Alina Biriukova, Melina Brass, Christos Fousekis, Alicia Franzke, Julia Gerke, Christian Holze, Lisa Kirchhoff, Nora Jil Helga, Fabian Lehmann, Tianxu Liu, Snow Paik, Sophie Constanze Polheim, Kay Lotte Pommer, Fiete Worreschk
The space of the natural history museum shows in different ways the forms of survival and adaptation in the animal, plant and human world, which often decide over life and death. Institutions such as museums, galleries and actors in the art world are also forced to deal with the current crisis and its effects: They expand their offers to the virtual space of experience. The resulting short-term oversupply of digital artefacts seems to overlay the already endangered enjoyment of art even more. It is now becoming more obvious how these institutions and their producers, namely the artists, seem to submit to the exploitation strategies of fewer online companies. Regarding this, with this project we are questioning how a "digital Institutional Critique" can be formulated.
The saying "Survival of the Fittest" (Herbert Spencer) is symbolic of the current struggle for attention and the resulting reflexive approach to art. At the same time, the process of digitalization is releasing countless resources that are to serve here as inspiration for our own artistic practice and in which we want to intervene digitally, taking the example of the Museum of Natural History Berlin as a concrete example. Beyond the artistic appropriation of its digital resources, this project also reflects on the museums narrative of natural history: a top-down narrative with the help of dead subjects.
Development: Tamás Páll
Concept: Joachim Blank, Carsten Saeger