Absolute Approximation
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Exhibition part of 48hr Neukölln Festival @48stundennk
thank you all for visiting, and especially thanks for all the artists who trust us with their art pieces.
We are happy to share with you that we had a great and eventful exhibition weekend. Over the three days, we estimate around 400 visitors, including festival attendees, the community of the church and nearby residents.
With such a diverse audience, we are glad to have found throughout positive resonance and a high length of stay even for such complex topics as the ones that “Absolute Approximation” touched on. Even the priests came to see the works and a baptism and confirmation took place on Sunday in the middle of the exhibition.
The exhibition comes to an end now, but we are sure that it will lead us somewhere new in the future.
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Artists
Aaron Koblin @aaronkoblin
Maria Mavropoulou @maria.mavropoulou
Damjanski @d.a.m.j.a.n.s.k.i
Sebastian Schmieg @sebastianschmieg
Dawoon Park @d4w8n
Curators
Erik Anton Reinhardt @_ereinhardt
Fang Tsai @fangts_
Tim Kunt @breeding.pool
Photo credit @_ereinhardt
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Absolute Approximation, 48h Neukölln Exhibition, Magdalenenkirche Rixdorf Berlin
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The prevailing understanding of truth today is nothing other than a derivative concept of correctness. We use the terms right and true, wrong and untrue almost synonymously. Truth appears as a falsifiable correspondence of a statement with factual reality. Yet, as it often seems to us, correct facts frequently appear to be mutually in- compatible. Truth is more than the totality of individual correct facts. It is emergent. Everything that is “unconcealed” is true; thus what is right is true, but not everything true is right. Truth is “unconcealment” (alētheia), i.e. the revealing or making visible of being.
Art is a way of “unconcealment” in that it opens the view of being, allowing what was previously hidden to become visible: The artist disrupts habitual ways of seeing, creates new perspectives and connections, and thus enables us to experience reality in a way that goes beyond mere correctness. By stripping the familiar of its self-evidence, we can elicit the “unconcealment” of being and evoke that moment of truth in which something suddenly appears in its true essence.
Date
27th June (Fri), 19:00 - 21:00
28th June (Sat), 12:00 - 18:00
29th June (Sun), 12:00 - 18:00
Location
Magdalenenkirche - Ev. Kirchengemeinde Rixdorf, Karl-Marx-Straße 201-203, 12055 Berlin
more info:
DALL-IX, Card Game
2023
with Erik Anton Reinhardt @_ereinhardt
Historically, intelligence is perceived as human through play. This is both apparent from human-to-human cultural practice, as well as benchmarking software by having it compete against itself or human professionals. Responses which are not verifiable, have lead to the perception of intelligence increasingly shifting towards plausibility instead.
"DALL-IX" is a game about clues, storytelling and association. Players take turns providing vague hints for a card depicting a generated image. All other players then choose cards that best match the given hints. The cards are shuffled, displayed, and players guess to determine which card was initially hinted at.
All generated image cards are based on the same prompt translated into different supported languages. The varying responses demonstrate that cultural affirmation is reflected in the cultural context as the language of the prompt itself. This fact suggests that cultural affirmation is desired, or even necessary, for human plausibility and thus, the perception of intelligence.
The Palace of Knossos is considered a borderline case between restorative and exploitative management of an archaeological site. [Alexandra Karetsou]
Restauration largely followed Arthur Evans imagination. In seeking to restore an image of the past Evans ends up creating his own fan fiction. His work itself is now falling apart. Restorations of restorations are built upon restorations in an endless race with time.
Characterized by his delusion, the incomprehensibility of the original site, "More stitches, less riches" demands the viewer to continue the restoration of the fresco as it slowly but continuously extends.
![The Palace of Knossos is considered a borderline case between restorative and exploitative management of an archaeological site. [Alexandra Karetsou]Restauration largely followed Arthur Evans imagination. In seeking to restore an image of the past Evans ends up creating his own fan fiction. His work itself is now falling apart. Restorations of restorations are built upon restorations in an endless race with time.Characterized by his delusion, the incomprehensibility of the original site, "More stitches, less riches" demands the viewer to continue the restoration of the fresco as it slowly but continuously extends.](https://sp1.picnob.com/p/pt_6843135922145422534528_0_13a1404ccef91a6eb66551ab44582d50.jpg?o=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&h=ff67ae7abebbcb3e2e35511d641039e5)
