Manu Luksch
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| Manu Luksch | |
|---|---|
| Born | 1970 Vienna, Austria |
| 💼 Occupation | Intermedia artist, filmmaker |
| Notable work | Faceless, Dreams Rewired |
| 🌐 Website | www |
| Twitter= | |
Manu Luksch (born 1970) is an Austrian intermedia artist and filmmaker who is known for her wide-ranging critical practice that interrogates sociopolitical, legal, and technological infrastructure through interdisciplinary collaboration, the creation of participatory tools and platforms, and the instigation of novel processes.[1] Specific works address the regulation of public space,[2] the construction of independent media infrastructure,[3] and widespread corporate data surveillance. Through the 2000s, a major focus of Luksch's research was the data trace – the digital shadows cast by humans in networked space in the course of daily activities. More recently, this focus has broadened to include algorithmic management as deployed in 'smart city' contexts. Although her work is found in museums and galleries, it is also manifest in academic, activist and other non-art contexts. Luksch is perhaps best known for two film works, Faceless (2007) and Dreams Rewired (2015, as codirector).
Education[edit]
Luksch initially studied at University of Fribourg in Switzerland and holds MA degrees in History (University of Vienna) and Fine Arts / Education (Academy of Fine Arts Vienna). She travelled as a Foreign Scholar to Chulalongkorn University, Bangkok (Faculty of Fine Arts) in 1993, and to Chiang Mai University in 1994.
Early career[edit]
While a student at the Academy of Fine Arts, Luksch worked with film director Peter Greenaway on his exhibition 100 Objects to represent the World (Hofburg, Vienna, 1992) as photographer and production assistant[4], and on the subsequent exhibition The Stairs. Munich Projection. In 1996, Luksch was appointed director of Medienlabor München, a position she held until 1998. In 1998, Luksch co-curated Art Servers Unlimited together with media theoretician Armin Medosch (link), the first conference to focus on a range of noncommercial initiatives to support the blend of creative, experimental, socio-cultural, artistic, critical use of the internet, hosted at the ICA London. https://www.metamute.org/editorial/articles/to-serve-your-culture-art-servers-unlimited-ica https://archive.org/details/ArtServersUnlimiteddocumentaryvideo
London[edit]
Art Servers Unlimited.[5][6][7]
Themes[edit]
Community media[edit]
ambient.wireless
Urban space[edit]
curated ambient.vista and A|R|C residences, workj with parasite in HK, limitations permitted, kayak libre
Technologies of control and information politics[edit]
The FACELESS Project, The Orchestra of Anxiety, and Love, Piracy and the Office of Religious Weblog expansion, Dreams rewired and smartcityabc
Approaches[edit]
Works by Luksch deploy use distinctive approaches, often in combination:
Intermedia process[edit]
The generative road movie Broadbandit Highway (2001–06 )illustrates both the process-driven and intermedia aspects of Luksch's work, through using a computer script to 'hijack' streams from traffic webcams and montage them into a continuous 'ambient movie', to be displayed on a hotel's internal TV channel[8]. During the period that the project was live, it constituted the longest movie ever made.
A later work, Kayak Libre (2012–) also deploys intermedia and process.
Tactical Fiction[edit]
Tactical fiction is the power of the user, the fast-paced intervention, reclaiming agency by disrupting the narrative of corporate technology-led progress. Luksch introduced the term Tactical fiction as powerful artistic strategy for rethinking the status quo. By creating myths and tales around existing objects, processes or environments, Luksch provokes and share visions of alternative futures by creatively challenging what we find less than perfect in our world, for combining the political with the imaginary. https://www.somersethouse.org.uk/blog/substrand-interview-manu-luksch
The Legal Readymade[edit]
Luksch’s speculative fiction film FACELESS (2002–07), compiled from surveillance recordings recovered under data protection legislation, treats CCTV images as ‘legal readymades’ by deriving its scenario from their legal properties.
Interdisciplinary collaboration[edit]
Works[edit]
Southeast Asia[edit]
Net.art[edit]
ASU
ambient.space[edit]
Lab - DIY culture - wireless ambient vista and A|R|C shiho fukuhara, naoya hatekayama, wolfgang staehle, rachel sussman, fahim amir
Filmography[edit]
3RD QUARTELY REPORT AT/UK 2016 double projection. HD. 35min
DREAMS REWIRED directed with Martin Reinhart, Thomas Tode. narrated by Tilda Swinton. AT/D/UK 2015, DCP, 85 min
UNKNOWN TERRITORIES UK 2014, commissioned for C4, HDV, 3 min
ARCHITEKTURBUREAU LICHTPAUSE / BLUE-SKY BLUEPRINT AT/UK 2011, HDV, animation film commissioned by DIAGONALE / KÖR, 10 min
MAKE IT SNOW! MAKE IT SNOW! MAKE IT SNOW! UK 2008, DV CAM, commissioned for C4 / Animate!, 1 min
MAPPING CCTV AROUND WHITEHALL UK 2008, DV CAM, commissioned for NHK, 3 min
FACELESS narrated by Tilda Swinton A/UK 2007, DigiBeta, 50 min
VIRTUAL BORDERS (feature documentary) A/UK 2004, DigiBeta, 91 min Honorary Mention DIAGONALE 2004
BROADBANDIT HIGHWAY UK 2001, 50min, 2. prize 24th Int. Moscow film festival 2002, cat. Cybermovie.
ART SERVERS UNLIMITED UK 1998, Beta SP, 30 min. Documentary about the emerging European net culture scene.
SO ODER ANDERS A 1996, 16 mm, 13 min
Publications[edit]
If any, list the works organized by date of publication. See Charles Darwin for example.
Gürses, Seda, Manu Luksch, and Michelle Teran.(2010). "A Trialogue on Interventions in Surveillance Space: Seda Gürses in conversation with Michelle Teran and Manu Luksch." Surveillance & Society, Vol. 7, No 2., 2010. http://ojs.library.queensu.ca/index.php/surveillance-and-society/article/view/4141
Luksch, Manu. Signature or Right Thumbprint. Goethe Institute Bangkok, 1994.
Luksch, Manu. "Virtual Borders or Digital Divide?" net.congestion.reader,edited by Lovink, Geert. De Balie, 2000. http://www.tacticalmediafiles.net/netcongestion/html/reader.html. Retrieved 25 September 2017.
Luksch, Manu. "From social fact to science fiction. The incident in the incidental." n.paradoxa, Vol. 22, 2008, pp. 84-89.
Luksch, Manu. "Moonwalk in EchtZeit." Raum in den Künsten. Konstruktion - Bewegung - Politik, edited by Avanessian, Armen, and Franck Hofmann. Wilhelm Fink Verlag, 2010, pp. . https://www.fink.de/katalog/titel/978-3-7705-4658-9.html
Luksch, M. (2012). ‘Alltagslabor Function Creep’ in Hartmann, D., Lemke, I., & Nitsche, J., eds. Interventionen. Grenzüberschreitungen in Ästhetik, Politik und Ökonmie. München: Wilhelm Fink Verlag. https://www.fink.de/katalog/titel/978-3-7705-5283-2.html
Luksch, M. (2017). ‘From the cellar to the cloud: the network-archive as locus of power’ in Dekker, A., ed. Lost and Living (in) Archives. Amsterdam: Valiz. http://www.valiz.nl/en/LostandLiving(in)Archives—CollectivelyShapingNewMemories
Luksch, M., & Medosch, A. (1998). Art Servers Unlimited. London: self-published.
Luksch, M., & Medosch, A. (1999). ‘Apropos Art Servers Unlimited’ in Boyd, F., ed. New Media Culture in Europe. Amsterdam: Uitgeverij De Balie and the Virtual Platform.
Luksch, M., & Medosch, A. (2001). ‘Luksch & Medosch’ in Baumgärtel, T. net.art 2.0. Neue Materialien zur Netkunst. Nürnberg: Verlag für moderne Kunst.
Luksch, M., & Patel, M. (2003). ‘Wearable Computing and Wireless Networks’ in Sotamaa, Y., ed. Cumulus: Value in design: disabling disablement, enabling enablement. Helsinki: University of Art and Design. http://www.cumulusassociation.org/cumulus-working-papers-tallinn-1003/
Luksch, M., & Patel, M. (2007). ‘ambientTV.NET: You Call It Art’ in Coyer, K., Dowmunt, T., & Fountain, A., eds. The Alternative Media Handbook. London: Routledge. https://www.routledge.com/The-Alternative-Media-Handbook/Coyer-Dowmunt-Fountain-Curran/p/book/9780415359658
Luksch, M., & Patel, M. (2007). ‘Chasing the data shadow. A filmmaker’s close-up encounter with the Data Protection Act’ in Stocker, G., & Schöpf, C., eds. Ars Electronica: Goodbye Privacy. Berlin: Hatje Cantz Verlag. http://www.hatjecantz.de/ars-electronica-2007-1952-0.html also available online in Variant, no. 31 (2008). http://www.variant.randomstate.org/pdfs/issue31/313Faceless.pdf
Luksch, M., & Patel, M., eds. (2009). Ambient Information Systems. London: AIS. https://issuu.com/ambientpublishing/docs/ais_display
Awards and appointments[edit]
- Open Society Fellowship Open Society Foundations (2017)
- Visiting Fellow, Centre for Cultural Studies, Goldsmiths, University of London (2016-19)
- ELEVATE Award, Graz (2015)
- New Approaches, FLAMIN/Film London (2015-16)
- Best Feature Documentary, Moscow International Film Festival (2016)
- Best Feature Documentary Soundtrack, DOK.FEST Munich (2016)
- National Media Art Prize, Austria (2012)
- Marianne.von.Willemer Prize for Digital Art, Ars Electronica Center (2012)
- Olympics Commission, muf Art & Architecture / London Thames Gateway (2012)
- several Arts Council England and Innovative Film Austria awards since 2001
Collections[edit]
Works by Luksch are held in the
- Collection de Centre Georges Pompidou
- BFI National Archive
- Ars Electronica Center
- Core Collection, Academy of Motion Picture Arts & Sciences
Bibliography[edit]
Include a bibliography listed in MLA format. Use EasyBib.com for assisted MLA-formatted bibliography entries, or OttoBib for automatic bibliography creation from a list of ISBN numbers. See Reference management software for additional tools.
Andrew, Sarah, and Simon Stokes, editors. Art Law Field Guide. Arts Council England, 2008.
Arns, Inke. “Transparent World. Minoritarian Tactics in the Age of Transparency.” Un_imaginable, edited by Dennis Del Favero, Ursula Frohne, and Peter Weibel. Hatje Cantz, 2008, pp. 20-35.
Arns, Inke. “Transparency and Politics. On Spaces of the Political beyond the Visible, or: How transparency came to be the lead paradigm of the 21st century.” The Aesthetic Interface, edited by Søren Pold, et al. Aarhus UP, 2010.
Avanessian, Armen. “Gesichter und Geschichten des Raumes – Von technologischen und fiktionalen Räumen.” Raum in den Künsten. Konstruktion, Bewegung, Politik, edited by Armen Avanessian and Franck Hofmann. Verlag Tranversale, 2010, pp. 233-242.
Bonin, V., & Choinière, F., eds. (2009). Fonction/Fiction. L'image utilitaire reconfigurée. Montréal: Édipresse.
Carvalo, M. (2009). ‘Affective Territories’ in INFLeXions Journal No. 3. Cazdyn, E. (2012). The Already Dead: The New Time of Politics, Culture, and Illness. Durham: Duke Univ. Press. Doringer, B., ed. (2017). FACELESS. Wien: De Gruyter / Edition Universität für Angewandte Kunst. Fürst, P. (2008). ‘Who is watching us? – Datenschutz als Kunst’. Diplomarbeit. Theaterwissenschaft, Universität Wien. Gade, R., & Gunhild, B., eds. (2012). Performing Archives/ Archives of Performance. Copenhagen: Museum Tusculanum Press. Guertin, C. (2012). Digital Prohibition Piracy and Authorship in New Media Art. New York: Continuum.
Joseph-Hunter, G. (2011). Transmission Arts. New York: PAJ Publications.
Medosch, A. (2003). Freie Netze. Hannover: Heise Verlag. Moulon, D. (2011). Art Contemporain Nouveaux Médias. Paris: Nouvelles éditions Scala. O’Rourke, K. (2013). Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press.
Östlind, N., Vujanovic, D., Wolthers, L., eds. (2016). WATCHED! Surveillance, Art and Photography. Köln: Walther König Verlag. http://www.hasselbladfoundation.org/wp/printpublications/
Patel, M. (2009). ‘A Brief History of Real Time’ in Wolfgang Sützl, W., ed. Creating Insecurity. Plymouth: Plymouth University / Autonomedia. Piper, A. (2012). Book Was There: Reading in Electronic Times. Chicago: U. of Chicago Press. Pold, S. (2009). ‘Faceless - Manu Luksch’ in Dinesen, P., Løssing, A., Witzke, A., & Ørskou, G., eds. ENTER ACTION - Digital Art Now. Aarhus: ARoS.
Pold, S. (2009). ‘Overvågningens kunst. Overvågningsdystopier og interfacebegær i det urbane rum i Nineteen Eighty-Four, Faceless og andre urbane interfaces’ in Lauritsen, P., & Olesen, F., eds. Overvågning - perspektiver, studier, praksis. Aarhus: Aarhus Universitetsforlag.
Vykoukal, M. (2011). Neither Shoreditch nor Manhattan. Black Country creative advantage. Wolverhampton: Multistory. Zeilinger, M. (2009). ‘Art and Politics of Appropriation’. PhD thesis. Centre for Comparative Literature, University of Toronto. Zeilinger, M. (2011). ‘Appropriation and the authoring function of surveillance in Manu Luksch's Faceless’, pp 262-273 in Doyle, A., Lippert, R., & Lyon, D., eds. Eyes Everywhere. The Global Growth of Camera Surveillance. London: Routledge.
Always cite your sources! No original research![9]
References[edit]
- ↑ Buchbauer, Sara, et al., editors. Creative Austrians. Bundesministerium for Europa Integration und Äußeres – Kulturpolitische Section, 2016, pp. 172-75.
- ↑ Avanessian, Armen. "Gesichter und Geschichten des Raumes. Von technologischen und fiktionalen Räumen." Raum in den Künsten. Konstruktion - Bewegung - Politik, edited by Avanessian, Armen & Franck Hoffman. Wilhelm Fink Verlag, 2010, pp. 234-42.
- ↑ Medosch, Armin. Freie Netze. Geschichte, Politik und Kultur offener WLAN-Netze. Verlag Heinz Heise, 2004, pp. 96-101.
- ↑ Greenaway, Peter. 100 Objekte zeigen die Welt. Akademie der bildenden Künste, 1992.
- ↑ Art Servers Unlimited. Retrieved 25 September 2017.
- ↑ Luksch, Manu and Armin Medosch, editors. Art Servers Unlimited. ASU, 1998.
- ↑ Medosch, Armin. "Real-time political art from the digital underground." Ambient Information Systems, edited by Luksch, Manu and Mukul Patel. AIS, 2009, pp. -.
- ↑ "Broadbandit Highway".
- ↑ Last, first (date). Name of page. Page xx. Publisher: xxxx
External links[edit]
Further reading[edit]
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