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, 3 pm

Public guided tour | MARY-AUDREY RAMIREZ – Unsolicited Awakening

, 7 pm

MARY-AUDREY RAMIREZ – Unsolicited Awakening: Opening

Welcome: Monika Schnetkamp, Chairwoman Arthena Foundation
Introduction: Gesine Borcherdt, Curator of the exhibition

, 7 pm , 1 am

Düsseldorf’s Night of Museums 2024

Waterscreen Cinema by the artist duo Time Gates from Vienna

8:30 pm and 10:30 pm

The Vienna-based artist duo Time Gates (Dorothee Frank & Ben G. Fodor) develops sensational media productions that are performed in public outdoor spaces or in exhibition situations. For their work Waterscreen Cinema they use video projection to transform a water surface into a living screen. Filmed water landscapes and scenes mix with the movement of the real water surface. In some parts of the video, the duo themselves perform. There are also live performance and sound elements that intertwine with the video sequences. This unique performance is a filmic ode to water as an essential resource for life that is under threat worldwide. It also reflects on the role of water in the human history of power, violence and war.

Short tours through the exhibition Bodies, Grids and Ecstasy

7:30 pm and 9:30 pm

Individual works are specifically presented in short guided tours through the exhibition. In particular, it will be explained how patterns of perception and spatial concepts from the digital world also shape the visual worlds of analogue media.

Tickets for all participating venues are available in advance online at https://museen-nacht-duesseldorf.ticket.io, in KAI 10 probably from the end of March and at the box office for €17.00.

, 3 pm

Public guided tour | Bodies, Grids and Ecstasy

, 3 pm

Panel discussion | The residual substance of the physical world

Inna Levinson in conversation with Annekathrin Kohout, art and media scientist, Leipzig

Inna Levinson lets the colouring matter on the coarse-meshed canvas appear as if it were the remaining matter in physical space in a universe consisting of data structures. The way in which digital media and technologies increasingly determine and, as it were, perforate our everyday lives can therefore also be a theme of painting.

In a conversation with Annekathrin Kohout, Inna Levinson will explain her approach in more detail. It will also address the question of how we can respond artistically to images that are aimed less at our human eyes than at the algorithms that analyse them.

, 3 pm

Public guided tour | Bodies, Grids and Ecstasy

, 3 pm

Public guided tour | Bodies, Grids and Ecstasy

, 7 pm

Panel discussion | Can images change nature?

Katja Novitskova in conversation with Thomas Thiel, director Museum für Gegenwartskunst Siegen, and Ludwig Seyfarth (in English)

How do digital imaging software and AI influence our perception? How do machines gaze at us? The Estonian artist Katja Novitskova, who lives in Amsterdam, approaches these topics not least through her observations of the animal world. Or we see protein structures or viruses that are identified or even invented using digital pattern recognition. In doing so, Novitskova is highlighting the tremendous power they exert on us today, reaching well beyond their visual impact: indeed, their manipulation can go as far as to alter biological structures. Then images no longer depict reality; far more, they are prototypes for possible new realities, of which Novitskova’s art offers us a glimpse.

, 3 pm

Public guided tour | Bodies, Grids and Ecstasy

, 7 pm

Panel discussion | Digital art criticism

Will rankings and AI replace experts’ judgment?

Talk with Marek Claassen, founder of artfacts.net, and Carsten Probst, art critic and Vice President of AICA Germany, and Ludwig Seyfarth.

Artfacts.net, founded in 2001 by Stine Albertsen and Marek Claassen, is an online platform that introduces itself on its website as follows: "Artfacts harnesses the power of data and technology to organise and understand the art market. Our database helps people navigate the ever-changing art world landscape." When art market developments are made recordable, presentable and understandable by algorithms, this does not imply any judgement on the content or quality of artworks. But can the achievements of institutions and curators also be meaningfully formalised and quantified using digital tools? Marek Claassen explains how data from the art world is processed at artfacts.net. In conversation with Carsten Probst, it will be discussed whether art criticism can benefit from this and whether there is a risk that judgements about art will be made by artificial intelligence in the future.

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