{"id":2,"date":"2021-09-05T06:48:48","date_gmt":"2021-09-05T06:48:48","guid":{"rendered":"https:\/\/kareneliot.de\/?page_id=2"},"modified":"2024-03-23T08:01:42","modified_gmt":"2024-03-23T08:01:42","slug":"about","status":"publish","type":"page","link":"https:\/\/kareneliot.de\/index.php\/about\/","title":{"rendered":"4B0UT"},"content":{"rendered":"\n

Karen Eliot is a name that refers to an individual human being who can be anyone. The name is fixed, the people using it aren’t. The purpose of many different people using the same name is to create a situation for which no one in particular is responsible and to practically examine western philosophical<\/a> notions of identity<\/a>, individuality, originality<\/a>, value and truth<\/a>.<\/p>\n\n\n\n

Anyone can become Karen Eliot simply by adopting the name, but they are only Karen Eliot for the period in which they adopt the name. Karen Eliot was materialised, rather than born, as an open context in the summer of 1985. When one becomes Karen Eliot one’s previous existence consists of the acts other people have undertaken using the name. When one becomes Karen Eliot one has non family, no parents, no birth. Karen Eliot was not born, s\/he was materialised from social forces, constructed as a means of entering the shifting terrain that circumscribes the ‘individual’ and society.<\/p>\n\n\n\n

Wikipedia says click!<\/a><\/p>\n\n\n\n

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>>>CV<<<<\/h2>\n\n\n\n
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Education:<\/h3>\n\n\n\n

2015 – 2019 Ph.D. New Media Art, Bauhaus University, Weimar
2006 \u2013 2011 Diploma Media Art, Academy for Media Art, Cologne<\/p>\n\n\n\n

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Exhibitions:<\/h3>\n\n\n\n

2023 \u201eMindfulness”, Flow Offspace, Bonn
\u201eNetart Died, But Is Doing Well”\u201c, The Wrong Biennale, Online
2022 \u201eClash\u201c, Festival for Contemporary Art, Barcelona, ESP
\u201eThe Wrong\u201c, International Biennale for Digital Art, Decentralized
2021 \u201eHetz\u201c, Kunstverein Roter Keil, Graz, AT
\u201eAgent Provocateur\u201c, The Empty Circle, NYC, USA
2020 \u201eCurrents Virtual\u201c, Virtual Festival, Online
2019 \u201eDigital Overload\u201c, Weltkunstzimmer, D\u00fcsseldorf
2018 \u201eOriginal Copy\u201c, Die Angewandte, Wien, AT
2017 \u201eThe Wrong\u201c, Digital Art Biennale, Wroclaw, PL
2016 \u201eADAF\u201c, Digital Art Festival, Athen, GRC
\u201eFacebooks\u201c, Arebyte Gallery, London, GB
2015 \u201ePiksel15\u201c, Media Art Festival, Bergen, NOR
\u201eSurveyWithoutSurveillance\u201c, Nave Gallery, Boston, USA
2014 \u201eDenkwerk-Bildwerk-Kunstwerk\u201d, Denkerei, Berlin
\u201ePixxelpoint\u201c Festival, Gorica, SVN
\u201clocal.#non.access\u201d, Transmediale, Berlin
2013 \u201cNext Level\u201d, Dortmunder U, Dortmund
\u201cSocial Media Art Award\u201d, Kunstverein Wolfsburg
\u201clocal.#non.access\u201d, KM temporaer, Berlin
2012 \u201cDensi\ufb01cation\u201d, Art Cologne, K\u00f6ln
\u201cre\ufb02ecting on networks\u201d, KM temporaer, Berlin
\u201cChargesheimer Preis\u201d, BBK, K\u00f6ln
2011 \u201cVisionquest\u201d Live Streaming, K\u00f6ln\/Shanghai, CHN
\u201cLange Nacht der Museen\u201d, KHM, K\u00f6ln
2010 \u201cStudienstiftung des Deutschen Volkes\u201d, Offenbach
\u201cSigint 10 \u2013 Chaos Computer Club Conference\u201d, K\u00f6ln
\u201cHeavy Matter\u201d, ISEA 2010, Dortmund
2009 \u201cVisions In The Nunnery\u201d, Bow Arts Trust, London, GB
\u201cCfPP: Vogelsang Intervention\u201d, Vogelsang, Eifel
2008 \u201c:\/\/selfportrait\u201d, Sao Paolo Biennale, Sao Paolo, BRA
2007 \u201cLoop Pool\u201d, 53. Int. Kurz\ufb01lmtage Oberhausen<\/p>\n\n\n\n

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Grants & Resicencies:<\/h3>\n\n\n\n

2021 Neustart Stipendium (Digitale Strategien), NRW, Germany
2019 Grant (VR\/Second Life), Second Life Endowment of the Arts, USA
2018 IMAGO International Artist Residency, Bulgaria
2015 Residency (Medienkunst), Stiftung K\u00fcnstlerdorf Sch\u00f6ppingen
2013 Grant Virtual Worlds Development, Linden Endowment of the Arts, USA
2012 Chargesheimer Stipendium f\u00fcr Medienkunst, F\u00f6rderpreis der Stadt K\u00f6ln<\/p>\n\n\n\n

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Publications:<\/h3>\n\n\n\n

2019 “The Root Of Matter”, Freedom of the Presses, Brooklyn, ISBN: 978-0-692166-78-9
2015 “Studio in the Clouds”, Post Studio Tales, District Berlin, ISBN: 978-3-86485-102-5
2014 “Computerspielen. Perspectives of Play”, Verlag der KHM, K\u00f6ln, ISBN: 978-3-942154-34-5
2013 “Becoming Karen et al”, Boring formless nonsense, Bloomsbury, ISBN: 978-1-441124-08-1
2012 “Subversion”, Nebulosa, Neofelis Verlag, ISBN: 978-3-943414-06-6
2012 “Densification”, Verlag der KHM, K\u00f6ln, ISBN: 978-3-942154-15-4<\/p>\n\n\n\n

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However<\/h2>\n\n\n\n

Rating artists based on their prizes and exhibition venues is pretty pointless. There are great artists out there who simply don’t have the ressources, health or freedom to apply for one grants after another.<\/p>\n\n\n\n

The only artistic reaction to a world where everybody wants to be recognized 24\/7 is radical anonymity.<\/p>\n\n\n\n

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The Anonymous Artist Strategy Explained:<\/h2>\n\n\n\n

<\/p>\n\n\n\n

Issue No.1: Cultural Hegemony<\/h3>\n\n\n\n

Why do mass media reproduce their contents, rather than produce “something new”?<\/p>\n\n\n\n