{"id":108,"date":"2022-10-21T21:10:29","date_gmt":"2022-10-21T21:10:29","guid":{"rendered":"https:\/\/softpower.world\/?post_type=projekt&p=108"},"modified":"2025-05-23T14:21:16","modified_gmt":"2025-05-23T14:21:16","slug":"three-hd-2022-dont-panic","status":"publish","type":"projekt","link":"https:\/\/softpower.world\/en\/projekt\/three-hd-2022-dont-panic\/","title":{"rendered":"3hd 2022: Don’t panic"},"content":{"rendered":"

Part of Creamcake\u2019s festival 3hd 2022: Life, the Universe, and Everything<\/em> the group show Don’t Panic<\/em> featured works by George Henry Longly, JAZSALYN, Katja Novitskova, Lito Kattou, Sofia Moreno and Tianzhuo Chen, each responding to contemporary cosmologies, and presenting an expanded glance into notions of worldbuilding, through the spaces we inhabit, terrestrial limits, and outer bounds. Crossing sculpture, installation, video and an opening performance, the Creamcake-curated exhibition investigated technology, notions of reality, spirituality, and space colonization, as well as ecological complexity, right here on Earth.   <\/p>\n\n\n\n

JAZSALYN presented AI-driven computational studies to re-indigenize algorithms and reimagine lost histories and technologies, while Lito Kattou\u2019s sculptures of hybrid, extra-terrestrial figures are inscribed with dates of personal anniversaries, as well as natural disasters related to climate change occurring in the South Eastern Mediterranean region. Tianzhuo Chen expanded on his experimentations with elements and symbols found in religion, ritual, and subcultures, refiguring his past performance work into a large-scale tarot-like LED video installation. Katja Novitskova presented new works from her series Earthware<\/em>, suggesting a new kind of visual landscape art depicting life across the planetary planes, and George Henry Longly followed his practice\u2019s explorations of terrestrial and bodily extremities, from space to the deep sea, with a mixed media work as a constellation or diagram. Finally, Sofia Moreno presented an installation drawing from her lived experience and personal mythologies to reflect on her Mexican cultural heritage\u2014reclaiming and refashioning Mesoamerican mythology to highlight ancient views of the cosmos. <\/p>\n\n\n\n

Creamcake (CC) is a Berlin-based interdisciplinary platform, negotiating the point of convergence in electronic music, contemporary art and digital technologies. Distanced from normative social structures, Creamcake moves in fluid processes of thought and action and engages with current social issues of the present through diverse projects. CC organizes performances, concerts, exhibitions, symposiums, DJ sets, digital projects, and workshops including 3hd Festival<\/em> (2015\u2013present). As a queer-feminist normadic space, CC has cooperated with a variety of clubs, community spaces and institutions such as Berghain, Klosterruine, Wasserspeicher, OHM, S\u00fcdblock, HAU Hebbel am Ufer, and Berlinische Galerie.<\/p>","protected":false},"excerpt":{"rendered":"

Part of Creamcake\u2019s festival 3hd 2022: Life, the Universe, and Everything<\/i> the group show Don’t Panic<\/i> featured works by George Henry Longly, JAZSALYN, Katja Novitskova, Lito Kattou, Sofia Moreno and Tianzhuo Chen, each responding to contemporary cosmologies, and presenting an expanded glance into notions of worldbuilding, through the spaces we inhabit, terrestrial limits, and outer bounds. Crossing sculpture, installation, video and an opening performance, the Creamcake-curated exhibition investigated technology, notions of reality, spirituality, and space colonization, as well as ecological complexity, right here on Earth.<\/p>","protected":false},"featured_media":2687,"template":"","meta":{"_acf_changed":false,"footnotes":""},"pro_forder":[],"pro_mitwirkende":[160,159,162,163,161,164],"pro_kun":[158,67,68,69,41,70,71],"pro_tag":[],"pro_type":[62,63],"class_list":["post-108","projekt","type-projekt","status-publish","has-post-thumbnail","hentry","pro_mitwirkende-george-henry-longly","pro_mitwirkende-jazsalyn","pro_mitwirkende-katja-novitskova","pro_mitwirkende-lito-kattou","pro_mitwirkende-sofia-moreno","pro_mitwirkende-tianzhuo-chen","pro_kun-creamcake","pro_kun-george-henry-longly","pro_kun-jazsalyn","pro_kun-katja-novitskova","pro_kun-lito-kattou","pro_kun-sofia-moreno","pro_kun-tianzhuo-chen","pro_type-ausstellung","pro_type-kollaboration"],"acf":{"pro_tag":false,"pro_tag_source":{"label":"Tag","type":"taxonomy","formatted_value":false},"pro_type":[62,63],"pro_type_source":{"label":"Filter","type":"taxonomy","formatted_value":[62,63]},"pro_date":"21.10.\u20131.11.2022","pro_date_source":{"label":"Zeitraum","type":"text","formatted_value":"21.10.\u20131.11.2022"},"pro_artist":[67,68,69,41,70,71,158],"pro_artist_source":{"label":"Namen","type":"taxonomy","formatted_value":[67,68,69,41,70,71,158]},"pro_with":[159,160,161,162,163,164],"pro_with_source":{"label":"Mit","type":"taxonomy","formatted_value":[159,160,161,162,163,164]},"pro_link_text":"https:\/\/3hd-festival.com\/<\/a>","pro_link_text_source":{"label":"Verlinkungen","type":"wysiwyg","formatted_value":"

https:\/\/3hd-festival.com\/<\/a><\/p>\n"},"pro_curated_by":"Creamcake","pro_curated_by_source":{"label":"Kuratiert von","type":"text","formatted_value":"Creamcake"},"pro_thanks":"","pro_thanks_source":{"label":"Mit Dank an","type":"text","formatted_value":""},"pro_sponsor":"","pro_sponsor_source":{"label":"Gef\u00f6rdert von","type":"text","formatted_value":""},"pro_photographer":"Ink Agop \u00a9 Creamcake","pro_photographer_source":{"label":"Fotos","type":"text","formatted_value":"Ink Agop \u00a9 Creamcake"},"pro_access_informationen":"","pro_access_informationen_source":{"label":"Accessibility","type":"text","formatted_value":""},"pro_press_text":"

https:\/\/www.berlinartlink.com\/2022\/11\/15\/dont-panic-3hd-festival-at-soft-power\/<\/a><\/p>\r\n

https:\/\/www.moussemagazine.it\/magazine\/3hd-2022-dont-panic-creamcake-soft-power-berlin-2022\/<\/a><\/p>\r\n

https:\/\/kubaparis.com\/submission\/263646<\/a><\/p>\r\n

https:\/\/artsoftheworkingclass.org\/exhibition\/3hd-2022-festival<\/a><\/p>","pro_press_text_source":{"label":"Presse","type":"wysiwyg","formatted_value":"

https:\/\/www.berlinartlink.com\/2022\/11\/15\/dont-panic-3hd-festival-at-soft-power\/<\/a><\/p>\n

https:\/\/www.moussemagazine.it\/magazine\/3hd-2022-dont-panic-creamcake-soft-power-berlin-2022\/<\/a><\/p>\n

https:\/\/kubaparis.com\/submission\/263646<\/a><\/p>\n

https:\/\/artsoftheworkingclass.org\/exhibition\/3hd-2022-festival<\/a><\/p>\n"},"pro_budget":"","pro_budget_source":{"label":"F\u00f6rdersumme","type":"text","formatted_value":""},"pro_start_date":"20221021","pro_start_date_source":{"label":"Anfangsdatum","type":"date_picker","formatted_value":"21 October 2022"},"pro_end_date":"20221101","pro_end_date_source":{"label":"Enddatum","type":"date_picker","formatted_value":"1 November 2022"},"pro_date_working":"16.5.\u201317.12.2022","pro_date_working_source":{"label":"Arbeitszeitraum","type":"text","formatted_value":"16.5.\u201317.12.2022"},"pro_place":"","pro_place_source":{"label":"Ort","type":"text","formatted_value":""},"pro_gallery":[1449,1459,1457,1452,1455,1458,1460,1456,1450,1453,1454,1451],"pro_gallery_source":{"label":"Gallery","type":"gallery","formatted_value":[{"ID":1449,"id":1449,"title":"1_3hd 2022_ Don\u2019t Panic, image by Ink Agop, \u00a9 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Contemporary Artist Things (CAT) bietet Editionen und Kunstwerke von ausgew\u00e4hlten K\u00fcnstler*innen aus der ganzen Welt an. Die Onlineplattform strebt einen erleichterten Zugang zu zeitgen\u00f6ssischer Kunst an, um eine neue und weniger exklusive Art des Sammelns von Kunst zu f\u00f6rdern. Das Editionsprogramm wird von Nora Cristea und Vincent Schneider kuratiert. W\u00e4hrend der Berlin Art Week 2022 pr\u00e4sentierte CAT bei soft power<\/em> eine Gruppenausstellung, in der Werke aus dem aktuellen Programm CATs, sowie auch neue Arbeiten von Aniara Omann, Felix Schroeder, Petros Moris und Tim Plamper erstmals gezeigt wurden.<\/p>\n","post_title":"CAT","post_excerpt":"Contemporary Artist Things (CAT) bietet Editionen und Kunstwerke von ausgew\u00e4hlten K\u00fcnstler*innen aus der ganzen Welt an. Die Onlineplattform strebt einen erleichterten Zugang zu zeitgen\u00f6ssischer Kunst an, um eine neue und weniger exklusive Art des Sammelns von Kunst zu f\u00f6rdern. Das Editionsprogramm wird von Nora Cristea und Vincent Schneider kuratiert.\u00a0W\u00e4hrend der Berlin Art Week 2022 pr\u00e4sentierte CAT bei soft power<\/i> eine Gruppenausstellung, in der Werke aus dem aktuellen Programm CATs, sowie auch neue Arbeiten von Aniara Omann, Felix Schroeder, Petros Moris und Tim Plamper erstmals gezeigt wurden.","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"cat-pop-up","to_ping":"","pinged":"","post_modified":"2025-05-23 14:55:47","post_modified_gmt":"2025-05-23 14:55:47","post_content_filtered":"","post_parent":0,"guid":"https:\/\/softpower.world\/?post_type=projekt&p=97","menu_order":0,"post_type":"projekt","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":36,"post_author":"4","post_date":"2021-09-09 20:58:03","post_date_gmt":"2021-09-09 20:58:03","post_content":"\n

Die Ausstellung A Guide to Softer Ware<\/em> ist eine kollektive Erforschung zeitgen\u00f6ssischer (und weniger zeitgen\u00f6ssischer) Sprachen der Instruktion im Kontext des \u201eFrausein\u201c. Ihr eigenes Verhalten als sozialisierte Frauen analysierend, untersuchten Charlotte Rohde und Vera van de Seyp Manuals von Frauen f\u00fcr Frauen, um Regelwerke f\u00fcr das Frausein zu hinterfragen und deren bin\u00e4re Vorstellung von Gender kritisch zu beleuchten. Die Idee des Handbuchs wird hier als eine (selbst)auferlegte Richtlinie entlarvt, gefangen zwischen dem Imperativ der bedingungslosen Best\u00e4tigung durch andere und dem Bed\u00fcrfnis, f\u00fcr das eigene Narrativ verantwortlich zu sein.<\/p>\n\n\n\n

Das Format des Manuals wurde hier als rhetorisches Kon\u00adstrukt verwendet, das erforscht, wie sich die sozialen Rollen von Frauen durch das Aufkommen neuer Technologien seit der zweiten H\u00e4lfte des 20. Jahrhunderts bis heute ver\u00e4ndert haben. Mit ihrem gemeinsamen Hintergrund, der von (Schrift-) Design bis hin zu kreativem Coding reicht, dekonstruieren und reprogrammieren Charlotte Rohde und Vera van de Seyp (im wahrsten Sinne des Wortes) diese rhetorischen Mittel der Anweisung\/Unterweisung: Von den Formulierungen in technischen Gebrauchsanweisungen der 1960er Jahre f\u00fcr N\u00e4h-, Strick- und andere Haushaltsger\u00e4te, die Hausfrauen als neue Zielgruppe ansprechen, bis hin zu Memes und YouTube-Tutorials als Ph\u00e4nomen der heutigen Internet-Kultur der Selbstoptimierung.<\/p>\n\n\n\n

Mit ihrem Guide to Softer Ware<\/em> reflektierten die K\u00fcnstler\u00adinnen das vermeintliche Bed\u00fcrfnis nach fest- und vor\u00adgeschriebener Anleitung und die Formen, die diese in der Vergangenheit angenommen hat und noch immer annimmt. Die Ausstellung bei soft power<\/em> pr\u00e4\u00adsentiert neue Arbeiten der beiden K\u00fcnstlerinnen, die als Handbuch f\u00fcr die Betrachter*innen und gleichzeitig als Schriftproben fun\u00adgieren k\u00f6nnen. Der Einsatz von Werkzeugen und Typografie, Seife und Metall, Software und Code (und letztlich der Einsatz des K\u00f6rpers selbst) lud dazu ein, die \u201esoftness\u201d zu hinterfragen, die historisch\/konventionell\/unbewusst bestimmten Materialien und R\u00e4u\u00admen, Gender und dessen Konstruktion zugewiesen wird.<\/p>\n","post_title":"A Guide to Softer Ware","post_excerpt":"Die Ausstellung A Guide to Softer Ware<\/i> pr\u00e4sentierte neuen Arbeiten von Charlotte Rohde und Vera van de Seyp, die sich mit zeitgen\u00f6ssischen (und weniger zeitgen\u00f6ssischen) Sprachen der Instruktion im Kontext des \u201eFrausein\u201c besch\u00e4ftigen. Mit ihrem gemeinsamen Hintergrund, der von (Schrift-)Design bis hin zu kreativem Coding reicht, dekonstruieren und reprogrammieren Charlotte Rohde und Vera van de Seyp diese rhetorische Mittel der Anweisung\/Unterweisung: Von den Formulierungen in technischen Gebrauchsanweisungen der 1960er Jahre f\u00fcr N\u00e4h-, Strick- und andere Haushaltsger\u00e4te bis hin zu Memes und YouTube-Tutorials als Ph\u00e4nomen der heutigen Internet-Kultur der Selbstoptimierung.","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"a-guide-to-softer-ware","to_ping":"","pinged":"","post_modified":"2023-08-08 17:26:53","post_modified_gmt":"2023-08-08 17:26:53","post_content_filtered":"","post_parent":0,"guid":"https:\/\/softpower.world\/?post_type=projekt&p=36","menu_order":0,"post_type":"projekt","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":103,"post_author":"4","post_date":"2022-09-21 21:07:18","post_date_gmt":"2022-09-21 21:07:18","post_content":"\n

Unter dem Titel Will The World Ever<\/em> pr\u00e4sentierte der Salon on Sustainability #2<\/em> (organisiert von Marjolein van der Meer, Air Berlin Alexanderplatz) phantastische Szenarien, Kommentare und kritischen Vorstellungen von gegenw\u00e4rtigen und zuk\u00fcnftigen Welten. Der Salon besch\u00e4ftigte sich mit Fragen von Mutation und Transformation an den Schnittstellen von Nachhaltigkeit, Science Fiction und Technologie, schlug posthumane Perspektiven vor und erkundete die Potenziale spekulativer (Auto-)Fiktion. Die Veranstaltung pr\u00e4sentierte Arbeiten der bildenden K\u00fcnstler*innen Anan Fries und Anne Duk Hee Jordan, gefolgt von einem gemeinsamen Gespr\u00e4ch, das von Zippora Elders, Leiterin der kuratorischen Abteilung des Gropius Bau, moderiert wurde. <\/p>\n\n\n\n

Anan Fries arbeitet an der Schnittstelle von digitaler und darstellender Kunst. Anan hat das Kollektiv machina eX mitbegr\u00fcndet und -geleitet, das immersive Gamification-Erlebnisse entwickelt, sowie Henrike Iglesias, ein experimentelles feministisches Performance-Kollektiv mit einer starken Vorliebe f\u00fcr Pop und Politik. Derzeit erforscht Anna hybride \u00c4sthetiken des virtuellen und physischen Worldbuilding. In Zusammenarbeit mit der Klangk\u00fcnstlerin und Komponistin Malu Peeters entstanden VIRTUAL WOMBS<\/em>, ein spekulativer Essay, der VR und Live-Performance kombiniert, und [POSTHUMAN WOMBS]<\/em>, ein Hybrid aus VR-Erfahrung und r\u00e4umlicher Klanginstallation. <\/p>\n\n\n\n

Verg\u00e4nglichkeit und Transformation sind die zentralen Themen in der Praxis von Anne Duk Hee Jordan. Durch Bewegung und Performance verleiht sie Materialit\u00e4t eine weitere Dimension \u2013 sie baut motorisierte Skulpturen und schafft essbare Landschaften. Ihre Skulpturen sollen die Betrachter*innen in die Gegenwart ziehen und einen Dialog zwischen Naturph\u00e4nomenen, Philosophie und Kunst er\u00f6ffnen. Anne Duk Hee Jordan \u00f6ffnet T\u00fcren zu einem Universum, in dem sie auf humorvolle und romantische Weise Maschinen erschafft, die roboterhaftes Bewusstsein und organischen zyklischen Verfall und Leben gegen\u00fcberstellen. Ihre Arbeiten regen zu einem Perspektivenwechsel an, indem sie den Fokus weg vom Menschen hin zu einer gesamten \u00d6kologie verlagern. <\/p>\n\n\n\n

Die Reihe Salons on Sustainability <\/em>(Salons \u00fcber Nachhaltigkeit) wurde von Air Berlin Alexanderplatz in Zusammenarbeit mit der Schweizer Botschaft in Berlin konzipiert. Die Reihe besteht aus vier Salons: #1 World Building, #2 Science Fiction (bei soft power<\/em>), #3 Mending Practices, #4 Sustainable Photography.<\/p>\n","post_title":"Will The World Ever","post_excerpt":"Unter dem Titel Will The World Ever<\/i> pr\u00e4sentierte der Salon on Sustainability #2<\/i> (organisiert von Marjolein van der Meer, Air Berlin Alexanderplatz) phantastische Szenarien, Kommentare und kritischen Vorstellungen von gegenw\u00e4rtigen und zuk\u00fcnftigen Welten. Der Salon besch\u00e4ftigte sich mit Fragen von Mutation und Transformation an den Schnittstellen von Nachhaltigkeit, Science Fiction und Technologie, schlug posthumane Perspektiven vor und erkundete die Potenziale spekulativer (Auto-)Fiktion. 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