Christian de Lutz is taking part in Projetaveis
a section of the the 7th Bienal do Mercosul
in Porto Alegre, Brasil
16 October - 29 November 2009


screen shot from http://www.bienalmercosul.art.br/projetaveis/node/30


screen shot from http://www.bienalmercosul.art.br/projetaveis/node/30


screen shot from http://www.bienalmercosul.art.br/projetaveis/node/30

more at
http://www.bienalmercosul.art.br/projetaveis/

The Copyright Piece

From the artist statement:

The 'Copyright Piece' is an audio work made by changing and distorting another audio piece. The 'original' is the subject of a copyright dispute, and was itself procured through questionable circumstances (ie youtube).

The 'purchaser' will sign a contract in which they agree to take over all rights and responsibilities for the piece. There will be no fee for becoming the 'purchaser', only their signature and presentation of identification. After the contract is signed, I will inform the 'purchaser' of the 'original material' used in the production of the 'Copyright Piece'. I will also retain the licensed right to exhibit the artist's copy six times, in consultation with 'the purchaser.' The 'purchaser' will otherwise fully 'own' the piece, all its rights, and attendant responsibilities, legal and otherwise.

The intrinsic value of the 'Copyright Piece' is its mockery of the marketplace. It seeks to replace the medium of money with the medium of risk. The 'purchaser's' role is a performative one, which completes the artwork. If the artwork has an extrinsic value it is to place the art world (already largely based on visual appropriation) in the grey world illicit reproduction that has flourished in our new digital climate.



CD with artist statement and contract
.

Source Code images ( more at http://cdelutz.net/html/fine_arts_menu.htm)


untitled (weather#4), 2009, digitally altered photograph, archival inkjet print on canvas, 70 x 100 cm


riga/melissa, 2007, digitally altered photograph, archival inkjet print on canvas, 80 x 90 cm

Seafaring Route (Who is K.Mardam Bey?)
Director Animation, 5:45


The digital animation piece Seafaring Route (Who is K.Mardam Bey?),2009, is an exploration into the nature of cultural communication through the ages.

The animation opens with a satellite view of the Levantine coast, one of the oldest seacoast based cultures on earth. From here the Phoenicians set forth to colonize the Mediterranean, starting a tradition of cultural exchange and diaspora that has lasted over 3000 years.

From a space age view of Tel Aviv the screen travels north over Haifa to Tyre, Sidon and Beirut. Metonymous with the combination of satellite imaging and simulated drawings, made out of altered photographs, the viewer is witness to a dialogue between two anonymous online writers discussing the Palestinian software designer Khaled Mardam Bey and mIRC , the internet chat client he developed.

Seafaring Route (Who is K.Mardam Bey?) makes reference to levels of technology and communication, layering them over a historical background of various media – pen, photography, film and computer based media. It also refers to the Sisyphean task of controlling the technology we develop, especially as to its use and misuse.

Additionally a series of digital prints, taken from images used for the animation are presented.


animation still

animation still

animation still

installation view

installation view

installation view

Artneuland e.V. | Schumannstrasse 18 | 10117 Berlin | Germany
Tel: +49 (0)30 28046650, 28047013 | Fax: +49 (0)30 28092950
berlingallery@artneuland.com | berlinprojects@artneuland.com

“Sea faring- route. Berlin. Tel Aviv. Beirut.”

Photography. Video. Installation.
Busy, hectic, multicultural are words in which all these three cities can be easily described. Though lacking topographical or political similarities, they share an atmosphere of constant motion and exchange of goods, people and ideas. They became places that willingly accept and even look forward to vivid changes and new impulses. In this way, they offer the perception of the temporary and represent the ‘here and now’. This vibrating ambience makes the three cities function as ‘harbours’ in a sense other than geographical. While Tel Aviv and Beirut have in fact been major seaports, Berlin has a clear longing for it, what can be observed, for instance, in the multiple beaches constructed along the Spree.

Exhibition

The exhibition tries to expose different views on the topic expressed by the artists Ayelet Albenda, Ana Bilankov, Heike Barndt, Tim Deussen, Dotan & Perry, Anna Faroqhi, Lasse Lau, Dana Levy, Chris de Lutz, Guy Raz, Ilana Salama Ortar, Michael H. Shamberg, Simcha Shirman, Felice Naomi Wonnenberg, Paola Yacoub and Maya Zack. The artists adopt the local or project the foreign view on the cities’ life. This exchange of views and opinions among the international participants of our project is just another aspect of the lively Trialogue between the three busy harbours on this imagined seafaring route.

The project will be opened on the 2^nd of July 2009 at 7pm in Artneuland.

Schumannstraße 18, 10117 Berlin. It will remain open until the 8^th of August 2009.
more at http://artneuland.com/project.asp?pid=48

Välkommen till Öppet Hus i Nordiska Gästateljén i Malongen Onsdag 17 juni kl 20.30
Welcome to Open Studio in the Residency Studio in Malongen Wednesday June 17, 20.30

Christian de Lutz (Amerika/Tyskland) www.cdelutz.net har under juni månad 2009 en vistelseperiod i Malongen. Se mer på vår hemsida www.nkf.se .
NKF (Nordiska Konstförbundet Svenska sektionen) och Christian de Lutz bjuder in till Öppet Hus. Kom och träffas ett par timmar - vi bjuder på ett glas vin eller vatten, nåt att tugga på. Christian visar videoverk och bilder i ateljén. Christian de Lutz är verksam i Berlin och är vid sidan av sitt eget konstnärliga arbete curator och en av ledarna för det konstnärsdrivna galleriet Art Laboratory i Berlin.

Adress: Nordiska Gästateljén Malongen, Nytorget 15 A. Buss 3 eller 76 till hållplats Gotlandsgatan. Eller T-bana Skanstull.

Christian de Lutz (America/Germany) www.cdelutz.net is the Artist-in-Resident in the Nordic Residency Studio Malongen during June 2009. For more information see our website www.nkf.se .

NKF (Nordic Art Association Swedish section) and Christian de Lutz invite you to an Open Studio. You are welcome to meet Christian, take a look at some of his video- and photo work and to have a glass of wine in the evening of Wednesday June 17th.

Christian de Lutz lives and works in Berlin. Besides his own artistic work he is also a co-director and curator at Art Laboratory Berlin.

Address: Malongen Residency Studio, Nytorget 15 A. Bus 3 or 76 to Gotlandsgatan. T-bana Skanstull.

Untitled, from Christian de Lutz's cuts series

The series cuts examines the limits of the photographer’s perception, and the resistance of the world to portrayal. The works consist of small details of documentary photographs taken over the last 15 years. Often the images are of details I was unaware of while photographing. Like the main character in Antonioni’s Blow Up, I often only discover the secret narrative of these details “in the darkroom”. These “secret stories” take place in the background, on the margins, of the original images (which are now exterior, unknown to the viewer). Freed of their original context, they form new relationships with other works in the series, and with the world at large, quite independent of their documentary origin.

I am the June resident at the NKF Malongen residency in Stockholm.

Private Viewing
New Works from Christian de Lutz

15-17 May, 2009

at Prinzenallee 34,
13359 Berlin-Wedding


untitled (sarajevo/love virus#2), 1996/2008, archival inkjet print on canvas, 100 x 150 cm


untitled (dobrinja), 1996/2009, archival inkjet print on canvas, 95 x 100cm

You are cordially invited to a private viewing of new works
by Christian de Lutz

Friday 15 May 6-9PM
Saturday and Sunday 16-17 May 2 - 6PM

Art Laboratory Berlin
Prinzenallee 34,
13359 Berlin
U bahn Pankstrasse (U8), Osloerstrasse (U8,U9)
S bahn Bornhomerstrasse

Photos from the opening of Culture of Torture Torture in Culture
at Artneuland, Berlin, 26 March 2009

Christian De Lutz presents written evidence and accounts of people who have been present in the so-called “black sites”. This is a military and journalistic term for the extra-judiciary interrogation centers, used by the U.S. military and the CIA. The most famous, or rather infamous, of these sites are probably camps Delta, Iguana and X-Ray at the Guantanamo Bay Naval Base in Cuba, Abu Ghraib in Iraq, and Bagram in Afghanistan. However, a number of other such places have existed, and probably still exist throughout the world.

The first series of prints are facsimiles of CIA documents obtained through the Freedom of Information Act. The documents were requested with keywords which are shown, but almost all the rest information was blacked out by CIA censors. The second series of prints are meta-geographies which show views of alleged black sites, such as Diego Garcia in the Indian Ocean and the Bagram Air Base in Afghanistan via Google Earth and NASA Worldwind. Included are mash-ups by Google Earth users and abstract lines showing the paths of the satellites which took the photos. “Black Sites” reflects upon the distribution of knowledge and the effect it has on our empathy.

from the exhibition text

“Culture of Torture, Torture in Culture“
at Artneuland









View of the audiovisual installation Black Sites by Christian de Lutz 2009


Installation view of Black Site-Diego GarciaChristian de Lutz 2008

Installation view of Black Site/FOIA Christian de Lutz 2009

Artneuland is a home for Trialogues of image, word, and people, an artistic platform for the three monotheistic cultures. In the frame of our cultural, social, and political engagement Artneuland has invited the following artists Hannan Abu Hussein, Raida Adon, Christian de Lutz, Tim Deussen, Dotan & Perry, Al Fadhil, Babak Golkar and Raha Rastifard from different cultures and of different origins to contribute to the topic of torture — with the use of installation, video, audio and photography. This is an invitation to be confronted with the questions of what between visual representations and the narratives of human suffering.

Opening 26 March 2009 from 7pm
Exhibition runs 27 March - 23 April
Artneuland e.V. | Schumannstrasse 18 | 10117 Berlin | Germany
Tel: +49 (0)30 28046650, 28047013 | Fax: +49 (0)30 28092950
berlingallery@artneuland.com | berlinprojects@artneuland.com

Opening of the exhibition
“Culture of Torture, Torture in Culture“
at Artneuland on March 26th 2009 at 7pm




Artneuland is a home for Trialogues of image, word, and people, an artistic platform for the three monotheistic cultures. In the frame of our cultural, social, and political engagement Artneuland has invited the following artists Hannan Abu Hussein, Raida Adon, Christian de Lutz, Tim Deussen, Dotan & Perry, Al Fadhil, Babak Golkar and Raha Rastifard from different cultures and of different origins to contribute to the topic of torture — with the use of installation, video, audio and photography. This is an invitation to be confronted with the questions of what between visual representations and the narratives of human suffering.

With an opening lecture by Bazen Brock
Opening 26 March 2009 from 7Pm
Exhibition runs 27 March - 23 april

Artneuland e.V. | Schumannstrasse 18 | 10117 Berlin | Germany

Tel: +49 (0)30 28046650, 28047013 | Fax: +49 (0)30 28092950

berlingallery@artneuland.com | berlinprojects@artneuland.com


Opening hours:
Tuesday - Friday: 11:00 - 19:00.
Saturday: 11:00 - 18:00, and by appointment.

Several works including the copyright piece and caffebar Flash Art
will be shown as part of the exhibition


“On CDOs and Double Clubs”
Exhibition: 5 – 12 March 2009, 1-6 pm
Art Swap & Party: 10 March 2009, 6-9 pm

August Art
Wharf Studios, Baldwin Terrace
London, N1 7RU
+44 (0)20 7354 0677
info@augustart.co.uk
www.augustart.co.uk

as part of the East Festival in East London

ART OF EMERGENCY

a group exhibition opening on Thursday, 5th February 2009 at 7pm
in Artneuland,
Schumannstraße 18, 10117 Berlin

The exhibition will last from 5th February 2009 until 15th March 2009




exhibition photo copyright cdelutz.net



exhibition photo copyright cdelutz.net

Opening of the exhibition on 7 March
with my work untitled (sarajevo/love virus 1) 1996/2007

more information at http://artneuland.com/project.asp?pid=43&s=0

Evasion Machine /Apparat der Ausflucht
An Installation by Christian de Lutz

28 November-7 December, 2008





Projection and installation at space untitled.






Installation at Atelier Sambo-Richter.


Performance at Atelier Sambo-Richter, the artist with Kleopas Nghikefelwa, 30 November 2008.
All images copyright Christian de Lutz 2008.

more details at http://cdelutz.net/html/thumbnail%20pages/installation.htm

space untitled
Drontheimerstraße 3
13359 Berlin

Atelier Sambo-Richter
Koloniestr. 131
13359 Berlin

.


Evasion Machine /Apparat der Ausflucht

An Installation by Christian de Lutz
Eine Installation von Christian de Lutz

28 November - 7 December 2008

An installation in two locations, the Evasion Machine combines video, digital print and found objects to create a space for a discussion on migration. The installation centres around two videos from the series El-Andalus Clips. Clip #3 is made of two components. The visual component was filmed on the southern Spanish coast. The sound component is made up of text fragments collected from internet blogs, written by migrants. The fragments are read by a non-native speaker, whose repeated attempts to read in a foreign language have influenced the visual editing of the piece. Clip#4, shown through a storefront window, resounds with utterance of a single Arabic phrase (Inshallah), which is elongated to seven times its original length – and accompanies the dawn.

Several digital prints provide a contrasting static component. The print petroleum lines is made up of satellite images of the Persian Gulf, Wolfsburg, Germany, Flint, Michigan and Toyota, Japan. It represents static records of moments and locations, stolen from their original purpose location, remade into a new visual system. Additionally the area(s) of the installation are covered with detritus, broken wood, wiring, building material – and also text: fragments of algorithms for calculating demographics, migration and population movement.

The Evasion Machine not only implies migrants evasion of central regulation and authority, but also points to the flourishing of cultural hybrids in exactly those regions which (for a while) provide haven for the wanderer. Yuri Lotman, while developing his system of linguistic environments (or semiospheres), divided them into centre and periphery. The centre (metalanguage) controls the environment, but is sterile, bereft of innovation. It is the periphery, ripe with multiple, outside influences, where creativity bears most fruit.

-Christian de Lutz

space untitled
Drontheimerstraße 3
13359 Berlin
Vernissage: 28.11.2008 ab 19h/ from 7PM
30.11.2008 - 7.12.2008, So 16-19h /4-7PM

Atelier Sambo-Richter
Koloniestr. 131
13359 Berlin
Vernissage: 28.11.2008 ab 20h /from8PM
30.11.2008, 14-19h /2 - 7 PM
Performance 30.11.2008, 18h30/ 6.30PM

Both exhibition spaces are located near Ubahn station Osloerstr. (U8,U9), approx 2 min. walk from each other and the station.
.

New Works: Meta-Geographies



petroleum lines, 2008, archival inkjet print on paper, 110 x 200cm



petroleum lines, (detail) 2008, archival inkjet print on paper, 110 x 200cm


america is from mars and europe is from venus(2008) archival inkjet print on paper, each 170 x 110cm



america is from mars (detail), 2008, archival inkjet print on paper, 170 x 100 cm

Meta-Geographies, combines a variety of satellite images with text and other information taken from the Internet.

petroleum lines (2008) combines satellite imagery of the main Saudi Arabian oil terminal, Ras Tanura with images of Toyota, Japan; Wolfsburg, Germany; and Flint, Michigan (the headquarters of General Motors). The combined geographical image shows parts of the various motor cities partially submerged in the waters of the Persian gulf.

Source code, algorithms and charts overlay the whole picture and refer to scientific measurments of water temperature, ice melt and the effect of fire on climate change.

The series uses metaphor and metonymy to map the structures of geo-political relations and connections in the ever shrinking space of the globalized 21st Century.

America is from mars and europe is from venus (both 2008), refer to an phrase coined by the American neo-conservative Robert Kagan after the 2004 Madrid bombings. The works not only literalise Kagan’s word, placing an aerial view of the Pentagon on NASA photos of the Martian surface, and views of the European Commission and European Parliament on Venus, but also add additional layers of information in the form of source code excerpts, as well as art historical and symbolic meaning.

El-Andalus clips (2008)
is made up of five short clips, each under two minutes. The clips exist as stand alone works, or together. Three (no. 1,3 and 5) include recitations of a text collage derived from internet blogs written by migrants from the Near East ,living in Europe or North America. The narrator, uneasy in her use of English stumbles across the text. Combinations of takes and breakdowns are used as an editing device for the visual images, collected excerpts of footage from southern Spain - the ruins of a Moorish fort, the view across the straits of Gibraltar, architectural details from Alhambra - which refer to Europe's old cultural connection to the Near East. Image and text, unrelated in origin, combine and influence each others form to elicit new meanings and relations.




The soundtrack of El Andalus clip #2 (breath) is made up of the narrator's breaths, gasps and laughs between words. It forms a first intermezzo, when viewed with the other four clips




El Andalus #4 (fate) was filmed on a hillside on the SE Spanish coast. The soundtrack is one word (Inshallah) stretched out over the duration of the clip, which forms the second intermezzo, when all five clips are viewed together.