ICONOCLASH as Digital Experience
The ZKM | Karlsruhe has committed itself to exploring the possibility of exhibition revival through experiential methods of digital and spatial modelling based on the case study of Iconoclash (2002). The chosen exhibition is a landmark show; a complex thought experiment (Gedankenausstellung) that applied innovative forms of juxtapositions between scientific, political, religious and artistic practices.
Exhibition spaces are physical locations of knowledge production and exchange, where spatial qualities play an important role in the contextualization of information. Thus, their virtual models should maintain the spatial qualities but include digitized and born-digital content as well, no matter whether they are artworks, artefacts, or additional information materials.
The notion of “space” has preoccupied Western thought for centuries and the exploration of it has frequently changed course of direction across time. The contemporary and most dominant understanding of space is a modernist construct based on the concept of absolute time and space, which served as the theoretical foundation for Isaac Newton’s Mechanics and derives from Euclidean geometry. In Newton’s reading Euclidean space is absolute, thus, originally only three-dimensional and with a fixed orientation. The numerous counter-proposals laid out in philosophy and physics since the 17th century include Leibnizian followed by Kantian theories through to the general theory of relativity and its consequences, such as Minkowski Space, which incorporates time as a fourth dimension. These are just a few of the notions of space that have had a direct impact on Western Modernism. Even if these theories have largely been overwritten, during the 20th and 21st centuries, they have had a long-lasting effect and are essential to understanding shifting approaches to space in the visual arts in terms of exhibition space, cyberspace, computational space, and their coalescence.
The digital modeling and immersive presentation of entire exhibition concepts is a novel approach to the exploration of exhibition spaces and histories, as well as to the themes, curatorial methods, and modes of representation and mediation that these exhibitions brought about. Our aim is not to create "digital twins", in other words, virtual copies of past assemblages of artefacts and the surrounding architecture, but rather to create an emulation of said exhibitions in an experiential manner, in line with their curatorial concept
The metadata of the visits is anonymously recorded. The collected dataset is then fed to machine learning algorithms that will help in generating new approaches to digital exhibition experiences.
Imprint – Iconoclash as Digital Experience
Concept and Project Management
UI / UX Design & Motion Design
Jennifer Greb, Tim Moesgen
Head of Technical Management
Matthias Clostermann, Matthias Leipholz, Thomas Schwab
Schröder & Rauch
Head of Archive Team
Proiti Seal Acharya, Aurora Bertoli, Jiaxuan Cai, Danica Detelic, Theo Ferreira Gomes, Jennifer Greb, Moritz Konrad, Felix Mittelberger, Tim Moesgen, Amanda Tristao Parra, Eva Scholl, Mirka Sulander, Aline Weber, Luka Zimmer, Masha Zolotova
Special Thanks to
Peter Weibel, CEO and artistic director of ZKM | Center for Art and Media Karlsruhe, and the former curators of Iconoclash. Beyond Image Wars in Science, Religion and Art (2002) Bruno Latour, Peter Galison, Dario Gamboni, Joseph Leo Koerner and Adam Lowe, scientific advisor Boris Groys, exhibition architect Manfred Wolff-Plottegg and project coordinator Sabine Himmelsbach.
Imprint –Iconoclash exhibition (as is written in the catalogue)
Peter Weibel, Bruno Latour, Peter Galison, Dario Gamboni, Joseph Leo Koerner, Adam Lowe, and Hans-Ulrich Obrist
Scientific advisory committee
Hans Belting, Boris Groys, Denis Laborde, Marie-José Mondzain, and Heather Stoddard
Andrea Buddensieg, Anke Hoffmann, Katrin Kaschadt, Ika Szope, Barbara Filser, Christina Schüler, Valérie Pihét, Vincent Boureau, Tania Gorucheva, Anna-Karina Birkenstock / Trainees: Jaana Schmidt, and Nadine Vogt
Manfred Wolff-Plottegg / Assistance: Arne Böhm
Silvia Krauß, Cornelia Weik, and Tilman Daiber
Ronald Haas and Christiane Ostertag
Werner Hutzenlaub, Gisbert Laaber, Mirco Frass, Marco Sonntag, Gregor Gaissmaier, Claudius Böhm, Volker Becker, Martin Boukhalfa, Silke Fehsenfeld, Lego Nainggolan, Oliver Klingel, Thomas Linder, Manfred Stürmlinger, Dortje Drechsel, Peter Gather, Ines Gottwald, Peter Dinckelacker, Martina Haitz, Gabriel Vormstein, Pedrag Zaric, Jürgen Galli, Jan Birkholz, Gregor Stehle, Matthias Bitzer, Axel Reusch, Karen Markert, Christine Müller, Sebastian Reiter, Frederick Busch, Joachim Hirling, Amin Mehanna, Tinka Stock, Werner Wenzel, Steffen Wolf, Elke Cordell, Anna Reiss, Manfred Hauffen, Tosten Ziegler
Martin Braun, Peter Futterer, Hartmut Kampe, Peter Kiefer, Peter Kuhn, Michael Mack, Christof Menold, Kurt Pfund, Karl Stumm, Klaus Wirth
Joachim Schütze and Uwe Faber
Carmela Thiele, Sabine Peters, and Petra Mayer
Silke Altvater, Heike Borowski, Anna Elkins, Maryam Foroozanfar, Arne Gräßer, Inge Hinterwaldner, Petra Kaiser, Christoph Pingel, and Andreas Schöller
Special thanks to
All the lenders, museums, galleries and artists without whom such an outstanding project never could have been realized. We would like to express our deepest gratitude to: the SMPK, Berlin/ British Museum, London/ Albertina, Wien/ Neue Galerie am Landesmuseum Joanneum, Graz/ Pascal Cordereix, BNP/ Jean-Luc Estournel, Paris.
For their precious support we say thanks to the people around and in the ZKM: Ecke Bonk, Axel Heil, Ingrid Truxa, Ingrid Walther, Ilse Schott, Kuno Schmitt, Margit Rosen, Boris Kirchner, Ulrike Havemann, Elke Karras, Ilona Bucke-Mock, Hartmut Bruckner, Hans Gass, Markus Kritzokat, Marianne Bruder, Petra Zimmermann, Petra Koger, Viola Gaiser, Monika Leyenberger, Manuel Weber, Ike Palmer, Michael Minschke, Tilo Reeb, Rupert Vogel (Bartsch & Partner), Tanja Schiatti, Ole Fuhlrott, Claudia Gehrig.
Our heartfelt thanks for the realization of the science cell by Peter Galison go to Karl-Heinz Kampert, Günter Quast, Harald Schieler, Forschungszentrum Karlsruhe / Samuel J. Patterson, Univeristy of Göttingen / Ulf Hashagen, DeutschesMuseum München / Gerd Fischer, University of Düsseldorf / Wolfgang Rhode, University of Wuppertal / Hans-J. Grabosch, DESY Zeuthen.
For the reconstruction of the installation Electric Labyrinth by Arata Isozaki we would like to thank Arata Isozaki & Associates / Jin Hidaka, Slowmedia, Tokyo / Firma Ortlepp & Hudarin, Schutterwald / Christopher Gutmann, Pollux Company, Ottenhöfen / Centrallabor, Karlsruhe / Axel Kaeshammer.
Partner of ZKM
Global Future Technologies
We would like to thank The Japan Foundation, Tokyo / Ida Gianelli, Castello di Rivoli, Torino and Francesco Todoli, Museo Serralves, Porto for their generous support in the co-production of the installation Electric Labyrinth by Arata Isozaki
For the financial support of the short-guide we would like to thank the AFAA – Bureau des Arts Plastiques / French Embassy.
For the works of Felix Gmelin our thanks go to Moderna Museet, Stockholm
Videor Technical, Rödermark
W A S D
keys to walk around. Touch and move your finger
to move around
Drag your to turn around
Zoom in to change
Use the card icon
to jump to another spot
Touch the card icon
to jump to another spot
The positioning of the exhibits is based on a particle simulation system combined with a profile-based recommendation system.
You are attracting exhibits that are similar to your profile. You can watch your profile evolve while observing an exhibit.
I. Responsibility, data protection official and scope of this information
Responsible for the personal data collected from users when visiting our website is the
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1. scope of the processing of personal data
We use the open source software tool Matomo (formerly PIWIK) on our website to analyze the surfing behavior of our users. Matomo is an open source tool for web analysis. Matomo does not collect session data without your consent.
If you agree to web analysis using Matomo, the following data is collected when you call up individual pages of our website:
- 2 bytes of the IP address of the user's calling system.
- The web page called up
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- The subpages that are called up from the called-up website
- The time spent on the website
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The software runs exclusively on the servers of the ZKM. Personal data of the users is only stored there. The data is not passed on to third parties.
You can decide here whether a web analysis cookie may be stored in your browser to enable ZKM to collect and analyze statistical data.
2. legal basis for the processing of personal data
The legal basis for the processing of users' personal data is Art. 6 para. 1 lit. a DSGVO.
3 Purpose of the data processing
The processing of the users' personal data enables us to analyze the surfing behavior of our users. By evaluating the data obtained, we are able to compile information about the use of the individual components of our website. This helps us to continuously improve our website and its user-friendliness. By anonymizing the IP address, the interest of users in the protection of their personal data is sufficiently taken into account.
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