CYNETART-Plattform NMK
CYNETART is the founding initiator of Netzwerk | Medien | Kunst Dresden (Network | Media | Art Dresden) in 2016 and has implemented the following contributions in this context (selection from 2022):
CYANOMETER Dresden - Martin Bricelj Baraga
as part of the exhibition »Magic Machines«
2nd July to 12th of September 2022
place: Schandauerstraße, Technische Sammlungen Dresden, Museum für Wissenschaft und Technik
Martin Bricelj Baraga's Cyanometer is a monument to the blueness of the sky. It is inspired by the original cyanometer developed by Swiss physicist and Alpine explorer Horace-Bénédict de Saussure. His cyanometer – a blue colour wheel – forms the core of the monument and gently draws the eye back to the sky.
The Cyanometer is both a monument and open-source software that collects images of the sky at regular intervals. The software uploads the images of the sky to the website, where it determines the appropriate shade of blue using Saussure's colour wheel.
Together with air quality data from Geneva, Wrocław, Ljubljana and Dresden, the Cyanometer website forms a unique online archive and calendar that makes the changes in our immediate environment visible.
In a cloud-based world, the only clouds that really matter are the ones we see in the sky.
cyanometer.net
The cyanometer by artist Martin Bricelj Baraga was presented by CYNETART and realised by SKICA BERLIN – Slovenian Cultural Centre Berlin, in collaboration with MoTA – Museum of Transitory Art, Netzwerk | Medien | Kunst and the Technical Collections Dresden, and is being implemented with funding from the Embassy of the Republic of Slovenia in Berlin and the State Capital Dresden, Office for Culture and Monument Protection.
Thanks to the Saxon State Office for Environment, Agriculture and Geology / Saxon Operating Company for Environment and Agriculture.
02.07.2022, Opening for Dresden Museum Night
With an artist talk between Martin Bricelj Baraga and Agnieszka Kubicka-Dzieduszycka from the Eugeniusz Geppert Academy of Art and Design in Wrocław.
Dnipro Center for Contemporary Culture & Kultura Medialna Dnipro in Exile« – culture manager* in Residency Programm,
hosted by partner organisations of Netzwerk | Medien | Kunst Dresden - CYNETART & C. Rockefeller Center for the Arts Dresden
[ April to September 2022 ]
The focus was on enabling the continued cultural work of freelancers and artist circles at the Dnipro Centre for Contemporary Culture (DCCC) and the Kultura Medialna organisation in Dnipro (Ukraine). From February 2022 onwards, the DCCC operated partly in exile and organised individual aid programmes with partner organisations in Europe to support Ukrainian artists and cultural workers. The Netzwerk | Medien | Kunst, together with its partner organisations, worked with other hubs in Europe to support the team in their ongoing work.
МУЗИКА СКІНЧИЛАСЯ | MUSIC IS OVER
13th of August 2022, at location objekt klein a
Discussion:
Music in times of war. How the Ukrainian music scene has changed since the Russian invasion of Ukraine. Музика в умовах війни: як змінилася українська музична сцена після повномасштабного російського вторгнення
participants:
Olesia Onykiienko (NFNR) – Ukrainian musician, theatre and film composer, curator of the experimental platform for women and non-binary people in Ukraine, “Womens Sound”.
Lesik Omodada – Owner of the Shpytal Records music studio. Member of the Musicians Defend Ukraine fund.
Moderation: Masha Yarchuk
Music programme:
Ponura, Ostblock133, human margareeta, NFNR, Poly Chain, Koloah
МУЗИКА СКІНЧИЛАСЯ | MUSIC IS OVER was organised by Kultura Medialna Dnipro in cooperation with objekt klein a and Netzwerk | Medien | Kunst and is financed with funds from the Federal Government Commissioner for Culture and the Media in the NEUSTART KULTUR programme of the Initiative Musik and supported by the Kulturfonds Ukraine – Sachsen of the Kulturstiftung des Freistaates Sachsen with tax funds based on the budget approved by the Saxon state parliament.
BodyNet-Khorós – Choral Arts and Embodied Media for Social Plurality and Planetary Health
(2022)
We in Europe face major challenges in terms of ecological transformation and human integration, and we are asking ourselves how we can use artistic methods and practices of digital culture to convey European values.
BODYNET-KHORÓS is a transdisciplinary project for digital and physical artistic practices that explore the significance of our moving bodies, in contrast to current media, which tend to generate a narrow spectrum of embodied and multisensory interaction. We believe that regaining a richer physicality and sensitivity is essential for shaping a sustainable and pluralistic way of life and restoring the health of the planet in the Anthropocene. This idea is implemented in the form of site-specific public events with a laboratory character. The core aspect of the approach lies in choral practices, collective co-creation processes of bodies moving in open space, based on novel improvisation techniques. These themes are addressed not only in the content of the individual projects, but also throughout the entire production process. We are explicitly concerned with the application of activist-oriented socio-cultural art practices and the creation of non-hierarchical collective knowledge spaces, as opposed to the production of new art products.
BODYNET-KHORÓS is designed as a project to promote artistic research in the partner constellation of Reverso, K.Dance and TMA Hellerau. The focus is on the development of application-specific DIY technologies and practical socio-culturally oriented formats.
Residents of the municipality of Zorita de la Frontera conducting self-testing, Casa de la Libertad / Reverso Centre, August 2022
dgtl fmnsm interFACE – pleasure center
A dgtl fmnsm collektive production, in the frame of Netzwerk | Medien | Kunst Dresden for the Spy on Me Festival #4, also the Hybrid Biennale 2022.
digitalfeminism.net
The »digital pleasure center« is a performative installation designed by the collective dgtl fmnsm.
In the »digital pleasure center«, the audience can experience interactive treatments that make speculative use of technology. If the audience does nothing, nothing happens in the centre. The “digital pleasure center” is based on the assumption that there is or can be a pleasant interface between humans and technology, an interface that needs to be designed, played with and tried out. Despite all the criticism of digitalisation, monopolisation and technologisation of everyday life, dgtl fmnsm advocates exploring the emancipatory potential of technology – by rethinking, hacking and queering it. The digital pleasure generated by the audience's interaction with the technology is fed into a “Pleasure-Meter” that is visible to everyone in the room. When it reaches a certain level, “Pleasure Rituals" (performances) are triggered. From the login to the logout process, the audience interacts exclusively with tech and is navigated through the centre by a Telegram chatbot. The focus is on the individual experience of each visitor, the playful exploration of various technologies, and personal reflection on the power dynamics between people and these technologies.
An interdisciplinary team of multimedia artists, designers, performers and curators is involved in the conception of the centre. Since 2015, dgtl fmnsm has been exploring the interface between performance, technologies and participatory practices in theatre.
Supported by:
Cultural Foundation of the Free State of Saxony
State Capital Dresden, Office for Culture and Monument Protection
Partner organisations:
HAU – Hebbel am Ufer Berlin Theater [ 22nd - 24th of Sept 2022 ]
HELLERAU – Europäisches Zentrum der Künste Dresden [ 20th and 21st of Oct 2022 ]
friends of DresdenContemporaryArts e.V.
dgtl fmnsm Kollektiv
depart.one
CYNETART choros – cybernetic garden – 27. bis 30.10.2022
online: A MAZE. / SPACE
access via: https://choros.cynetart.org
and
Büro für Gute Maßnahmen (BfGM), Dresden
CYNETART is a platform for artistic research and nomadic thinking for and in media environments. In various partner and project constellations, CYNETART focuses on the experiences of impermanence and temporary spaces in our immediate surroundings, as well as their collective experience, from the perspective of the active, moving body.
[ https://www.cynetart.org/2022 ]
In order to combine analogue and digital mediation offerings, our project aims to provide hybrid access to heterogeneous artistic productions by the CYNETART platform collective, which deal primarily with media translations. The artistic exploration of (digital) self-images and worldviews is to be brought together and cultivated in the cybernetic garden through »choral« practices. The title chorus refers to the communal aspect of choral practices: collective generation, creation, experience. Decentralised venues enable public participation over a longer period of time and through diverse forms of interaction with the audience. These include activities such as hackathons, live coding events, performances and workshops, as well as digital interactions in virtual reality (VR), through which we aim to build community. For us as the CYNETART platform collective, the term »cybernetic garden« means the collection, storage and translation of personal and environmental data.
CYNETART choros Wochenende in Stadt Wehlen, Torhaus Wehlen – 48hrs process CYNETART choros
Photogrammetry des 48hrs process Raumes im Torhaus Wehlen – Grundlage für die VR Umgebung CYNETART choros cybernetic garden
Nkhensani Mkhari x Katharina Groß x Lisa Maria Baier at BIAS. Contemporary FLINTA* projects in Dresden
»atlas of rhythm« Alba T. Álvarez & Katharina Groß
In the process, the virtual and physical worlds overlap through the (re)animation of data, blurring the boundaries between fiction and reality. The audiovisual, aesthetic design of this connection is framed as a »Garden« in the medium of VR.
»magandzelo« Nkhensani Mhakari
Artists involved:
Katharina Groß, Charles Washington, Minh duc Nguyen, Nkhensani Mkhari, Alesya Yakubouskaya, Aloïs Yang, Lisa Hoffman, Alba T Álvarez, Stephan Thiel, Anne Lippert, Christoph Groß, Artem Dyadichkin, Vitali Drazdovich, Anakhemia, Bubblegum Club, DB Amorin, …
CYNETART choros is an event organised by Trans-Media-Akademie Hellerau e.V. in cooperation with the A MAZE platform and the Medien Kunst Dresden network. It is being developed as part of the German Federal Cultural Foundation's ‘dive in. Programme for Digital Interactions’.
Funded by the Federal Government Commissioner for Culture and the Media (BKM) as part of the NEUSTART KULTUR programme and by the Cultural Foundation of the Free State of Saxony. This measure is co-financed by tax revenue on the basis of the budget approved by the Saxon State Parliament.
Kiraṇ Kumār
»Six Uneasy Fragments (exactly) about the natural and spiritual«
for the Forplay Society in Kochi/Indien
[ 11.-18.02.2023 ]
Alan Turing (1912–1954), born in England to parents living in British-administered India, wrote a six-page meditation entitled "Nature of Spirit" at the age of twenty. The Turing Archive, which is archived as one of his "non-scientific" writings, also contains 72 unordered pages filed under a note: "It will be difficult, in some places impossible, to know exactly what the fragments are (exactly)". These 6 and 72 pages on the margins of his mathematical work become a curious and critical surface on which a (different) story can be (re)written. A piece of (speculative historical) fiction for a pioneer of (theoretical computer) science. Dreams in digital palimpsests of ethnographic, archival and choreographic layers tell of Alan's first twenty years in colonial India and Indonesia. In a provocative (re)shaping of his mathematical mind through pre-modern tāntrik practices of drawing and dancing, the work offers a fragmented speculation on the decolonial implications of non-dual tāntrik art-science on our current state of binary digitality. This work is the penultimate part of a long-term artistic research project entitled "Epistolary Ancestries", an investigation of a personal lineage of practice reflected in a corpus of open letters to people who have already passed away.
Drawings, Text & Video: Kiraṇ Kumār
Programming & digital Visualisation: Matthias Härtig
Sound: Ulf Langheinrich (electronic score),
Subashree Parathasarathy (Voice), Bnaya Halperin-Kaddari und Vedanth Bharadwaj
(Audio Engineering), Musicians of Istana Mangkunegaran (Carabelan), birds from all over India and Indonesia
Diagrams: Alan Mathison Turing, anonymous tāntrik practitioner
Songs: 'paiṅkuval̤aik kārmalarāl' ( Tiruvempāvai by Māṇikkavācakar )
'pākhi kokhon jāni ude jāy' by Lālon Fakīr Shah
Supported by: Archive und Bibliotheken des King's College Cambridge, Perpustakaan Rekso Pustoko Mangkunegaran (Archiv), Akademi Seni Mangkunegaran Surakarta, CYNETART platform & Trans-Media-Akademie Hellerau, Singapore Biennale, Shedhalle Zürich, Akademie Schloss Solitude, Akademie für Theatre und Digitalität, Robert Bosch Stiftung & Literarisches Colloquium Berlin, Centre For the Arts & Centre for Quantum Technologies at National University of Singapore.
[ https://archipelagoarchives.com/8-Six-uneasy-fragments ]
New Cross-National Temporality Project (NCNTP)
The New Cross-National Temporality Project (NCNTP), which will take place across Europe from June 2022 to May 2025, builds on the success of the two previous projects initiated and implemented by the Tbilisi Architecture Biennale (TAB) in 2018 and 2020. These projects focused on two main themes – ‘Buildings Are Not Enough’ and ‘What Do We Have In Common’ – and were realised through transnational collaboration.
The New Cross-National Temporality Project brings together organisations from Albania, Georgia, Germany, Montenegro, Portugal, Ukraine and Spain and aims to serve as a platform for the exchange of knowledge and ideas between architects, urbanists, artists, researchers and other interested individuals and organisations from different parts of the world.
Thematically, the project will develop around the concept of ‘temporality’, which is a massive topic in relation to urbanism and architecture and has become even more important against the backdrop of the ongoing public health crisis, which has significantly influenced our understanding of how we use urban spaces.
Contributions from TMA Hellerau:
[ https://ncntp.cynetart.org ]
Tbilissi Architecture Biennale 2022 (TAB 2022) – NCNTP
Curation and supervision of the digital projects of the Architecture Biennale
The new thematic research for the third edition of the Tbilisi Architecture Biennale 2022 focuses on the concept of temporality in urban and social life. The concept is based on three main categories: parallel exploration of time, space and the built environment.
Biennale dates: 8 to 29 October 2022
[ http://biennial.ge ]
The TAB 2022 digital programme focused on architectures that tell of a bygone era and its visions of the future and are made accessible through digital media. Individual imagination as a moment of opportunity for participation and co-creation, but also concrete architectures such as the Kartli Sanatorium in Tbilisi or the Parus Hotel in Dnipro.
All three projects selected for the TAB digital art programme conceal broken personal stories in the context of a reflection on the present, both in topographical Tbilisi and on the effects of war, displacement, migration, loss and hope in the overlapping experiences of the temporality of architectures: past (Parus), present (Kartli) and future (Dream Together). All digital projects are presented on the online platforms on the website ncntp.cynetart.org.
The presentations of the digital projects took place during the opening of the TAB in the premises of the Kartli Sanatorium in the form of an installation. During the opening of the TAB on 8 October, visitors were able to express their thoughts, wishes and ideas as part of the ‘dream together’ project, which involves people in the process of developing a possible future in Tbilisi and creates a participatory framework with the help of artificial intelligence tools.
As part of the Digital Solitude Assembly, all three projects were presented together with contributions from the South Caucasus region by the protagonists.
Digital Solitude Assembly Tbilisi (NCNTP)
[ 21. bis 24.10.2022 ]
The Assembly took place as part of the Tbilisi Architecture Biennale 2022, which deals with post-Soviet ‘temporalities’ surrounding the themes of precarious living spaces, resource scarcity, political instability, wars and difficult income opportunities. The Assembly responds to the themes of the Tbilisi Architecture Biennale by presenting projects that relate to the possibilities of digitally ‘built’ environments and their temporality. Where do we stand as a community in a time of transition for both political and digital systems? What role do digital technologies play in the construction of new utopias in order to overcome, hack, or work constructively with these unstable patterns and spaces?
21 October 2022 – Exhibition opening at Untitled Gallery Tbilisi
Discussions, talks, presentations and joint working meetings, with contributions from Kateryna Rusetska, fantastic little splash (Oleksandr Hants & Lera Malchenko), Daniil Galkin, Salina Abaza, Maria Espinoza and Shirley Chen, pantarheicollaborative, Vusala Hajiyeva, Ksenia Nam, Theodolous Polyviou with Jazmina Figueroa, Giorgi Rodionov, Juan Pablo García Sossa, Denise Helene Sumi, and Tatev Tsokolakyan and Diana Sardaryan) at the Goethe-Institut Georgia
A collaboration between the Digital Solitude programme, the CYNETART platform and Untitled Gallery Tbilisi.
The project is supported by the Goethe-Institut Georgia and TMA Hellerau. The assembly was co-financed by the Akademie Schloss Solitude and the Creative Europe programme of the European Union as part of the New Cross-National Temporality Project (NCNTP).
[ Anna Adams + Franziska Goralski x Giorgi Kikoria + Ksenia Nam, Untitled Gallery Tiflis ]
Queer Deities in Migration
[ queerdeitiesinmigration.net ]
Layers of Identity
The subject of this techno-aesthetic research is the formation of individual, personal and collective identity through the cultural practice of self-measurement in today's sensory environment.
With the advent of empirical sciences and a range of technical measuring instruments in the second half of the 19th century, methods of self-measurement became established that contributed to the accurate and comprehensive recording of the self. Following the ideal of optimisation, a social reality has since emerged that is linked to the practice of biofeedback.
Applied to the concept of the quantified self, mathematical calculation is combined with purposeful rational thinking in its black box in an uncanny way. The quantification of one's own life is supposed to prove to be an expedition into as yet unexplored areas of the self.
However, we assume that the self-measurement of the self remains in the realm of the measurable, analytical and analysable, even though it touches our innermost feelings and has an identity-forming effect.
Public dates:
15.6.24, Kreativ.Raum.Börse Dresden - Wilsdruffer Straße 16, Dresden
Photo gallery [ View here ]
Credits:
Audiovisual data generation: Katharina Groß
Text and dance: Victoria Henneberg
Graphic design: Evelyn Siegmund
Costume design: Wiete Sommer
Hardware development: Marcus Degenkolbe
»Layers of Identity« by Katharina Groß, Evelyn Siegmund and Victoria Henneberg is a production by TMA Hellerau in cooperation with HANSE3 and is financed by project funds from the Office for Culture and Monument Protection of the State Capital Dresden and publicly presented as part of the »Fensterblicke« event series by 4roomsCompany.
Walls Are Tumbling Down
eine Kantate als musikalischer Protest
»We are people whom many believe cannot get along with each other. But it is precisely our differences that make us stronger – we make music together, celebrate this diversity and find deep friendship in it.« I. Quraishi
Temporary ensemble
Since June 2024, Martins and Quraishi have not only been working on putting together a temporary ensemble of over 20 musicians, but have also composed the cantata in a participatory process. The majority of this ensemble consists of artists living in Dresden. Jewish, Muslim, Arab, Afro-German and Saxon voices unite with narratives in Hebrew, Arabic, Yiddish and German. This unique work sends a clear message against anti-Semitism, Islamophobia and racism.
Rehearsals took place at symbolic locations that reflect the challenges faced by marginalised groups in Germany. The dress rehearsal will be presented as part of the Staatsschauspiel Dresden's Monday Café – a transcultural meeting place that brings migration and culture to life. Here, the cantata becomes a dialogue about social cohesion and a celebration of what unites us.
Composition: Ibrahim Quraishi (/KE/US/FR/DE) / Eunice Martins (DE/BE/PT)
Concept development: Gabriel Smeets (NL)
Arranger: Hiroyo Masumura (JP/AT)
Conductor: Sara Isabel Grajales Tamayo (CO/AT)
Set design: Luka Murovec (DE/SI)
Interactive sound architects: Steffen Armbruster, Uli Dziallas, USOMO.de
Video/editing/camera: Andreas Ullrich (DE), Rubén González Escudero (ES/DE)
Video installation: Ibrahim Quraishi
Musicians/ensemble:
Yara Abou Fakher (SY/DE) - Violin, Diana Bikbaev (UA) - Viola, Danielle Akta (IL/DE) - Cello, Katrin Meingast (DE) - Violoncello, Avery Gosfield (US/IT) - Shofar, Flöte, Isabell Warm (DE) - Flöte, Elisabeth Becker (DE) - Oboe, Eduardo Mota (BR/DE) - Percussion, Georg Wieland Wagner (DE) - Marimbaphon, Vibraphon, Samuel Dietze (DE) - Schlagzeug, Shimon Friedberg (IL) - Shofar, David Limburger (IL) - Shofar, Dorothea Wagner (DE) - Sopran, Leon Gauning (DE) - Bariton, Komi Togbonou (DE/TG)- Sprecher, Khalid Abubakar (SO/LU) - Sprecher, Synagogalchor der Jüdischen Gemeinde zu Dresden und dem Jugendkammerchor der Singakademie Dresden unter der Leitung von Michael Käppler (DE).
Public rehearsal
On 10 February 2025, Dresden became the centre of a special artistic event: Eunice Martins and Ibrahim Quraishi sent a powerful message against exclusion, hatred and prejudice with their intercultural cantata Walls Are Tumbling Down. Inspired by the story of the fall of Jericho, shofar, percussion, electronics, vocals and rebellious sounds merge into an impressive message – a passionate appeal for solidarity, resistance and change.
»WALLS are Tumbling Down« is a project by Ibrahim Quraishi and Eunice Martins, realised in close cooperation with the Montagscafé of the Staatsschauspiel Dresden, the Dresdner Synagogalchor association, the PRPGND Fundacja Propaganda Warsaw foundation, the C. Rockefeller Center for the Contemporary Arts Dresden, the CYNETART platform and the Netzwerk | Medien | Kunst Dresden.
»WALLS are Tumbling Down« is funded by the Musikfonds and the Federal Government Commissioner for Culture and the Media, as well as the ministries of culture and art of the federal states, and with funds from the State Capital Dresden, the Office for Culture and Monument Protection, the Foundation for Art and Music for Dresden and the Netzwerk Medienkunst Dresden (NMK).
Sonic Terrains
24.08.2025, Kunstquartier Bethanien, Berlin
Tsung-Yun Lai + Ya-Nung Huang Sarvenaz Mostofey
Sonic Terrains, a continuation of the Lacking Sound Festival's long-standing curatorial format Sounds from Elsewhere, explores how sound mediates between culture and space. Featuring artists Tsung-Yun Lai & Ya-Nung Huang, Aluan Wang, Yen-Tzu Chang, Chun-Li Wang, Zavoloka and Sarvenaz Mostofey, these performances combine sound installations, generative audio-visuals and real-time calculations to create a multi-layered terrain of perception and narrative. Here, sound is no longer understood as a passive echo of geographical origin, but as a dynamic structure that unfolds across data, images and sensory thresholds. Sonic Terrains is both a sound experiment and a ritual of cultural translation.
In an age of increasingly intertwined global sound networks, this performance demonstrates the fluid resonance and agency of contemporary sound art. This is not a peripheral echo of geography or identity, but actively participates in a shared field of resonating imagination.
A cooperative event of the Lacking Sound Festival x CYNETART Platform (Network | Media | Art Dresden), curated by Isung-un lai (AFF]) and Thomas Dumke.
Transmedia Festivals
Audiosoziale Gemeinschaften zwischen künstlerischem Experiment und Ökonomisierung
Bianca Ludewig
This book illustrates and conceptualises a new festival format – transmedia festivals. These have become increasingly established in major European cities since the 2000s and present works by an artistic avant-garde that have emerged from both art music and experiments in pop and club culture, at the intersection of art, music and technology. This volume highlights the fascination of these hybrid art forms and impressively analyses the multifaceted challenges and efforts of their protagonists in an increasingly economised cultural sector. The result is a multifaceted portrait of art and cultural work and its interweaving with the transformation processes of the present.
Verlag Vandenhoeck Ruprecht
Bianca Ludewig (Dr. phil.) is an empirical cultural scientist, cultural worker, music journalist and DJ. She studied philosophy, cultural anthropology and European ethnology in Hamburg and Berlin, and received her doctorate in European ethnology from the University of Innsbruck in 2021. Her book Utopia and Apocalypse in Pop Music was published in 2018. In her research, she analyses the ambivalences of postmodern life – in audio-social communities, art and culture. Her research interests include club culture, sound studies, festival studies, gender & diversity, digitalisation, working conditions in the cultural industry and the economisation of art and culture.
best reading with Blake Baxter »One more Time«
