770 Fotografie, Computerkunst
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Institut
Wie könnten urbane Räume der Zukunft aussehen, wenn sie so gestaltet würden, dass sie nicht nur Bewegung, Konsum oder Erholung ermöglichen, sondern auch gezielt vielfältige Formen von Liebe fördern, schützen und nähren?
Was wäre, wenn wir Stadt nicht primär als Ansammlung von Gebäuden und Infrastrukturen, sondern als Geflecht potenzieller Beziehungen verstehen und entsprechend gestalten würden?
Im Kurs „Urban LoveScapes – Topologien eines zukünftigen Miteinanders“ haben wir spielerisch erforscht, welche Orte in der Stadt schon heute eine wichtige Rolle für liebevolle Beziehungen spielen und welche Potenziale für Verbundenheit in unscheinbaren oder unbeliebten Orten stecken. Gemeinsam mit unseren Praxispartner*innen erkundeten wir das Gelände vom Haus der Statistik, den Alexanderplatz, den Hauptbahnhof, die Friedhöfe am Südstern, das Gebäude und Feld des ehemaligen Flughafens Tempelhof sowie verschiedene Spätis. Auf Grundlage von Fachliteratur, Befragungs- und Interviewdaten, Ortsbegehungen und im Diskurs mit unseren Partner*innen haben die Studierenden Visionen und Szenarien für liebevollere urbane Zukünfte erstellt. Dabei haben sie die Perspektive einer von fünf Formen von Liebe eingenommen: Selbstliebe, Liebe zu Freund*innen, familiäre Liebe, Liebe zu Mitmenschen und Liebe zur Natur. Ihre Beobachtungen, Ideen und Visualisierungen sind in knapp 20 ortsbezogene Fanzines eingeflossen. Dieses Fanzine bildet ihre Klammer.
Overlays
(2026)
From evidence to testimony
(2026)
The essay looks closely at Exhibit A-i: The Refugee Account (2023), a collaborative human rights project communicating the experience of 32 refugees detained by the Australian government in offshore processing centers under inhumane conditions. To make up for the lack of images, they used the AI-powered text-image generator Midjourney. Analyzing the project, I am interested in how to conceptually approach these images that refer to the history and theory of photography but do not share photography’s ontology. Drawing both on traditional photo theory and memory studies as well as literature dealing with algorithmic images, I make an argument for these images to constitute a new kind of testimony, where individual memory and collective image archive intersect. To do so, I draw on select modes of production of AI-generated images, detailing aspects such as the linking of text and image as well as the reliance on noise to make a representation. While acknowledging the power asymmetries between the Global North and Global South inherent to AI, I argue that projects such as Exhibit A-i can appropriate the technology to question its use in migration policies, all the while demanding from the audience to reflect on its own implication.
Fugitive Heat
(2026)
Instrumental Data
(2025)
Climate and migration are not just bound together on a political or metaphorical level but their relationship is also coupled in the joint application of data. Building on Allan Sekula’s notion of the instrumental image developed in light of aerial composite photographs taken during World War I, we propose to speak of instrumental data to describe operative platforms fusing data from satellites, social media, and local sensors and using them for divergent political ends, most notably the control of borders and the quality of water, air, and crops in Europe. Taking the EU-funded pilot project CALLISTO as a case study, we combine media-theoretical analysis, artistic research, and critical data visualization to address the nexus of visualization, decision making, and control effected by the ways in which the platform promises to make satellite data operable, ultimately fusing not just data but also the corresponding social fields of climate and migration.
Nomadic Camera
(2026)
From its introduction in the early nineteenth century and through ongoing technical developments, photography has been a mobile medium closely tied to equipment, social conditions and cultural framings. The volume Nomadic Camera investigates the technical, medial and aesthetic relationship between photography and displacement in historical and contemporary perspectives. The contributing authors adopt the term ‘nomadic’ – signifying a transitory form of existence – to explore photography beyond static concepts of being and national boundaries. Viewing photography as a formative part of this history of mobility and migration, the book explores the interplay between the concepts of the ‘nomadic’ and the ‘camera’, offering new perspectives on photography as a medium on the move. The interdisciplinary contributions approach this topic from various angles. They examine photographic tools and technologies; investigate the role of bodies, agents, and performative acts in photographic practices; explore how photography constructs and conveys narratives of movement; and address issues of image circulation, archiving, and memory.
Castaways
(2025)
