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MICHAEL HIRSCHBICHLER - Drecksarbeit/dirty work. Analog Intelligence - HfMT Videoteam - HfMT

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ArtSearch Symposium 2024

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24.10.2024

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MICHAEL HIRSCHBICHLER - Drecksarbeit/dirty work. Analog Intelligence

HfMT Videoteam

In his talk, Michael Hirschbichler advocates Drecksarbeit (dirty work) as a contemporary mode for art and world making. “Amidst contaminated landscapes, covered with tenacious traces and endless claims and ideologies, with hopes, dreams, fears and stories, with waste, waste, waste, all art and all life is dirty work. Instead of adding new promises and toxins, wouldn’t it make sense to figure out what to do with all those that are already here and that won’t just go away? Rather than starting from scratch, dirty work attends to accumulated pasts and attempted and aborted futures. It grapples with the leftovers, fragments, debris of things, ideologies and lives, with the facts and fictions that haunt every spot on Earth, with the many ghosts that abound and demand engagement.” Quoted from: Michael Hirschbichler, “Drecksarbeit / Dirty Work. A Manifesto,” in Review Summer 2022 (Vienna: IKA, Academy of Fine Arts Vienna), 20. Michael Hirschbichler is a transdisciplinary artist working across architecture and anthropology – with his practice Atelier Hirschbichler and as professor for design and experimental creation at HafenCity University Hamburg. In his work and research, he investigates the connections between spaces and worldviews. With an approach that he calls ‘dirty work,’ he engages with places, landscapes, and environments, along with associated tales, memories, myths, and ideologies. By critically exploring the existing and combining both material and immaterial aspects, facts, and fictions, he attempts to construct a possible situated worldview of our time. Michael Hirschbichler was a lecturer at ETH Zurich and HSLU Lucerne, the director of the Architecture Program at the Papua New Guinea University of Technology, a visiting professor at the Academy of Fine Arts Vienna and a postdoctoral researcher at TU Delft, Goldsmiths and Aarhus University. He was an artist-in-residence at the German Academy Villa Massimo in Rome, YARAT Contemporary Art Space in Baku, the Cité internationale des arts in Paris, Binz39 Foundation in Zurich, Villa Kamogawa (Goethe Institut) in Kyoto and SACO (Goethe Institut and Institut Français) in Antofagasta. His work has been shown, among others, at Martin-Gropius-Bau (Berlin), artQ13 (Rome), Kunstverein Ingolstadt, House of Architecture HDA (Graz), Helmhaus (Zurich), Kunstmuseum Wolfsburg and Het Nieuwe Instituut (Rotterdam). www.atelier-hirschbichler.com www.hcu-hamburg.de/prof-dr-michael-hirschbichler

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Serie

25.10.2024

BENJAMIN SPRICK - Benjamin Sprick: Epistemic Dromology Art, Knowledge, Speed

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GIJS DE BOER - Gazing at your Gaze: self-trained algorithms as reflexive mirrors for artists

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MARGO ZÁLITE - Exploring AI as a Tool for Social Justice in Arts Education. A Case Study of the Arts University

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STEFFEN KREBBER - sinusoidal run rhythm

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SAM PENDERBAYNE - Cross-Genre Composition: Opening the Classical Music Tradition

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SANJA BOJANIC: AI's Dual Edge: Moving Beyond Copy-Paste to Preserve Human Agency and Creativity

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NICOLA HEIN - Investigating Musical Listening and Identity through Human-Machine Improvisation and AI

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LISA HOFFMANN - Augmented Reality in alternative documentarisms of crisis and catastrophes

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JANNE KUMMER - Unreal Conditionals

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MARIA LINDEMAN - Towards explorative and collaborative processes in opera

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MICHAEL HIRSCHBICHLER - Drecksarbeit/dirty work. Analog Intelligence

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STEPHANIE SCHROEDTER - Choreomusical Research as Artistic Practice – exemplified by György Ligeti’s 18 Études pour piano

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JAN PHILIPP SPRICK - Artistic Research in Current Institutional Discourses

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AXEL DÜRKOP - The Hidden Costs and Potential Benefits of AI: How can questions of AI and sustainability inspire artistic creation?

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GEORG HAJDU - The (Hi)story of the ArtSearch Symposium

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