Thomas Oberender Book order

The book explores the evolution of modern museums, challenging the traditional "White Cube" model that isolates exhibits. It introduces the concept of "living exhibitions," which foster interconnectedness and processuality, allowing for a dynamic interaction between the artwork and the viewer. By redefining the exhibition format, these innovative displays create time-based experiences that encourage continuous transformation and engagement, reflecting a systemic worldview. Exhibitions can evolve daily, becoming vibrant and responsive environments.

Changes features a collection of key texts and ideas by artists, intellectuals and curators who have rethought and redefined the way a cultural institution should work. Alongside these documents, five essays establish guidelines for describing the institution’s experimental and vastly innovative conceptual approach over the last ten years: the new meaning of format (as distinct from artistic work), the issue of sustainability in cultural institutions, identity politics, immersion and digital culture. A reader on the positioning of a pioneering German cultural institution that invites us to take a look at what has shaped the profile of its innovative programme. With texts and contributions by Frédérique Aït-Touati, Ed Atkins, Sivan Ben Yishai, Jens Bisky, Emanuele Coccia, Brian Eno, Naika Foroutan, Dorothea von Hantelmann, Donna Haraway, Susanne Kennedy, William Kentridge, Signa Köstler, Bruno Latour, Robert Maharajh, Bonaventure Soh Bejeng Ndikung, Thomas Oberender, David OReilly, Diana Palm, Philippe Parreno, Nancy Pettinicchio, Alex Ross, Stephanie Rosenthal, Rebecca Saunders, Frank Schirrmacher, Stephan Schwingeler, Tino Sehgal, Markus Selg, Gabriele Stötzer, Lucien Strauch.

Planetariums are galleries of the future: their fulldome projections create the largest image space in the world and boast the highest digital sound and video technology standards. In the analogue ‘star theater’ it was the universe, today it is often digital space simulations that create a feeling of endlessness and a new, tableau-like way of seeing. The idea behind „The New Infinity „series was to open the globally accessible infrastructure of planetariums for artists of the digital age. The Berliner Festspiele / Immersion and the Planetarium Hamburg commissioned works for digital fulldome systems. This publication reflects on the history and the possibilities the planetarium offers as a space for contemporary art, and documents the works. Text: Ulrike Bergermann, Michaela French, Metahaven, Thomas Oberender, David OReilly

Limits of Knowing erkundet alternative Wege des Verstehens. Genauso wie es eine Erkenntnistheorie (Gnoseologie) gibt, die sich mit den Voraussetzungen für das Zustandekommen von Wissen beschäftigt, gibt es eine Agnoseologie – eine „Lehre der Unerkennbarkeit“ –, die sich anderen Formen der Erkenntnis widmet. Immersive Kunstwerke vermögen es, Ideen in sensorische Erfahrung, Konzepte in „empfundenen“ Sinn zu verwandeln und so unsere Wahrnehmung von Wirklichkeit zu hinterfragen. Anhand von immersiven Ästhetiken nähern sich Künstler*innen und Wissenschaftler*innen Phänomenen an, von denen wir zwar wissen, die wir aber (noch) nicht verstehen können.