Broken smartphone displays, a crackle in the radio broadcast, frozen images in the video call. Only at the moment of disruption does our attention turn to the nature of the technical media that surround us every day, but without pushing themselves to the fore.
Fig. above: !Mediengruppe Bitnik and Sven König, (Carmen Weisskopf, *1976, CHE, and Domagoj Smoljo, *1970, ISL) and Sven König (*1975, DEU) Download Finished. The Art of Filesharing, 2006, 3-channel video installation, colour, sound (video still), Collection HEK (House of Electronic Arts Basel) | HEK (Haus der Electronischen Künste Basel), Copyleft: !Mediengruppe Bitnik & Sven König
As one of the youngest and most unpredictable art forms, glitch art specifically draws attention to the productive side of the erroneous. First used in the 1950s in the jargon of radio and television technicians, the term “glitch” (early New High German “glitschen” – to glide, let glide – or Yiddish “gletshn” – to slip, slide away] soon after described programming or graphic errors in the context of computer games. A glitch is thus the unexpected result of a malfunction that affects not only computer games but also other digital software such as video and audio. In the art context, technical glitches also find their direct expression in the field of computer-generated images and the digital. However, the roots of technical glitches go back to the early days of photography. As an artistic countermovement to recognised forms of expression, they take their course from photography via avant-garde film, video and sound art to digital image media and net art, in that image glitches are deliberately provoked or deliberately programmed.
The special exhibition “Glitch” will trace the “art of glitches” as a global phenomenon on 1,200 square metres of exhibition space in the Pinakothek der Moderne and for the first time also illuminate the historical origins of the artistic movement of glitch art. The guiding principle of the exhibition is the recognition of the relevance of errors and disturbances as the basis for progress and, not least, creativity. A total of 50 international artists critically question the realism of the media, create their own or previously unseen worlds or uncover normative orders and social inequalities. The use of tube elements serves them as a means of critique that allows them to make the invisible visible.
With works by Broomberg & Chanarin, Maya Dunietz, Jake Elwes, Jamie Faye Fenton, William Forsythe, Arthur Jafa, Gottfried Jager, J0Dl, Joan Jonas, Ryoichi Kurokawa, ! Mediengruppe Bitnik with Sven König, Rosa Menkman, Marne-Diarra Niang, Carsten Nicolai, Kazuma Obara, Nam June Paik, Sondra Perry, Man Ray, Johanna Reich, Evelyn Richter, Pipilotti Rist, ariella tai, Wolfgang Tillmans, Raoul Ubac, Steina Vasulka, Peter Weibel, and many more.
Pinakothek of Modern Art
Barer Str. 40