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!Mediengruppe Bitnik

Dada. State of the Reference


Webpage. Based on: Man Ray, The Poet, 1938

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In Dada. State of the Reference, !Mediengruppe Bitnik lets Google evaluate Man Ray’s The Poet by inputing the image into its similar images search. What does the machine see in this piece of art? What’s the state of art as it is determined by one of the most influential knowledge gate-keepers in the world? Man Ray’s The Poet is the input for a recursive images search. Unfortunately the image stream immediately leaves the realm of art. Moving directly to the latest mens hairstyles to Bruce Lee and Vietnamese celebrities, perfect smiles, women with headaches, smiling boys, plastic surgery, celebrities with blond hair, hairstyles for women. The recursive loop ends in its 1321st iteration with an image of a Nespresso machine.

!Mediengruppe Bitnik (read – the not mediengruppe bitnik) live and work in Zurich/London. They are contemporary artists working on and with the Internet. Their practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms.

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Eva and Franco Mattes

Kiki Freelancers Worldwide


Digital image. Based on: Man Ray, Masque Kiki, 1962

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In Kiki Freelancers Worldwide, Eva and Franco Mattes hired a freelance worker through an online marketplace to paint her face like Man Ray’s Masque Kiki. The Mattes, who have been exploring online economies and outsourced means of production in recent works such as BEFNOED (2013-), Image Search Result (2014-) and Dark Content (2015), here play on the sharp contrast between Kiki de Montparnasse, an icon of female independence and intellectual freedom, and the anonymous online worker. Or, is participation in online cultures that is becoming uncannily similar to a form of exploitation?
Eva and Franco Mattes are an artist duo based in New York. Since the second half of the 1990s, they have explored the impact of technology and the web on society almost nonstop, exploiting the potential of narrative construction, identity theft, simulation and real-world intervention introduced by digital media.

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Monthly Feature

Claudia Hart



Gif made from 3d animation. Based on Magazine Covers: DADA PHONE Paris, March 1920; 391 New York, N.3, Club Dada Berlin, 1918;  New York Dada New York, April 1921; Cannibale Paris, 25 May 1920;  Die Schammade Köln, February 1920; DER ZELTWEG Zürich, November 1919

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“I made a model of Kiki in 2008 to use for another project based on all of the various photos of Man Ray.   I turned her head around, breaking her neck, to turn her into an “impossible object,” a kind of Sphinx.   I then imagined her as a Times Square billboard, and covered her with flashing billboards, but made from the original Dada magazine covers.  The purpose of the work is to turn  Kiki into a goddess, the “Kiki.obj.”


Claudia Hart has been active as an artist, curator and critic since 1988. She works with digital trompe l’oeil as a medium, directing theater and making media objects of all kinds. These include multi-channel 3D animation installations, sculptures using industrial production techniques such as Rapid Prototyping, CNC routing, and virtual and mixed reality environments, and  augmented-reality custom apps. Hart’s works deal with issues of representation, and the role of the computer in shifting contemporary values about identity and what might be called the natural. Her project is to de-masculinze the culture of corporate technology by inserting the irrational and the personal into the slick, overly-determined Cartesian world of digital design. She is widely exhibited and collected by galleries and museums including the Museum of Modern Art and the Metropolitan Museum, the New Museum, Eyebeam Center for Art + Technology, where she was an honorary fellow in 2013-14.  She works with Transfer gallery in New York.  She is married to the Austrian media artist Kurt Hentschlager, and lives in Chicago where she is a tenured professor at the School of the Art Institute.

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Monthly Feature

Raquel Meyers



Animated Gif. Based on: Man Ray, Long Distance1926.

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Inspired by Man Ray’s stencil Long Distance (1926), dadarchy features PETSCII characters brutalizing dada like a concrete poem. “Raw force shaped in text, flat and brutal. It’s dadarchy time!” PETSCII (PET Standard Code of Information Interchange), also known as CBM ASCII, is the character set used in Commodore Business Machines (CBM)’s 8-bit home computers, starting with the PET from 1977.

Raquel Meyers is a Spanish artist based in Sweden who defines her practice as KYBDslöjd (drawing by Type In), a brutalist storytelling about technology and keystrokes where text is used unadorned and roughcast, like concrete. Brutalism has an unfortunate reputation of evoking a raw dystopia and KYBDslöjd evokes an “object of nostalgia”. But nostalgic, retro, obsolete or limited are rhetoric qualities earn by constant repetition. We live in a time where hardware and software become obsolete before most of the users have learned how to use them or disappear into pure functionality. The obedience to standards has made us passive observers and consumers.
Since 2004 Meyers has performed at festivals like Transmediale, Fylkingen, Piksel, Mapping, MFRU, HeK, or Cimatics, at 8bit events like Tokyo Blip Festival and the Playlist exhibition, as well at Liste Art Fair Basel, Xpo Gallery, Click New Media Arts Festival, Alt_Cph, LABoral, FILE and iMAL, among others. In 2016, Meyers has been artist in residence at Le Shadok, Strasbourg, where her first solo show has been organized in collaboration with the Strasbourg European Fantastic Film Festival.

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Monthly Feature

Lorna Mills



Animated Gif. Based on:Man Ray, Masque Kiki, 1962

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“A bloody-minded animated GIF from a furious Muse”. Lorna Mills
Canadian artist, Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990’s, both in Canada and Internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated GIFs incorporated into restrained off-line installation work. Recent exhibitions include “Abrupt Diplomat” at the Marshal McLuhan Salon for Transmediale, “At Play in the Fields of the Lord” at Transfer Gallery, Brooklyn NY, “Transfer Download” at the Current Museum, NY and currently, “Dreamlands: Immersive Cinema and Art, 1905-2016” at the Whitney Museum, NY.
She has also co-curated monthly group GIF projections, with Rea McNamara, for the “Sheroes” performance series in Toronto, a group GIF projection event “When Analog Was Periodical” in Berlin with Anthony Antonellis, and a four person GIF installation, “:::Zip The Bright:::” at Trinity Square Video in Toronto, with Sara Ludy, Nicolas Sassoon and Rick Silva. Lorna Mills’ most recent curation project, “Ways of Something” is a collaborative remake of the 1972 John Berger documentary “Ways of Seeing” episodes one through four, featuring 113 networked artists.


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Monthly Feature

Evan Roth



A two frame animation created from Duchamp’s 1918 stereopticon. Based on: Marcel Duchamp, Handmade stereopticon slides, 1918


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Monthly Feature

Patrick Lichty

Catcus (I am not really confident, but I think it’s a group of men sitting next to a cat.)


JPG file. Based on: Man Ray, Cactus, 1943

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Patrick Lichty chose Man Ray’s 1943 Cactus, and with the switching of two letters, updated it for the internet as “Catcus”, also referring to Kurt Scwitters’ 1923 “DadaCats”. The subtitle is the resulting image’s results on Microsoft’s CaptionBot, which seemed amazingly suited to the piece.


Patrick Lichty is an Intermedia artist, curator, and theorist exploring how media shape our perception of reality. He is best known for his work with the virtual reality performance art group Second Front, and the animations with the activist group, The Yes Men. He is a CalArts/Herb Alpert Fellow and Whitney Biennial exhibitor as part of the collective RTMark. He has presented and exhibited internationally at numerous biennials and triennials (Yokohama, Venice, Performa, Maribor, Turin, Sundance), and conferences (ISEA, SIGGRAPH, Popular Culture Association, SLSA, SxSW). His recent book, “Variant Analyses: Interrogations of New Media Culture” was released by the Institute for Networked Culture, and is included in the Oxford Handbook of Virtuality.

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Monthly Feature


Moving Dada Forward


Animated GIF. Based on Magazine Cover: Le cœr à barbe, Paris, April 1922

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“In this series IOCOSE take the objects of the DADA magazine cover Le cœr à barbe (Paris, France, 1922) and move them forward. It is part of a larger series of works in which IOCOSE move the world forward, one object at the time”.
IOCOSE are a collective of four artists and have been working as a group since 2006. IOCOSE’s art investigates the after-failure moment of the teleological narratives of technological and cultural development, in regards to both their enthusiastic and pessimistic visions. They have been exhibiting internationally at several art institutions and festivals, including Venice Biennale (2011, 2013), Tate Modern (London, 2011), Science Gallery (Dublin, 2012) Jeu de Paume (Paris, 2011), FACT (Liverpool, 2012), Transmediale (Berlin, 2013, 2015), and featured in publications such as Wired magazine, The Creators Project, Flash Art, Neural, Liberation, Der Spiegel, El Pais.

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Monthly Feature

Aram Bartholl

your happiness guaranteed


Image on t-shirt. Based on: Man Ray, Long Distance, 1926

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“I tried to get this image printed on a t-shirt but the company called, was very confused and even thought their software was having a bug. We are trained to think very much in categories and only can imagine the expected. dada is a great example for a movement breaking boundaries of all kinds, tossing the unexpected over the audience. startup approved! Let s make a t-shirt!” Aram Bartholl, 2016

Aram Bartholl‘s work creates an interplay between internet, culture and reality. How do our taken-for-granted communication channels influence us? Bartholl asks not just what humans are doing with media, but what media is doing with humans. Tensions between public and private, online and offline, techno-lust and everyday life are at the core of his work and his public interventions and installations, often entailing surprisingly physical manifestations of the digital world, challenge our concepts of reality and incorporeality. Bartholl has exhibited at MoMA Museum of Modern Art NY, the Pace Gallery NY and London’s Hayward Gallery as well as conducting countless workshops, talks and performances internationally. Bartholl lives and works in Berlin.

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Monthly Feature


goo? EWSA = 777777777777777777777 // rjOWQWbshLgo


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15 ResultsSearched over 14.832 billion images.for image: 7.jpg
Based on: Rongwrong, New York, July 1917; Paul Citroën, Alannah, 1931.




Based in The Netherlands, JODI (Joan Heemskerk and Dirk Paesmans) were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users.

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Monthly Feature




Photoshop Composite. Based on: Paul Citroen, Alannah, 1931

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UBERMORGEN downloaded the work ‘Alannah’ by Paul Citroën (1931, Silver gelatin print and ink drawing, 24 x 18 cm) as high-resolution file from The portrait then underwent spacious and deep reconstructive surgery. This image can withstand inverted doubt and it can overcome its monochrome existence and serve again as prodigy of traditional photography. The work is a negative affirmation and a pointcast reflection on the necessity of a new dada-like movement in our current neo-biedermeier post-internet art-world saturated with glowing superficiality and on the imminent downfall of existing markets and channels.
UBERMORGEN – lizvlx (AT, born January 30, 1973) and Hans Bernhard (CH/USA, born July 23, 1971) – are European artists who work in installation, video, code and performance. They are doing strange things with software & hardware. Their early work is referred to as ‘Media Hacking’ and ‘Online Performance’, combining various forms of digital media into artistic action. In 2000, they created Vote-Auction, a vote-selling/buying online platform and were described by CNN as ‘maverick Austrian business people’. The New York Times called their 2005 ‘Google Will Eat Itself’ project ‘simply brilliant. Their main influences are Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Pfizer’s Olanzapine & Hoffmann’s LSD, Lindt’s Dark Chocolate & Kentucky Fried Chicken’s Coconut Shrimps Deluxe.  More info

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Monthly Feature

Harm van den Dorpel

Cat, 2016



Based on: Hans Richter, Untitled, 1961

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The artist uploaded the work Untitled, 1961 by Hans Richter to one of the most advanced image recognition artificial intelligence services: The Wolfram Language Image Identification Project. The software recognized this work to be a “cat”. The work is a witty take on computer vision and on the existence of images in the age of algorithms.

Harm van den Dorpel is a Berlin-based conceptual artist. His broad practice includes the creation of sculpture, collage, computer animation, computer generated graphics and interaction design. He is regarded a key figure in Post-Internet art. In his work he investigates how algorithms can analyse digital archives and guide the artist in aesthetic decision taking, leading to a symbiosis of man-machine art creation. His ultimate goal is to reveal the reasoning structure of his own consciousness, and his implicit associations and assumptions. More info

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Monthly Feature

Vuk Ćosić



Digital image. Based on the cover of “New York Dada”, April 1921


A dada passionate, Ćosić plays with his interest for avant-garde typography and his love for ASCII graphics combining the cover of a seminal dada magazine, featuring Duchamp’s Belle Haleine, with a frame from his ASCII version of Hitchcock’s Psyco, an early net art masterpiece.


Vuk Ćosić. Pioneer of, guilty of much.


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