the construction site artistically. The machines and materials of construction work are reflected in the works of art. The question thus arises: are we dealing with an artistic installation or a construction site, with an artistic intervention or a construction project? Is it art or work? Are the people we see on the construction site artists or workers? A new genre emerges: not art at the building site, but in the process of building, construction site art.
Spectacular large-scale Installations
With his spectacular large-scale installation on the Marktplatz, Argentinian artist Leandro Erlich inspires wonder among passers-by and inhabitants. »Pulled by the Roots« is the title of the work, which gives a crane an unusually heavy payload: no building materials, container or machines hang on the »art crane’s« steel ropes – quite unlike the other cranes of the city. An entire house hovers in airy heights above the construction site. Architecturally inspired by a historic building by Friedrich Weinbrenner, the building appears to have been pulled up by the roots from one of the neighboring streets.
Many inhabitants experience construction sites as a strain, if not a catastrophe. The building process lasting a number of years is also made difficult by unforeseen disruptions and incidents. One frequently comes across images of an urban situation in which one is uncertain as to whether it emerged intentionally or unintentionally, whether it was the result of chance or accident. The »Truck« by Erwin Wurm, the loading area of which is bent, and whose back wheels are placed on the wall instead of on the ground – was it accidently squashed against the wall by a digger or a crane? Was it thrown against the wall during a storm? Or is it one of the cars of the future, which can be ramped-up in reverse against the wall?
Similar considerations also hold for the »Car Building«, by Hans Hollein, which can be located at the interface of public and individual traffic near to K-Point. These vertically stacked VW Beatles – are they the result of the explosion of a gas pipeline in which they were thrown up into the sky before then landing at this location? The stacked VW Beatles articulates a fitting image for the city, accounting for time and cost-intensive restructuring for an improved traffic network.
»Heaven’s Carousel«, by Tim Otto Roth, which can be seen in the evening hours at Friedrichsplatz, provides welcome distraction from the noise of the construction site. Whoever lies beneath the crane with the rotating balls of sound and light, will have an audio-visual experience far from the everyday. The spherical sounds from the work of art are based exclusively on Sine tones and visualized through the color of the balls.
Performances and Installations in Dialog with Inhabitant
The performance by Michael Elmgreen and Ingar Dragset appears to function as a kind of excuse for the construction site, which makes the life of the inhabitants and visitors throughout the entire city center somewhat difficult. In the case of »It’s Never too Late to Say Sorry«, a man walks towards a publically installed vitrine every day at precisely twelve 12 o’clock noon, takes out the megaphone and calls out to the passers-by that it is never too late to say sorry.
With its multi-piece art project Safe in the City the artist-duo Wermke/Leinkauf takes the safety measures connected with the building regulations as starting point for its urban interventions. Yellow and red signal vests, as worn by construction workers provide the material for unusual Actions at the main train station and other locations in the public sphere. A red and yellow flag made of signal vests at the tip of the castle tower ironically signalizes the takeover of the city by construction workers: in a certain sense Karlsruhe finds itself in a state of siege by construction companies.
By way of his daily, half-hour performance »Tarzan/Standbein«, performance artist Johan Lorbeer provokes wandering passers-by by hovering, bolt upright high above a normal construction container. City strollers have internalized the fact that construction containers and not army tents dominate the city and that some passers-by or construction worker may lose their way. Lorbeer appears to have experienced just such a destiny. Has he been forgotten? How did he get up there and how will he be able to get down?
In the same way construction sites wander with the development of construction work, thus also do several works of art change their location over the course of the exhibition period. With the »Aposematic Jacket«, a jacket equipped with numerous webcams, Shin Seung Back and Kim Yong Hun wonder through the city and thus capture the effects of the construction measures. Their observations can be viewed online. They thereby thematize the omnipresence of surveillance measures.
With their works »Hybride Zonen« [hybrid zones] and » A good reason is one that looks like one«, Chantal Michel and Christian Falsnaes intervene in everyday actions in the public space and animate the passers-by to transformations in their behaviour.
The vocabulary of art in public space is extended through these performances. Public art mainly comprises sculptures, forms, objects which contain a memory or else aesthetically accentuate public spaces. However, since the performative turn we can assume that public art can also be a form of action. Thus, similarly, art in public space can be an action in public space: an ephemeral event, a demonstration, and intervention. This innovation entitled Performing Public Art is at the center of the project The City is the Star.
June 21, 2015 – August 09, 2015
micro | macro
ZKM | Atrium 1 + 2
Opening: Sunday, June 21, 2015
As prelude to the “Infosphere“, the ZKM shows a large-scale exhibition by Ryoji Ikeda. In atria 1 and 2, the Japanese composer and artist shows large-scale, architecturally inspired projection and sound worlds in which visitors are virtually fully immersed. Ryoji Ikeda is one of the most important representatives of media art and experimental electronic music. He creates synthetic installations from sound, moving image and architecturally inspired sculptural elements. Ikeda’s synthetic, audiovisual installations unfold their hypnotic effect by way of the immersive, spectacular presentation of the works.
Ikeda’s audiovisual works are characterized by a profound artistic exploration of human perception, the human scale and the very nature of sound. The artist analyzes the possibilities of new digital technologies. He is particularly interested in the limits and the basic shapes of sound – as an analyst, he reveals the physical principles of sound. Ikeda explores the audible to the limits of human perception and dissects it with the precision of a surgeon. The visualization of his sound art is intimately connected with the audible and thus forms an aesthetic unity. He creates highly aestheticized, abstract images that result in strict minimalism, the infosphere always in mind.
Comparable to a hacker, he enters the world of data and makes its hidden essentials – its code – visible: unfolding data streams and abstract computational processes to envelop the viewer.
June 21, 2015 – September 27, 2015
Transsolar + Tetsuo Kondo. Cloudscapes
ZKM | Atrium 8 + 9
Opening: Sunday, June 21, 2015, 11 a.m.
A cloud in the ZKM! As prelude to the exhibition “Exo-Evolution” Stuttgart-based Energietechnik GmbH Transsolar, together with Japanese architect Tetsuo Kondo plan to produce an artificial cloud in the ZKM spaces.
The project combines many years’ experience in the sphere of climate engineering with architectural knowledge: by applying cutting-edge technologies, not only is climate engineering made visible, but ways are also shown in which the human being will become capable of exercising greater influence on natural phenomena with increasing effectiveness in the future.
June 21, 2015 – September 27, 2015
Illuminations on the palace façade [Schlosslichtspiele]
Castle Garden, Karlsruhe
Opening: Saturday, June 20, 2015, 11 p.m.
The so-called “Schlosslichtspiele” at Karlsruhe ́s Schlossgarten are among the highlights of the city’s anniversary celebrations. Its impressive 300 meter long beauty and the surrounding park make the castle one of the most important architectonic attractions of the city.
Renowned artists and artist groups have developed new works for recording and presenting the castle ́s facade. The video mappings make reference to the facade, to the buildings, and to the city, and thus create surprising and overwhelming visual forms and narrative content, which can only emerge on-site. The aesthetic experience and the perceptions of the facade projects thus become a world-experience.
Sun–Thurs 10 p.m.–12 p.m.
Fri–Sun 10 p.m.–1 a.m.
Except : June 21 / June 22 and July 17 / July 18 / July 19
June 21, 2015 – August 07, 2015
HA Schult – ActionBlue.
Opening: Sunday, June 21, 2015, 3 a.m.
As part of the GLOBALE, the artist HA Schult plans to drive from Paris to Peking in an electric car between June 19 and August 7, 2015. He is scheduled to make a stop at the ZKM on Sun. June 21. Since his car is equipped with web cameras, anyone interested will be able to follow his action in the ZKM_Subraum. The climax of his journey will be a press conference at a waterhole in the Gobi desert.
HA Schult will be travelling a total of 18.000 kilometers in 52 days, and be traveling through eight countries. During this culture-political art action he plans to take samples from rivers and lakes so as to create “biokinetic images”, and to question our contemporary socio-cultural action.
CONCERTS, LECTURES, CONFERENCES, FILM SCREENINGS, READINGS, PERFORMANCES
In numerous events, such as a Knowledge show on the digital society, the themes of the GLOBALE will be developed in performances. Even in the acoustic sphere, globalisation and digitalisation play a transformative role, which musicians process in the form of tracks, compositions and video clips. From MyCity, MySounds to Virtual Sound Gallery, from Tangible Sounds to sonic experiments and next_generation 6.0, visitors can immerse themselves in the sensual and audiovisual rooms. On six dates, on Thursdays and Saturdays, you will be able to experience the global music, film and performance development – the GLOBALE will be a guest at the Birthday Pavilion in the palace gardens.
Conferences on the themes of World health (January 2016), Film and Philosophy (March 2016) and the Next Society (April 2016) will tackle topical themes of global interest for culture and society.
In cooperation with the PEN Zentrum Deutschland and the Literarische Gesellschaft Karlsruhe, a series of events spanning several months, Writers for Freedom (from July 2015) will deal with the battle for freedom of expression. With support from renowned contemporary writers as reading partners, specific cases will be presented and texts by imprisoned authors will be read.
Cartoonists, cabaret performers and comedians, the current artists of criticism, are also invited to share their insights into global situations.
From June 27, 2015
App Karlsruhe Maptory
Rental station for iPads in the ZKM
With the help of Augmented Reality, the Karlsruhe Maptory app will show important Karlsruhe personalities, who had particular significance for natural sciences and the humanities, at selected places. For example, Carl Einstein, the poet and art theoretician; Heinrich Hertz, discoverer of electromagnetic waves; Ferdinand Braun, who developed cathode ray tubes; and Karl Steinbuch, a visionary of information technology.
EXHIBITIONS FROM AUGUST 2015
August 11 – October 18, 2015
Without Ground. Vilém Flusser and the arts
Curated by Baruch Gottlieb with Siegfried Zielinski and Norval Baitello jr.
Opening: Sunday, June 21, 2015
With programmatic titles such as “Into the universe of technical images”, Vilém Flusser [1920–1991] advanced to become one of the most influential thinkers of communication and media in the last decades of the 20th century. In view of the fact that our existence had become significantly technical, it was his concern to rethink the arts with a special anthropology. The exhibition focuses on a number of documents and artefacts, while contemporary works of international artists are placed in direct dialogue with Vilém Flusser’s work. – funded by the German Federal Cultural Foundation
August 11, 2015 – April 17, 2016
“Global Games” reacts to the latest developments in the computer game field, a medium that was created by the Infosphere. The effects of globalisation and real-world references are reflected clearly in computer games. Games address, for example, the contexts of the globalised financial market, the situation of refugees on European borders or social grievances provoked through turbo-capitalism. A new phenomenon is Citizen Science, in which the citizen, etc. takes part in scientific research in computer games.
Computer games should in no way be understood as a purely western phenomenon, but far more as a global medium. It’s worth taking a look at the flourishing computer game culture in Asia and on computer game productions from countries such as Iran and Syria.
September 4, 2015 – April 17, 2016
ZKM | Atrium 1 & 2
With what challenges do the new technologies confront us? The human being has been living in an infosphere ever since the discovery of magnetism, electricity, electro-magnetic waves and radio technology. For the cohabitation of human beings as social beings, both the atmosphere and the infosphere are indispensable. Today, algorithms – from the stock market through to airports – are fundamental elements of our social order.
The prelude of the “Infosphere” is the large-scale exhibition “micro | macro” by Ryoji Ikeda; here, the Japanese artist presents architecturally inspired, large-format projects and sound worlds. Much like hackers, artists like Ikeda penetrate the data world, and make their masked code visible. As one of the most important international representatives of media art, Ikeda places the ZKM visitors in a synaesthetic, immersive audiovisual installation with hypnotic effects.
There still appear to be insufficient rules for the Infosphere or instruction manual on the Internet. The thematic focus of the collected works in the exhibition turns on the kinds of answers given by artists, designers, architects and scientists on these acute challenges represented by the Infosphere. While, to date, digital instruments have been considered the great hope for new democratic participation, more recently they have been abused for the surveillance of billions of people. The exhibition “Global Control and Censorship” deals with these themes and emerges in collaboration with a network of scientists, journalists, activists and artists from all over the world.
September 18, 2015 – May 1, 2016
Global Control and Censorship
ZKM | Atrium 1 & 2
In the present-day context, knowledge, along with the control of knowledge and information, is developing progressively into a key source of power. Data and information on the World Wide Web are only randomly controllable and are increasingly misused for purposes of surveying millions of persons.
The targeted acquisition and suppression of information has been the most effective instrument for maintaining power since time immemorial.
The exhibition, scheduled for presentation as part of the Infosphere, arose in international collaboration between scientists, journalists, activists and artists. In cooperation with specialists’ organizations such as P.E.N., Chaos Computer Club, Reporter ohne Grenzen [Reporters without Borders], as well as platforms such as netzspolitik.org, digitalcourage.de or Wikileaks, the exhibition aims to intensify and extend public discussion on these ubiquitous actions.
October 30, 2015 – March 6, 2016
Curated by Peter Weibel
ZKM | Atrium 8 & 9
The hands were liberated, along with the upright gait, and became the tools of man by means of which he then himself became “the first liberated being of creation“ (J. G. Herder, 1791). Over the millennia man has brought forth a culture of engineering – ranging from manual to mental tools – that has extended the limits of perception and the world. The human being stores the functions of natural organs and creates artificial organs with the aid of which he then goes beyond natural evolution. From the heart through to joints, man is in a position to replace natural organs by way of artificial organs, and to thus exert an increasingly dominant influence over the conditions of his environment.
The “Exo-Evolution“ focuses on the artificial application of such new technologies, and opens a new dimension of the future. Ecological themes are as much in focus as is cutting-edge knowledge in space exploration, nanotechnology, genetic engineering, molecular biology, neurology and Bio Art.
As prelude to the exhibition an artificial cloud will be made experienceable in the ZKM museum spaces. In this large-scale installation by Transsolar and Japanese architect Tetsuo Kondo, climate engineering and architectonic knowledge make visually perceptible the potential of the human being to increasingly alter natural phenomena. Similarly, in their works artists such as Armin Linke and Tomás Saraceno, also point to the alliance of art and science in the age of digitalization. Saraceno has been carrying out research on the construction of spider’s webs for several years; his contribution at the ZKM will be an interactive spatial installation for the “Exo-Evolution“.
October 30, 2015 – September 04, 2016
Tomás Saraceno Tuning Gravity ́s Strings
ZKM | Atrium 8
As part of the exhibition Exo-evolution, the Berlin-based Argentinian artist, Tomás Saraceno, realized an interactive spatial installation at the ZKM, which fills atrium 8 with a gigantic, three-dimensional net-structure. Visitors may enter the network from all sides and from all levels and freely move around within it. The installation, comprising over 50 kilometers of rope and 60.000 intersections, transforms the atrium into a multi-dimensional, multi-sensory space which carries within it manifold references to biological, technological and cosmological networks. Tomás Saraceno found inspiration for his work over many years by way of his vigorous study of the web construction behavior of different spider types. Here, he works towards the realization of his visionary large-scale project in ongoing, close contact with scientists, engineers, research scientists and artists from diverse disciplines.
Preparing for his work for the GLOBALE, the artist built a special-purpose archeological research laboratory in the Ecuadorian Rainforest, the results of which were evaluated at the Institute for Building and Environmental Engineering at Massachusetts Institute of Technology (MIT), by way of experiments, statistical methods and computer simulations.
The principles and knowledge acquired through the observation of nature Saraceno then transfers conceptually to possible future life-fields of the human being, and thus searches for answers to questions of existential significance for the survival of humanity, above all in view of the acutely advancing climatic change, and the rapid growth of the world’s population.
April 9, 2016 – August 30, 2016
Curated by Bruno Latour
ZKM | Atrium 9
Opening: Friday, April 8, 2016
The modern era as a spiritual era, as a demarcation of the present from the past, is one of the most obscure terms of our time. According to Bruno Latour, the modern era is currently colliding with a global crisis – a “reset“ is now needed.
The ”Reset Modernity!“ exhibition aims to show a series of contradictory values to visitors, which are considered the definition of the modern era and modernity.
Then these can investigate what they would like to retain from them and what they would like to give away. The term “reset” comes from information technology and is used if a computer’s function is affected by too many bugs, useless programmes, etc. – it is necessary to reinstall the operating system.
Latour transfers this procedure “Gedankenausstellung“. To make a decision of how we want to occupy the world in the future, a careful selection must be made as science, religion, politics, economy, law, art and technology offer us a spectrum of both good and bad values.
April 9, 2016 – August 7, 2016
The modernisation process of Chinese art
Opening: Friday, April 8, 2016
In this project, Pan Gongkai, the former president of the Central Academy of Fine Arts (CAFA) in Beijing, designs an illustrated history of the modern art of China over the last hundred years with over 10,000 annotated photos. In doing so, he shows the conflict of Chinese art with western modernity and the internal flows, which run between “traditionalism”, “syncretism”, “Occidentalism” and “populism”. In the same way, the intercultural dialogue between the east and west is updated by a video installation with interviews, using the example of Rabindranath Tagore.
April 9, 2016 – August 30, 2016
New Sensoriums: Exiting Failures of Modernization
Based on the classic definition for Asia as Eurasian continent less Europe, the exhibition New Sensoriums – Exiting Failures of Modernization shows works by primarily non-western, Asiatic artists. The main focus of the exhibition is on new sensory areas of experience, as indications of a new consciousness which evolves from globalization and digital technologies. However, the sensorial is not only restricted sensory impressions, but comprises accompanying cognitive process for the new evaluation of our changing life conditions. In this sense, the new sensorium is to be understood as a collection of instruments with the help of which we can actively encounter the close transitional connection of our virtual and actual life.
In the same way that the concept Asian not only stands for a culture or an ethnic group, but far more for non-European traditions in Eurasia, New Sensoriums is defined by a logos which is clearly distinguished from the European model: an intuitive artistic approach to phenomena as well as a holistic joining of thought and action make the split between subject and object obsolete, and thus counteract the anthropocentric dualism, which has exerted such a sustained influence on the western understanding of the world, but which – as Bruno Latour and others have noted – has not brought forth any really functioning ideology.
In view of our now newly discovered informational environment as well as the advances made with respect to the technologies for the generation and dissemination of digital data, seriously questioning the relationship between the material, the informational and our own physicality is long overdue.
In the context of the ideological upheavals of the last thirty years which led to the capitalization and urbanization of Asia and which repeatedly led to the pre-modern or traditional cultural memory, the lives of many artists among the Digital Natives have become instable and have at the same time led to a dynamic situation, and to them having to connect or disengage from the contemporary. They use digital media as tools for creating new environments, and as a way to preserve their intellectual hygiene. They can move freely in the digital space, and elaborate survival strategies, whether at political, social and communal levels. Feelings, sensitivities and perceptions are born in such processes which dispose over potentials for unfolding a productive, critical and poetic force, and that seldom arise in actual physical space.
New Sensoriums shows works by around fifteen artists who have been able to discern the distant road to the future, and who explore ways out of the somber perplexities of dualistic modernity. The exhibition is one step into a new ecosystem of the media and its materials, which is directed towards another future and another body – and thus a return to the organism. (Yuko Hasegawa)