AIDS-3D, „World Community Grid Water Features“ (2010-2013) as part of WELLS OF LIFE. The show brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 - 20:00 18.04.2025, 11:30 - 20:00 and by appointment
AIDS-3D, „World Community Grid Water Features“ (2010-2013) as part of WELLS OF LIFE. The show brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 - 20:00 18.04.2025, 11:30 - 20:00 and by appointment
AIDS-3D, „World Community Grid Water Features“ (2010-2013) as part of WELLS OF LIFE. The show brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 - 20:00 18.04.2025, 11:30 - 20:00 and by appointment
Anan Fries, „Ectobag“ (Video Stills, 2024) as part of WELLS OF LIFE. The Show brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 - 20:00 18.04.2025, 11:30 - 20:00 and by appointment
AIDS-3D, „World Community Grid Water Features“ (2010-2013) as part of WELLS OF LIFE. The show brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 - 20:00 18.04.2025, 11:30 - 20:00 and by appointment
Anan Fries, „Ectobag“ (2024) as part of WELLS OF LIFE. The Show brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 - 20:00 18.04.2025, 11:30 - 20:00 and by appointment
WELLS OF LIFE brings together works by Aids-3D (Daniel Keller & Nik Kosmas) and Anan Fries that originate from different moments in technological development yet share a similar gesture: technology as a projection surface for radical possibilities. Between the techno-utopian Internet optimism of the late 2000s and the biotechnological fantasies of the present, machines, networks, and bodies appear as open systems and are used as a medium for speculative visions of the future. Amid splashing water and glowing advertising promises, a scenario emerges that combines service, fantasy, and social utopia.
Curated by Anna-Lisa Scherfose
WELLS OF LIFE
Opening 17.04.2025, 17:00 – 20:00
18.04.2025, 11:30 – 20:00
and by appointment
EXCAVATION
The excavation of art can be done literally or metaphorically. Excavations uses the practice to draw attention to a series of artworks from 2012 to 2014. They all reflect strategies with which artists responded to the changing reality of digital technologies, connectivity and materiality. The exhibition builds on earlier surveys of artistic engagements with the digital age, which significantly shaped a definition of the genre of post-internet art. But while the contemporary gaze at the time was directed towards an indefinite future, the aim now is to re-examine these works with a certain distance - to develop a deeper understanding through excavation.
Curated by @anna_lisa_s_
Works by:
Aleksandra Domanović, Mia Goyette, KAYA (Kerstin Brätsch & Debo Eilers), Avery Singer, Britta Thie
EXCAVATION
Britta Thie made use of her iPhone 4 and reflects the physical connection to digital devices in her series Sweat on Retina. The traces that skin, sweat and DNA leave behind on touchscreens become the material itself in her works - unintentional inscriptions that move between analog physicality and digital abstraction. Her work reveals an examination of the physical presence of the digital age: devices that accompany us in our everyday lives not only store data, but also tactile residues that reveal the intimate relationship between user and device.
Curated by @anna_lisa_s_
EXCAVATION
The works of KAYA (Kerstin Brätsch and Debo Eilers) already carry a kind of geological logic within them. The artists transform earlier performances and materials into new, hybrid works. This was particularly radical in the exhibition Speculations on Anonymous Materials, which took place at the Fridericianum Kassel in 2013-2014. KAYA bequeathed a work that was not on display in the exhibition to the institution. As the Fridericianum does not have a collection, the work was buried by the artists in front of the museum building - a deliberate act of dispossession and simultaneous conservation. The idea of bringing KAYA_Untitled back into the light after ten years serves as the starting point for further exhibition ventures within the framework of Anonymous Excavations.
Curated by @anna_lisa_s_
EXCAVATION
Avery Singer’s print bears witness to the artist’s special relationship with 3D modeling software. Singer is best known for her compositions designed with SketchUp and transferred with an airbrush. In 10 Hours of a Woman Walking Through SketchUp, she omits the last step and shows a screenshot from the program. The work thus lingers somewhere between the virtual and the material, between alienated algorithmicalgorythmic precision and painting. Her approach combines classical art historical references with the aesthetics of computer-generated images that simultaneously become contemporary witnesses of a technical development.
Curated by @anna_lisa_s_
Special Thanks: @sden023
EXCAVATION
Mia Goyette’s Window Boxes, resin casts of flower box drains, contain preserved traces of an urban organism in a cycle of decay and transformation. These objects take on the role of archaeological evidence: they preserve remnants that disappear from everyday view and dramatize the processes of decay by transforming them into a static, materialized object. In some cases, they even integrate fragments of bodies, focusing on the transition between organic decay and digital simulation of matter. This conservation and staging of overlooked or vanished elements opens up general questions about archiving and art historical mechanisms beyond the work, which are applied in the development and formulation of a scientific classification.
At the same time, the works also contain a time stamp of technological development.
Curated by @anna_lisa_s_
