TRONDHEIM MATCHMAKING 2005

TRONDHEIM MATCHMAKING 2005:
"5002"

An exhibition produced by TEKS
Trøndelag Centre for Contemporary Art
22 October - 13 November

On Saturday 22 October at the Trøndelag Centre for Contemporary Art, TEKS opens its second exhibition, "5002", in connection with Trondheim Matchmaking 2005.

5002 is an exhibition which one can wade, play, play with, listen to or just watch. You can participate actively or be a passive observer; what you cannot escape, however, is becoming a part of it.
In 5002 you are in the interface between human being and machine, or between human being and human being.

This year's exhibition is commenting in various ways on the communicating human in a machine-oriented world.
What issues do we face in the development of a technology that can do the most advanced as well as the most trivial tasks for us?
Can we find a way to implement the machines into our daily lives on our premises, where also children and the elderly can have the reactions and results they desire and expect?

Technological development happens at high speed. So high that it is difficult for the average user to keep up. New products are being developed so rapidly that the time it takes to learn a new interface amounts to the time it takes to introduce a new and better product. We still embrace the latest, despite the fact that many do not know how to implement or use these systems.
Consequently, we lose our ability to make use of the technology we produce, and end up handling technology we are not able to use.
The question is whether technology has moved ahead so fast that it has made the humans in the machinery move backwards. Is technology used in the best interest of the people? Or are we being pulled backwards into the future, dragged along behind a technology we no longer can grasp? How can we, in the best possible way, make use of the possibilities of today's development? Which of the many ways of interacting technology presents are beneficial to us?

In this year's exhibition 6 artists take on the issues of communication and interaction. Our ways of facing and dealing with our surroundings develop at the same pace as technological development.
While technology becomes increasingly more advanced and opaque, the interfaces we interact with become increasingly intuitive. Or do they? What possibilities has our technologically based world given us in this area?

For a long time speech was one of the most powerful (but at the same time limited?) means of communication for human beings. Has modern technology presented us with other possibilities? Watschendiskurs (Fietzek/Winters) comments on the original shortcomings of speech using two stuffed animals, a cat and a frog, who argue briskly about the philosophies of Wittgenstein.

In the beginning, when machines were man's second best friend, buttons, keyboard and mouse were the average user's portal to the wonders of technology. For the user it was all about learning the language and premises of the machine. Then games arrived, with a more playful approach to the machine, and in A. Eriksen's Joystick Bush the joystick, a somewhat intuitive and physical interface, is central.

In Brainmirror, Somlai-Fisher, Sjölén and Lundbäck try to reach an even simpler language on the premises of the human being -- where also the computer novice should be able to use the installation intuitively without having to spend time learning the interface. Interface and interaction still takes place in front of the limited area of the screen -- or the mirror.

In Tine Bech's Floating Field the viewer is pushed further. In a meadow of chirping gas inflated balloons, Bech challenges our ability to interpret and understand the body's undefined ability to communicate and create notions about the reality we live in.

P.M. Carranza provides an exploration of the traditional architectural space in mvalg_#09 -- a disintegration of the border between participant and observer, while B. Wangen's X -- I am here puts us as passive observers in the paradoxical situation of feeling very small, but at the same time chosen and noticed in the larger context. Here we are at the mercy of an antenna's ability to communicate with the universe. Despite being in the centre of the installation, our ability to influence is minimal.

In the exhibition 5002, you can experience technology in different and perhaps unexpected ways. You can have reactions you expect in surprisingly simple ways, or react in ways you did not at all expect.

Artists:

Tine Beck: "Floating Field"
Pablo Miranda Carranza: "mvalg_#09”
Audun Eriksen: "Joystick Bush”
Frank Fietzek and Uli Winters: "Watschendiskurs"
Adam Somlai-Fisher, Bengt Sjölén and Danil Lundbäck: "Brainmirror”
Bjørn Wangen: "X – I am here”

Curated by TEKS.

Opening at Trøndelag Centre for Contemporary Art
Saturday 22 Oct. at 7.00 pm
The exhibition is up until 13 Nov.



		See the exhibition here!
	TRONDHEIM MATCHMAKING 2005: "5002" An exhibition produced by TEKS Trøndelag Centre for Contemporary Art 22 October - 13 November On Saturday 22 October at the Trøndelag Centre for Contemporary Art, TEKS opens its second exhibition, "5002", in connection with Trondheim Matchmaking 2005. 5002 is an exhibition which one can wade, play, play with, listen to or just watch. You can participate actively or be a passive observer; what you cannot escape, however, is becoming a part of it. In 5002 you are in the interface between human being and machine, or between human being and human being. This year's exhibition is commenting in various ways on the communicating human in a machine-oriented world. What issues do we face in the development of a technology that can do the most advanced as well as the most trivial tasks for us? Can we find a way to implement the machines into our daily lives on our premises, where also children and the elderly can have the reactions and results they desire and expect? Technological development happens at high speed. So high that it is difficult for the average user to keep up. New products are being developed so rapidly that the time it takes to learn a new interface amounts to the time it takes to introduce a new and better product. We still embrace the latest, despite the fact that many do not know how to implement or use these systems. Consequently, we lose our ability to make use of the technology we produce, and end up handling technology we are not able to use. The question is whether technology has moved ahead so fast that it has made the humans in the machinery move backwards. Is technology used in the best interest of the people? Or are we being pulled backwards into the future, dragged along behind a technology we no longer can grasp? How can we, in the best possible way, make use of the possibilities of today's development? Which of the many ways of interacting technology presents are beneficial to us? In this year's exhibition 6 artists take on the issues of communication and interaction. Our ways of facing and dealing with our surroundings develop at the same pace as technological development. While technology becomes increasingly more advanced and opaque, the interfaces we interact with become increasingly intuitive. Or do they? What possibilities has our technologically based world given us in this area? For a long time speech was one of the most powerful (but at the same time limited?) means of communication for human beings. Has modern technology presented us with other possibilities? Watschendiskurs (Fietzek/Winters) comments on the original shortcomings of speech using two stuffed animals, a cat and a frog, who argue briskly about the philosophies of Wittgenstein. In the beginning, when machines were man's second best friend, buttons, keyboard and mouse were the average user's portal to the wonders of technology. For the user it was all about learning the language and premises of the machine. Then games arrived, with a more playful approach to the machine, and in A. Eriksen's Joystick Bush the joystick, a somewhat intuitive and physical interface, is central. In Brainmirror, Somlai-Fisher, Sjölén and Lundbäck try to reach an even simpler language on the premises of the human being -- where also the computer novice should be able to use the installation intuitively without having to spend time learning the interface. Interface and interaction still takes place in front of the limited area of the screen -- or the mirror. In Tine Bech's Floating Field the viewer is pushed further. In a meadow of chirping gas inflated balloons, Bech challenges our ability to interpret and understand the body's undefined ability to communicate and create notions about the reality we live in. P.M. Carranza provides an exploration of the traditional architectural space in mvalg_#09 -- a disintegration of the border between participant and observer, while B. Wangen's X -- I am here puts us as passive observers in the paradoxical situation of feeling very small, but at the same time chosen and noticed in the larger context. Here we are at the mercy of an antenna's ability to communicate with the universe. Despite being in the centre of the installation, our ability to influence is minimal. In the exhibition 5002, you can experience technology in different and perhaps unexpected ways. You can have reactions you expect in surprisingly simple ways, or react in ways you did not at all expect. Artists: Tine Beck: "Floating Field" Pablo Miranda Carranza: "mvalg_#09” Audun Eriksen: "Joystick Bush” Frank Fietzek and Uli Winters: "Watschendiskurs" Adam Somlai-Fisher, Bengt Sjölén and Danil Lundbäck: "Brainmirror” Bjørn Wangen: "X – I am here” Curated by TEKS. Opening at Trøndelag Centre for Contemporary Art Saturday 22 Oct. at 7.00 pm The exhibition is up until 13 Nov.