Public Exchange for Digitalization Triple II: ILLUSTRATIVE SPACE

January 19, 2018, 7:30 pm to 10:00 pm
Spektrum, Bürknerstr. 12, 12047 Berlin

The results of the Digitization Triple II will be presented within the framework of a public exchange at a location suitable for this form of collaboration. SPEKTRUM is a space for the convergence of cultural communities and transdisciplinary groups which are formed both inside and outside of Berlin. The questions and results surrounding the topic of art and digital space emerging from the first digitization lab will not only be presented; they will also be discussed with all attending in order to exchange know-how and experiences.

Within the framework the second Digitalization Triple, 3 artists or groups of artists have the opportunity to a question burning within their respective artistic soul on the topic of the depiction of art and digital space together with an expert from the world of programming and science.

The selected artists all have very different questions.
The collective Monster Control District is on the lookout for space that is available online and collectively usable for its digital installation tool nota in which the parts of the installation can be arranged according to the specific rules of a musical score. The composed nature of this arrangement must become evident quickly so that it is possible to quickly move on to an alternative musical score and its respective rules.
The dancer and choreographer Veronique Langlott intends to test out the binary pair of human – technology and is thus searching for a programming system that encodes the different qualities and intensities of dance and then decodes them in a second step into a different medium (e.g. sound, light).
The artist and software developer Ricardo Gehn seeks to examine the role of software in the arts and in arts communication and test out methods exploring what a contemporary handling of digital artifacts in art could be. In doing so, he is envisioning a reasonable archival practice that does not see digital art solely from the perspective of presentation, but which also examines and processes the underlying algorithms as a critical coming to terms with the theme or context that is being dealt with in a work of art.

Monster Control District (MCD)

Monster Control District is a collective founded in Berlin and Franfurt am Main in 2017 which consists of the camera operator Moritz Friese, the collective VOLL:MILCH, the artist and scenographer Arian Trümper and the programmer Nils Bultier. The task and goal of MCD is to stage our monstrous present time. In order to do so, MCD has adopted the monster cycle initiated by VOLL:MILCH in 2016 which will culminate in a collective opera project in 2019 and 2020. We see opera as a monstrous scenic art form that is predestined for coming to terms with the monstrosity of the present time. The installation sections of the opera and their order will be developed over the next two to three years on stage and in our digital installation program nota, which we designed during our founding residency at LAB FFM in April 2017.


  • Rebecca Kahn (academic associate at the Humboldt Institute for Internet and Society in the field of Internet policy and governance)

  • Johannes Schnettker (web developer)

Veronique Langlott

Veronique Langlott was born in 1983 and studied dance at Koninklijk Conservatorium in Antwerp, Belgium and completed her MA in choreography at Fonty‘s Hoogeschool in Tilburg, the Netherlands in 2013. She has worked as a freelance dancer and choreographer since 2013. She collaborates with a variety of artists and media in her choreographic work and experiments with different formats of presentation. A central aspect of her approach to the work is playing with the different forms of presentation of dance and broadening the perspective to the viewing of art through the mirror of translation into another medium. In cooperation with sound, text, projections and digital media, this has lead to the interdisciplinary exhibition GlaubenWissen (2013), the installation Fadenraum (2014), the theater piece Restructuring (2015) for which she won the jury prize at the Hauptsache Frei Festival #3 in 2017 as well as the lyrical project Ping Pong (2017).


Ricardo Gehn

Ricardo Gehn studied theater studies at the University of Leipzig as well as creative writing, cultural journalism and applied computer studies at the University of Hildesheim. Since 2013, he has developed software solutions for performances and installations in a variety of work contexts, all of which explore the charged relationship between theatrical forms, the digital and the public. In addition, he offers practical artistic workshops on the topic of apps and public space, as well as programming for the stage. He is a founding member and software developer of the collectives moon facilitator and OutOfTheBox, with whom he develops software-based and site-specific performance in public space, amongst other projects. He is currently working on the topic of narrative strategies that are implemented by means of software in public and virtual spaces.


  • Daniel Wetzel (Rimini Protokoll)

  • Friedrich Kirschner (professor of digital media in puppetry at the Ernst Busch Academy of Dramatic Arts Berlin)

Digitalization Triple II: “Illustrative Space”

A laboratory series on the topic of the independent performing arts in the digital age

Target Group: Artists and culture makers within the independent performing arts community who have specific questions/ideas regarding the illustration and/or documentation of their art in digital space that they would like to (further) develop.

Digitalization is omnipresent. It has changed the conceptualization, production, distribution and reception of art and culture. It does so as a function of the unlimited possibilities that it offers, but also carries the risk of a profound lack of clarity. Added to this is a pronounced lack of exchange of knowledge and practice between the worlds of art, software development and science.

The Digitalization Triple I: "Artistic Space" took place from November 2016 to February 2017 and invited artists and culture makers of the independent performing arts community to examine their questions dealing with artistic space.

In terms of content, the Digitalization Triple II focuses on “Illustrative Space”:

  • How can ephemeral art be recorded and made permanent using the tools of digitization?
  • What relevance and what opportunities exist in the archiving and use of digital copies?
  • How can art manage to not only be presented within this, but to develop its own digital form?
  • And how can digitalized (or digitally produced art) affect others, be received and communicated?

Each of the three teams is respectively composed of a representative or a group of representatives from the fields of art, programming and science. All three teams have the opportunity to present their results within the scope of a public exchange.

Requirements for Participation

  • Member of Berlin’s independent performing arts community
  • Motivation to research digitalization strategies within the scope of the Digitalization Triple, as well as to develop specific ideas that affect one's own artistic space
  • Primary residence in Berlin for the coming months and officially registered in Berlin
  • Strong language proficiency in German


We ask you to submit a resume which illustrates your professional/artistic development as well as a statement of motivation (application form) which discusses your motivation for participating in the Digitalization Triple. The question regarding a possible or already existing illustration of your art in digital space should be clear from the statement of motivation.

A selection from the applications will be made by the coordinators of the program in cooperation with the respective experts from the Digitalization Triple phase “Illustrative Space”.

Digitalization Triple I - III

The laboratory series Digitalization Triple has a total of 3 content-based focuses:

Digitalization Triple I: “Artistic Space”
What realms of possibility does digitalization open for the artistic space of the independent performing arts beyond digital theater marketing and the complete collection by the creative industry? How does the connection between the performing arts and digitalization produce truly fantastic forms of performance?

Digitalization Triple II: “Illustrative Space” (currently accepting applications)
?How does digitalization affect the illustrative space of art? What relevance and what opportunities exist in the archiving and use of digital copies?

Digitalization Triple III: “Political Space” (2018)
Are there intersections between the sociopolitical objectives of critical independent theater makers and net activists? Can we learn from and with each other?