Error – The art of imperfection

An exhibition of Ars Electronica’s ERROR in Berlin

Itself, an Error is “merely” a deviation from what we expect. And this is exactly where the artists in this exhibition come to play. What is a mistake if we are no longer able to recognize the deviation at all? Could you understand if this is an Error or not?

Ars Electronica* has been accompanying and analyzing the digital revolution and its manifold implications since 1979. It has consistently focused and focuses on processes and trends at the interface between art, technology, and society. This artistic-scientific research becomes visible in the form of a festival that is organized every year in Linz (Austria). Its five-day program comprises conferences, panel discussions, workshops, exhibitions, performances, interventions, and concerts.

I personally participated in 2016 “Radical Atoms” edition with Whisper.  I still remember the excitement of that days, the adrenaline of having thousands of people coming to see and interact with my Artwork. The festival was complete of creatives, technologist and social activists from all over the world. Everyone ready to light upon the next conceivable development and possible future scenarios where Art, Technology and society intersect.

“Every child learns in school to avoid mistakes. To err may be human, but that doesn’t make it desirable. On the contrary – we spend our whole lives trying to downplay, correct, mitigate or cover up our mistakes. A Sisyphean task, considering that ERROR is a constant presence in our lives. At the same time, it is the very mistakes and failures we fear that repeatedly give rise to celebrated innovations, fostering new things and the progress that goes along with them. “ERROR – The Art of Imperfection” takes an artistic approach to exploring what choices we have for taking action in this context or, to put it more precisely, what choices we must create. After all, our future depends to a large extent on recognizing deviations from the norm and deciding freely whether to tolerate them and even make them into new norms, or whether to resist deviations that go beyond what we can tolerate. Only if we succeed in doing so can our pluralistic and democratic society endure. The attempt to prevent every deviation is – regardless of technology – doomed to failure: Either because it cannot succeed or because it succeeds so well that our society will gradually lose the attributes of pluralism and democracy altogether.”

DRIVE Volkswagen Group Forum is best known as a showroom and car enthusiasts destination, but until next 7 February is a target for art and technology fan as well. In the fancy area of Mitte, just over a hundred meters north of Französische Straße Ubahn 16 exhibits. You can expect both digital productions as well as robot and sound installations. 

The highlight of the exhibition is ECHO by Georgie Pinn. Interactive and inspiring, the artwork makes you think and invites visitors to position themselves in the shoes of someone else. After all, what makes mankind better when machines can now hear, see and understand than Empathy?

Admission is free. daily from 10:00 to 20:00.

Artists and Projects: 
Georgie Pinn (AU) / ECHO and Kendyl Ross (CA)
Attila Csörgő (HU) / CLOCK WORK, OCCURENCE GRAPH
Emanuel Gollob (AT) in cooperation with Johannes Braumann (University of Art and Design Linz (AT), Creative Robotics) / ROBOT DOING NOTHING
Stefan Tiefengraber (AT) / DSD-08AS
Prokop Bartoníček (CZ) & Benjamin Maus (DE) / JLLER
So Kanno (JP) & Yang02 (JP) / ASEMIC LANGUAGES
Waltz Binaire (DE) / NARCISS
LarbitsSisters (BE) / BITSOIL POPUP TAX & HACK CAMPAIGN
Anna Ridler (UK) / MOSAIC Virus, MYRIAD (Tulips)
César Escudero Andaluz & Martín Nadal (ES) / BITTERCOIN the worst miner ever
Mushon Zer-Aviv (IL), Dan Stavy (IL), Eran Weissenstern (IL) / THE NORMALIZING MACHINE
Adam Harvey / VFRAME – Visual Forensics and Advanced Metadata Extraction
Robertina Šebjanič (SI), Gjino Šutić (HR) / AQUA_FORENSIC underwater interception of biotweaking in aquatocene
Claudia Rohrmoser (AT/DE) / DIN neutral white

Curated by:
 Manuela Naveau (Director Ars Electronica EXPORT)

Communication design:
 MOOI Design, Letitia Lehner

Claudia Livia