algoR[h]ythMUS - thematische Gruppenausstellung zeitgenössischer Kunst zu Menschen und Maschinen

In the organizer's words:

algoR[h]ythMUS - thematic group exhibition of contemporary art on humans and machines

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A thematic group exhibition of contemporary art on humans and machines

Opening on Thursday, October 30, 2025 at 7 pm

Subsequently open until November 30, 2025

Finissage 11 am - 4 pm with 3-part performance at 2 pm, 2.30 pm and 3 pm

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Of rhythms and good patterns, stoic repetitions and unreflected synchronizations.

Of computational processes according to specific, repetitive patterns, of clear rules of action and defined individual steps.

Algorithms are procedures for the step-by-step transformation of character sequences. Algorithms are complex. Nevertheless, when solving a problem, a specific input is converted into a specific output. Even if they can be formulated in human language.

The exhibition takes a look at these steps.

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Participating artists:

Eva Lause, falk von traubenberg aka falk.brvt, Helge H. Paulsen, Johann Walther Seidensticker, Lana Bragin, Maren Schimmer, Mathias Will, Polina Kovalenko, Richard Welz, Rolf Naedler, Sven Seddig, Tobias Becker, Wolf Martens, Yuri Akbalkan

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In SVEN SEDDIG 's linocuts, a network grows from short, branching lines (or cuts) that covers the entire picture surface. Each line is connected to all the others. At clearly defined time intervals, each branching occurs according to an internal algorithm that varies the length and angle. This algorithm is not an abstract calculation, but a physical process. It gives rise to a self-similar but always new structure - reminiscent of growth, roots, veins or networks. Finally, hand prints with black paint on endpaper create a second level: depending on the application of paint and the force of pressure, a further, unpredictable structure is superimposed on the network. Just as the branches continue within a panel and are pulled off exactly eight times, they continue from panel to panel and an open-ended series grows, the creation of which is precisely recorded in terms of time, material and weight of the linoleum shavings.

Similarly, we come to knitting as an analogous algorithm: row by row, predictable shapes are created through repetition and rhythm. If the pattern is broken, something new is created and organic, unexpected structures can emerge. LANA BRAGIN 's knitted objects operate precisely in this field of tension between predictability and disruption.

With TOBIAS BECKER, we arrive at digital algorithms - albeit very slowly and only at the end. "The Discovery of Velocity", a video collage about the British polar explorer John Franklin, takes viewers on a voyage of discovery to the Arctic. Using a mixture of historical and contemporary photographic techniques - from the daguerreotype to AI images - the work follows Franklin's expedition to its mysterious end. His slow, detailed perception is increasingly overwhelmed by an ever faster moving world. A visual reflection on the spirit of discovery, perception and the speed of our time.

WOLF MARTENS is interested in what chance produces: the shaped wire objects from the "Graphic Sculpture 1-12" series are found objects from Hamburg's streets. Primed in black and presented on neutral white picture carriers, these champagne bottle tops, reduced to their symbolic, meandering form, seem to form a semiotic system of their own.

In the accompanying video "Making-of Graphic Sculpture", the creation process is recreated by driving a car over it. Real street art.

EVA LAUSE again explores the aesthetic effect of the line. In her autonomous drawings, she plays with a self-created set of rules and thus develops series of drawings in which one component changes from work to work and, as a result, the pictorial effect. The many lines drawn freehand with pen and ink and the constant repetition give rise to successive series of different fields of tension.

HELGE H. PAULSEN likes to think and as a result reduces himself to one picture. In this case about think tanks. They are created to solve problems, to think about them from different angles. There are no rules of thought/action as with algorithms. Instead, thinking is free here, a counter-design to the algorithm, so to speak. Creativity arises.

To illustrate this, he chooses bread.

JOHANN WALTHER SEIDENSTICKER also works abstractly, but sensually with perception. With the help of fractal geometry, he creates formulas that trace relationships. The exhibited fractal is taken from a series with a numerical variable, the variable here is 0.414243. Psychedelic, colorful and geometric forms that seem to move can be seen on the floor of the gallery.

"The White Man" is a performance series by MATHIAS WILL that has been running for over 20 years. Until the finissage, the white overall will hang on the wall as a representative, for which he will then create an unpredictable "artwork?" in the three-part performance "It creates?" under the sequence-determining instructions of ChatGPT 5.0.

RICHARD WELZ's works level performative, experimental and conceptual aspects of photography and confront us with content on image worthiness, iteration, irony and the questioning of conventional norms and values. In "ITERATIVE PHOTOGRAPHY" he realizes his view of materials that are usually used only once. The materials are scattered several times (the Latin word iterare describes repetitive processes) to fill the format, with each scattering resulting in a motif. A strategy of gradually approaching a complementary image through repeated photography.

In the series "move - berglandschaften", FALK VON TRAUBENBERG aka falk.brvt uses a data transmission error between two devices as a design element. The classic (digital) image is magically deconstructed or reconstructed in an inscrutable way. There are clear mathematical rules behind this, but these rules do not seem to be the same for the two devices. This leads to misunderstandings, misinterpretations and blank spaces in these transfers, but the concept of a digitally readable image is fundamentally retained.

MAREN SCHIMMER 's works revolve around rhythm and repetition: rows of signs, grids and repetitive forms develop a dynamic of their own, oscillating between order and deviation, time and being out of time. Ornamental structures and spatial depth, familiarity and irritation dominate the picture. Between the obligatory rhythm of repetition and its poetic refraction, her works span a field as a resonance space between system and disturbance.

The installation "5.1.1::installation_mode" by YURI AKBALKAN is based on his composition 5.1.1, which was originally created for five analog and two digital sound generators. The eight-channel digital synthesizer on which the installation runs is based on a hardware-software platform that uses piezo elements as sound sources and works with two microcontrollers. Originally developed in collaboration with Sergey Kostyrko for the interdisciplinary project ПУСТ*, it has since been used in performance contexts and is now being presented for the first time in installation mode as part of a group exhibition.

POLINA KOVALENKO explores the fragile boundary between man and machine. In minimalist structures, strict rhythms and precise repetition, a choreographic game of rapprochement and strangeness unfolds. Inspired by postmodern choreographies, she develops a contemporary realization that interweaves mechanics and physicality. "Are we machines or emotional beings?" will be performed during the vernissage without offering a stage situation, but between the exhibits of the group exhibition as part of it.

In ROLF NAEDLER 's work, algorithms generate resistance because they call human free thinking into question. He is not familiar with the 'back and forth' and 'but not' or 'completely different'. Naedler's painting "The Unfinished Finished", which has never been shown since it was created in 2002, illustrates the state when patterns suffer a loss of control, the superimposed proliferates and invites a search, but also doubts.

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If you have any questions, please contact us; if you are thirsty, too. We don't offer anything that we wouldn't drink ourselves, drinks are available for a donation. Free admission, because everyone should have access to culture. However, you are welcome to make a donation if you would otherwise honor it. We conceive these exhibitions and run this space because we think it is important that there are constant and challenging positions between state museums and commercial galleries on the one hand and changing platforms for emerging art on the other - on the one hand to better promote artists, and on the other to create a more vibrant culture for the dialog between art and society. We mix established artists with newcomers. What interests us is the quality and the potential. If you would like to support this work, please contact us - or simply recommend us to others.

The narratives in this exhibition were created by the artists. The text was edited by Gerald Chors.

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Duration:

Thursday, October 30, 2025 to Sunday, November 30, 2025

Opening hours:

Saturdays, Sundays, Mondays and Tuesdays 6 - 9 pm (and on request)

Performance:

at the finissage

Vernissage:

Thursday, 30.10.2025 at 7 pm

Finissage:

Sunday, 30.12.2025 11 am - 4 pm

With 3-part performance at 2 pm, 2.30 pm and 3 pm

Venue:

xpon-art gallery

Repsoldstraße 45

20097 Hamburg

www.xpon -art.de

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We will inform you about deviating opening hours on our homepage, our Instagram account @xponartgallery and our Facebook page facebook.com/xponart

After the exhibition, 360° views will be added to the homepage, especially for those who are unable to visit.

Despite everything, we ask you to think about Corona and the flu epidemic and to behave accordingly.

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With the kind support of the Hamburg Ministry of Culture and Media

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Price information:

Free admission, because everyone should have access to culture. However, you are welcome to make a donation if you would otherwise honor it. Drinks are available for a donation. We don't offer anything that we wouldn't drink ourselves. We conceive these exhibitions and run this space because we think it is important that there are constant and challenging positions between state museums and commercial galleries on the one hand and changing platforms for emerging art on the other - on the one hand to better promote artists who are not yet established, and on the other to create a more vibrant culture for communication between art and the public.