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Sollfrank Dies ist eine gesichtete Version dieser SeiteDetails show / hide

Sollfrank (* 1960 in Feiler hammer, community Trabitz ) is a German net artist and representative of cyber feminism. In addition, she has worked as a journalist and published theoretical work of art. She lives in Celle, Germany and Dundee , Scotland. Sollfrank

Contents

1 Life 2 Current work 3 Artistic Strategies 4 Selected Works 4.1 Female Extension 4.2 net.art generator 4.3 Museum Store 4.4 This Is Not By Me    5 Exhibitions and other works 6 fonts 7 References 8 Web Links 9 Notes and references

Life

From 1987 to 1994 Sollfrank studied painting at the Academy of Fine Arts in Munich (with Professor Helmut Sturm ) and Fine Arts at the Academy of Fine Arts in Hamburg (Professor Bernhard Johannes Blume ). She graduated with honors. During her studies she was founder and member of two artist groups: 1990 built in Hamburg with nine other artists, the group women-and-technology. women-and-technology employed is less concerned with the question of gender - as the title suggests - rather than with strategies of marketing and advertising. The development of clear signs (logos) or appearances ( corporate identity ) in the late 1980s, which represent the philosophy of a company was now no longer utilized for art only to the product of a business enterprise, but with the simultaneous development of cultural sponsorship. [1] This resulted advertising effects, the women-and-technology used at the same time and revealed. Sollfrank took with women-and-technology, among others, 1992 to the TV project Piazza Virtuale during the documenta IX in part. In 1993, from women-and-technology produces a new group. -Innen involved the creation of a common identity and thus the collectivization of authorship. For information on copyright law, originality and authorship in the network were a key issue. In the artistic research, performances and interventions found a critical analysis of media, particularly the television instead. [1] -Innen produced, among other things for the Hamburg Open Channel 1996, a game show and intervened at the computer fair CeBIT in Hannover. In 1996 the group split up, since Sollfrank works as a freelance artist, journalist and theoretician in the field of web culture and net art.

Sollfranks interest in the collective work led to the establishment of the network OBN (Old Boys Network) in Berlin in 1997, together with some former members of -Innen (Ellen Nonnenmacher and Susanne Ackers) as well as members of the Australian artist group VNS Matrix (Julianne Pierce and Josephine Starrs). [1] This alliance of scientists, artists and activists practiced to this day an experimental approach to network structures to Cyberfeminism [2] not only to address or theorize, but to realize a structure-building: "The fashion is the Message - The Code is the Collective. "Also in 1997, organized Sollfrank with the ladies of the Old Boys Network, the first international cyber feminism conference, put on a hundred anti-theses on the question of what cyber feminism is," cyberfeminsm is not to ism. Cyberfeminism is no excuse. Cyberfeminisme n'est pas une pipe ... "This international meeting of media artists and media theorists (first Cyberfeminist International), the media in the laboratory Hybrid Workspace at Documenta X in Kassel took place, the issue of women focused in the net art or Internet culture. 1999 and 2001, followed by two more conferences. [3] The focus of the work on cyber-feminism stands for Sollfrank the exploration of artistic strategies in terms of their political potential.

From 1999-2004 Sollfrank lectures at various colleges and universities, including the University of Fine Arts in Hamburg, the University of Lüneburg , the University of Oldenburg and at the Bauhaus University Weimar. [4] In 2004, Sollfrank to be the candidate of the artistic manager of the Linz Ars Electronica traded in succession Gerfried Stocker. [5] From 2006-2011 Sollfrank worked as artistic researcher at the University of Dundee, Scotland, and received his PhD in 2012 with the work "Performing the Paradoxes of Intellectual Property. A practice-led investigation into the relationship between Conflicting Copyright and kind."

From 2009-2012 was Sollfrank employee of Creating Worlds, a research project of the eipcp (european institute for progressive cultural policies), which explored the relationship between art production and knowledge production in the context of the transformation and the crisis of contemporary capitalism. Current work

Sollfrank artwarez.org operator of the website. Here informing them of their own work, published interviews and manages a blog.

Since 2012 Sollfrank "Lecturer for Contemporary Art Practices, Art & Theory, and Artistic Research in the Context of New Media" at the Duncan of Jordanstone College of Art and Design of Dundee University in Scotland, UK.

She is currently working on the realization of artistic research project Giving What You Do not Have to topic copyrightable critical practice. [6] Artistic Strategies

Sollfrank deconstructed since the mid-nineties traditional terms and concepts such as the work, originality, genius or the authorship of which today determine the art world or valid copyright. By means of artistic and subversive, partly gender-specific strategies they tested in digital media, new forms of performative, collaborative and networked authorship. Indicative of Sollfranks work is the playful nature of their interventions in social systems and their oscillation between purpose and freedom of political intention.

On the basis of social engineering and Social Hacking defined Florian Cramer art Sollfranks as a hack of the social with digital and non-digital means. Here, the artist concentrating the art system and computer culture on two subsystems with their playful manipulations of systems in general and their concern itself in particular. [7]

Sollfrank himself describes her work as situational, ie it makes cuts in social systems whose part it is itself. You will not thereby reveal visible, but quite influential relationships and power structures that would otherwise remain hidden. [8] Thus Sollfrank criticized, for example, the use of net art in the museum sector (Femal extension). Bothers you and infiltrated the system museum and makes the structures of the institution to use in order to demonstrate the problems encountered by these structures, especially for net art "net art had nothing for me to do with art galleries and museum operations, with adjudication and prices because of the 'nature' of the network objects. Net art is simply the net, and this is not a museum necessary and no judge who decides what is the best net art. " [9] Selected Works Female Extension

At work Female Extension is a hack whose aim was to tender for the Hamburger Kunsthalle 's "extension. To disrupt the Internet as material and object "in 1997. Sollfrank foresaw the lack of authors who participated in this contest, especially the lack of authors and created 289 fictitious artists with international identities, complete addresses, phone numbers and email addresses. Next, she created with the help of a net.art generator seemingly individual works that they then assigned their artists. Sollfrank got for each net artist a password, that all artists have been approved by the Kunsthalle for the competition. Then they transferred 127 works of the artists at the Museum server. Within the context of art, so the invitation of the museum, the net artists were uncritically accepted as artists. The infiltration of the competition was not observed even after the deadline. Only with the announcement of the winners, two days before the ceremony, Sollfrank issued a press statement in which she revealed her intervention. The Kunsthalle had the hack probably never noticed. During the current tender, the Gallery of Contemporary adorned especially with the high female participation of two-thirds of the 280 participants. A price should indeed receive none of the women, but the judges (Uwe M. Schneede, Rainer Wörtmann, Dellbrügge & Demoll, Valie Export and Dieter Daniels) use the deemed contribution to highlight to the public, such as the current and near the new exhibition hall but at present art scene was. The poor quality of the "HTML scrap" was well perceived, but not analyzed further. [10] net.art generator

The generator was used to prepare 127 net art projects at work Female Extension is available since 1999 as an independent work any user. For the work net.art generator commissioned the artist programmers Ryan Johnston, Luka Frelih, Barbara Thoens and Ralf Prehn to develop different software solutions that differ in their search structure and the complexity of the results. The artist ironically so, the general idea of ​​net art as art site in which they just explained websites to art arising from randomly assembled gestelltem pictures and texts of the network. Anyone can become a net artist, according to the motto "smart artist makes the machine do the work": the machines do the actual work. The motto of the website suggests to the user that he can become a net artist. But this is true only partly: By saving the collage art of amused user accumulates Art issuing Sollfrank under their name. Ute Vorkoeper extended due to this fact, the site slogan: "A smart artist orders Which programs make the user do the work". [11] Museum Shop

The museum shop is an agency that quality reproductions of selected works from the collection of the Museum Märkischen Witten produced and sold. The Märkische Museum, which is neither a database, nor has its own homepage is, in its strained financial situation relies to make its resources available in the long term, such. As are the rights and property of positions to evaluate the artistic works. In this project Sollfrank explores the relationship between practical museum work and copyright protected. Museum Shop "Here, a variety of contradictions between private and public interests which the project result" "will drive through artistic means to the extreme." [12] This Is Not By Me

In THIS IS NOT BY ME is an exhibition project that consists of six different works by the artist. Within this work cycle Sollfrank deals with questions about authorship, originality and intellectual ownership in the art. (Manila / Asia; Hildesheim / Europe New York City / USA) In 2006 and 2007 solo exhibition in three exhibition rooms on three different continents was shown has different laws on copyright. Sollfrank engages in this work on the issue of copyright in the digital medium and pointed to this. It pursues the discourse about the copyright on an artistic level since 1997, with the work net.art generator.

THIS IS NOT BY ME consists of six works:

1. Legal Perspective, video installation with four monitors, plug.in, Basel, 2005 Sollfrank generates the famous "Flowers" by Andy Warhol using the net.art generator and will exhibit these. Parallel to the pictures shown, speak to four monitors four different lawyers, on the subject of copyright. It is about the question of who is the rightful author, a net.art generator through the collage picture and if this is allowed to issue it or to sell it. The four experts come at the end of all different results. In fact Sollfrank allowed their "Flowers" not exhibit as the head of the plug.in legal consequences feared. In Basel, thus only the video installation was shown.

2. cornelia copyright © to frank 2004 Video, 45 min. On the video copyright © 2004 cornelia is frank Sollfrank reads a text written by her before with the same title. The lyrics of the automatically generated "Flowers" and the question of the authorship of the image. In the ensuing discussion Sollfrank leads to several possible authors. First, the computer program would be eligible for the author title because it creates the image. Also, the programmer who wrote the code of the program could be registered with claims. Likewise, the users of the software, it will enter the search criteria and is therefore instrumental in acquiring an image. Also creates the actual author of the subject and has published can claim as an author. At the last place Sollfrank name of the person who had the idea for the net.art generator. This problem of authorship can not be solved.

3. I DO NOT KNOW, video interview with Andy Warhol, 14 min., 1968/2006 The first two plant parts lead to no clear binding outcome with respect to question who "Flowers" is produced by the author of the net.art generator. As a consequence interviewed Sollfrank, one of the possible authors. In a fictitious interview the artist Andy Warhol asked about his "Flowers" and their further use. Both artists discuss authorship and intellectual property in the art. Ultimately asks Sollfrank Warhol whether they may use its "Flowers" in their work. Warhol agrees with this.

4. PRINTS and wall-paintings, Mag: net Gallery, Manila, Kunstverein, Hildesheim, 2006 Sollfrank, the generated "Flowers" as the printed images.

5. Expanded Original This part of the work explores new methods can avoid the complicated and controversial recognition process of artworks. Particularly useful would be a new method for images which can theoretically be constantly prepared in the same quality. At this plant part is working as before.

6. Hue and Cry, video, 4 min. This video shows the generated "Flowers", as they go through the entire color spectrum.

All work is an exploration of Andy Warhol basis. Both Warhol's motives ("Flowers") and working methods, and he himself are as incarnate interviewees part of the business cycle. Warhol worked with existing designs from popular advertising and the media. In the production of his paintings Warhol attended hardly by the screen printing method, it was not absolutely necessary that he himself produced the paintings. This work was made in his workshop by his assistants. Shortly before his death, Warhol dealt with the medium of the computer and with the idea of ​​large screen printing digital images. This is Sollfrank continue the experiment Warhol, in which she uses the computer as a tool and the Internet as an inexhaustible material storage. The exhibition project is part of the doctoral Sollfranks. Working THIS IS NOT BY ME will be a practical example. exhibitions and other works

2013:

Tools of Creativity Distorted, transmediale '2013, House of World Cultures, Berlin, DE. Curated by Law, Akademie Schloss Solitude, Stuttgart, DE. re.act.feminism # 2 - a performing archive. Fundació Antoni Tàpies, Barcelona, ​​ES.

2012:

Sound Art. Sound as a Medium of Art, ZKM Media Museum, Karlsruhe, DE. Megacool 4.0. Youth and Art, Artists House, Vienna, A.   re.act.feminism # 2 - a performing archive, Wyspa Institute of Art in Gdansk, PL. International Biennial of Contemporary Graphic Art, Novosibirsk State Art Museum, Moscow, RU. This is not by me, Visual Research Centre, Dundee Contemporary Arts, Dundee, UK.

2011:

the art of hacking, Netherland's Media Art Institute, Amsterdam, NL / reverse, Gallery 'Z', Bratislava, SLO. Identités précaires, Musée Jeu de Paume, Paris, F.

2010:

Cultures (s) of the Copy, Edith Russ Site for Media Art, Oldenburg, DE. Dog is my co-pilot, Vejle, DK. REVERSE, Art Museum, Omsk, RU. Inter-Cool 3.0, HMKV Dortmund, DE. Cultures (s) of the Copy, Goethe Institute, Hong Kong, CN. Old News, Center for Contemporary Art CCA, Lagos, IL. Agents & provocateurs, HMKV, media arts club, Dortmund, DE.

2009:

Originals and other forgeries, solo exhibition, Edith Russ Site for Media Art, Oldenburg, DE. Unlimited Edition, solo exhibition, Mejan Labs, Stockholm, Oslo, N.   Agents & provocateurs, Institute of Contemporary Art - Dunaújváros, HU. Abdomen or head. How much theory needs art? stroke: kunst.diskurs eV, EISFABRIK, Hannover, DE. International Biennial of Contemporary Graphic Art, Novosibirsk State Art Museum, Moscow, RU.

2008:

Art Machines Machine Art, Museum Tinguely, Basel, CH, Anna Kournikova Deleted by Memeright trusted system, Hardgoods media (HMKV), Phoenix Hall, Dortmund, DE. re: act feminism, Academy of Arts in Berlin, DE.

2007:

Museum Shop, solo exhibition, Märkisches Museum Witten, DE. I DO NOT KNOW, Interview with Andy Warhol, video / installation (1968/2006), Shift festival of electronic arts, Basel, CH. Art Machines Machine Art, Schirn Kunsthalle, Frankfurt, DE.

2006:

THIS IS NOT BY ME, solo exhibition, Kunstverein Hildesheim, DE.

2005:

Warhol Flowers, sales show, HGKZ, Zurich, CH. TammTamm - artists inform politicians, Hamburg, DE.

2004:

have script wants to destroy, Mostra Internacional de film deDones, Barcelona, ​​ES. Automatic authorship, radio play series of ORF-art radio stations, Vienna, AT.

2003:

fem snd - party & workshop, with musicians (electronic music), (Laurence Rassel and Maya C. Sternel), Melkweg Amsterdam in collaboration with next5minutes, Amsterdam, NL. net.art generator, Collection of Contemporary Art of the People's Welfare, Le Royal Meridien, Hamburg, DE.

2002:

net.art generator, GENERATOR, Spacex Gallery, Exeter, UK. Guided tour through hacker country, Performance, Chaos Communication Congress, Berlin, DE.

2001:

Artist images, gallery Mesaoo Wrede, Hamburg, DE. networked reality, solo show, Galleri 21, Malmö, SE. improved television, cyberfem spirit, media art house, Oldenburg, DE.

2000:

Have Code Will Destroy 'Tenacity - Cultural Practices in the Age of Global Information- and Biotechnologies, Shedhalle, Zurich, CH. Have Code Will Destroy UFO Strategies', Media Art House of Oldenburg, DE. Liquid Hacking Laboratory, log-in, Kunstverein Nürnberg, DE. Unauthorized Access, Cross Female-Female Metaphors of the Künstlerhaus Bethanien, Berlin, DE.

1999:

Net.art generator

1998:

The New Woman, ENVY show, Künstlerhaus Bethanien, Berlin First Cyberfeminist International Reader presentation, Ars Electronica, Linz, AT

1997:

Female Extension Hybrid Workspace, documenta X, Kassel (project of the Old Boys Network)

1996:

New Media - Old Roles, intervention at the computer fair CeBIT, Hannover (project group "-Inside plus") Reality Check, net.art event within the project 'Skin Laboratory', Hamburg Remote Viewing, Ars Electronica, Linz, AT

1994:

information art, performance, Academy of Fine Arts in Hamburg

1993:

Narcissism in the media using television as an example, performance, Produzentengalerie Kunstitut, Stuttgart (project group "-inside") The New Woman, postcard campaign

1992:

Penis envy Games, contribution to documenta IX (art television with van Gogh TV), Kassel (project group "women-and-technology")

writings

net.art generator. Verlag für moderne Kunst, Nuremberg of 2004. ISBN 3-936711-30-5 expanded ORIGINAL, Ed. / Eds. Sabine Himmelsbach, Edith Russ Site for Media Art, Hatje Cantz, Ostfildern of 2009. ISBN 3-7757-2390-0, ISBN 978-3-7757-2390-9

Literature

Matthias Weiss, net art - their systematization and design based on single examples VDG Verlag, Weimar 2009 ISBN 978-3-89739-642-5, page 266-282. . Wencke Artschwager: / Cornelia_Sollfrank in: Short Guide | Short Guide net.art. Hamburg 2008, page 52-61. Matthias Weiss, The Gütersloher net art book culture secretary NRW, Gütersloh 2004. ISBN 3-937828-07-9.

External links

Art, technology, feminism BR2 radio interview with Sollfrank by Ania Mauruschaft, September 2011 Video interview aud art-in-berlin.de, October 2009 Old Boys Network Biography on medienkunstnetz.de   net.art generator Home Remix (k) is an art! Video recording of the discussion: Remix Culture - who owns the knowledge?

External links

Sollfrank, Cornelia: strategies for success and self-boycott. How can I escape the art market and become a successful artist at the same time ?, http://www.obn.org/inhalt_index.html (last accessed February 4, 2008) Oldenburg, Helene von, What is cyberfeminsm ?, http://www.obn.org/reading_room/writings/html/statistics.html. Other texts on cyber-feminism see. http: //obn.org./ 1999 the conference took place in Rotterdam next Cyberfeminist International. http://www.obn.org/nCI/ (last accessed February 4, 2008) In 2001, the conference very Cyberfeminist International OBN was organized. http: //www.obn .org / obn_pro / VCI / start.html (last accessed February 4, 2008). Other articles and reader of conferences see. http://www.obn.org/inhalt_index.html. Cf .: Curriculum Vitae, in: http://artwarez.org/cv.0.html (last accessed June 4, 2012) http://igkultur.at/igkultur/kulturrisse/1121068298/1121579024 http://www.postmedialab.org/GWYDH Cramer, Florian: Social Hacking, revisited in: http://cramer.pleintekst.nl/essays/social_hacking_revisited_sollfrank/social_hacking_revisited_sollfrank-deutsch.pdf (letzter Access Sept. 24, 2009) http://www.artnet.de/magazine/features/quest/quest01-11-07.asp. Sollfrank in an interview with Tilla Telemann to hack Action Female Extension. See http://www.artwarez.org/femext/content/interview.html. See. among others http://www.artwarez.org/femext/ Ute Vorkoeper:. Programmed Seduction Cornelia Sollfranks net.art generators to test models of authorship. (last accessed February 4, 2008). exhibition description knotenpunkte.de