The intersection between the digital and the artistic has received a lot of attention in recent years. Many have heard expressions like AI, crypto, NFTs and blockchain but what do they mean and what relationship do they have to contemporary art? Much of what has been presented in the media as digital art has left us both curious and confused.
What is the human relationship with technology and digitisation in an age when they seem to be completely fused? Can the differences between life, art and technology be discerned? How do professional contemporary artists work with ever new digital possibilities?
For Continuous Shift, the art gallery invites six arists whiose work enable active encounters between art and technology and raise awareness for this relatively niche genre. Through physical and visual experiences that activate multiple senses, visitors can experience the digital art world in our space. In the Kristianstad Art Gallery’s premises, unique spaces will emerge that demand our attention.
Since 2018 #purplenoise is an interdisciplinary technofeminist research group that uses real-life events to explore social media as the arena for protest and political activation. The group was initiated in 2018 by Cornelia Sollfrank.
The research project Latent Spaces takes place in the datafied contemporary and is based at Zürich University of the Arts. The term latent space refers to a (technical/conceptual) realm in which different possibilities co-exist before one (or more) become realized, and it refers to ambiguity, the state in which different valid readings co-exist within a system of meaning. Drawing on the strength of artistic practices, the project develops and performs these perspectives in individual projects not just through critical reflection but also through artistic interventions/creations. Participants include Dr. Felix Stalder, Dr. Alexandre Puttick, Shusha Niederberger, !Mediengruppe Bitnik, Gordan Savicic and Dr. Cornelia Sollfrank. Funded by SNF.
My first NFT – and why it was not a live-changing experience
Cornelia Sollfrank / 31 May 2022 From Commons to NFTs” is an (expanded) writing series initiated by Shu Lea Cheang, Felix Stalder & Ewen Chardronnet. Cautioned by the speculative bubble (burst) of NFTs, the series brings back the notion of commons from around the turn of the millennium to reflect upon and intervene in the transformation of the collective imagination and its divergent futures. Every last day of the month Makery publishes a new contribution of these “chain essays”. Fifth text by Cornelia Sollfrank.
Panel discussion as part of the conference „The Whole Life. Archives & Imaginaries“ at Haus der Kulturen der Welt, Berlin. .....
Despite the apparent newness of digital cultures, digital databases rely on historical remains – traces of bodies, affects and people’s labors. Encountering such remains in the digital open commons presents numerous challenges. For one, the archives of these traces often carry scenes of historical weight, entangled with racialized and gendered power structures. At the same time, using machinic methods to encounter the afterlife of these histories risks reproducing the vulnerability of archival subjects. How can careful and critical encounters with such archives be imagined? How may they negotiate the tensions between visibility and opacity? And how does care for the open commons look or feel like? With Daniela Agostinho, Nanna Bonde Thylstrup, Temi Odumosu, Cornelia Sollfrank. Concept and moderation: Daniela Agostinho, Nanna Bonde Thylstrup.
Patrícia J. Reis and Stefanie Wuschitz from Mz*Baltazar’s Laboratory interview Cornelia Sollfrank about her ground-breaking work in early Cyberfeminism until now. They discuss the dynamics of collaboration, the sharing of experience and knowledge; they talk about autonomous infrastructures, platforms of visibility and many other topics.
Performing the Paradoxes of Intellectual Property.
University of Dundee / 2016-2021
PhD thesis by Cornelia Sollfrank. A practice-led Investigation into the Increasingly Conflicting Relationship between Copyright and Art. The research was based at the Duncan of Jordanstone College of Art and Design at the University of Dundee, UK.
Creating Worlds was a multi-annual research project that investigated the relationship between art production and knowledge production in the context of the transformations and crises of contemporary capitalism. Creativity becomes an ambivalent term here, “creating worlds” meaning a modulating procedure in cognitive capitalism and societies of control, but also an emerging political dimension of creativity as political imagination and invention of new lines of flight, new struggles, new worlds. .....
The project was conducted by Vienna-based European Institute for Progressive Cultural Policies (eipcp), and funded by WWTF, the Vienna Science and Technology Fund. It was a collaboration of eight artist researchers including Boris Buden, Lina Dokuzović, Marcelo Expósito, Bernhard Hummer, Therese Kaufmann, Raimund Minichbauer, Radostina Patulova, Gerald Raunig, Cornelia Sollfrank, Hito Steyerl, Dmitry Vilensky, and involved research, publication and artistic projects.