33C3 Discussing Postcolonial Computing

Thanks for the participation and great workshop discussion in our session at the 33 Chaos Communication Congress.

From artificial intolerance to decolonizing our programming: We want to discuss who is speaking? who is writing the code and what do we have to do about it?

Ever heard of „My friend’s not a gorilla“ and google photos? We gonna provide some twisted examples…

Here is the full description in German and English.

 

Arte TRACKS on #NefertitiHack and the upcoming Dinosaur

Follow this link to view and read on Arte TRACKS (available in English, French, Spanish and German):
http://tracks.arte.tv/de/nofretete-fuer-alle-die-webaktivisten-nora-al-badri-und-nikolai-nelles-sorgen-fuer-gerechtigkeit-im

ARTE-Interview-Nelles-Al-Badri12

Part of the 15th International Architecture Exhibition of la Biennale di Venezia with V&A

Glad to announce the participation with “The Other Nefertiti” in ‘A World of Fragile Parts’, Special Project of Applied Arts Pavilion curated by Brendan Cormier (Victoria and Albert Museum London) and realized by La Biennale di Venezia, starting at May 28th 2016, Sale d’Armi A, Arsenale.

“In ‘A World of Fragile Parts’, La Biennale di Venezia and the Victoria and Albert Museum (V&A) explore the threats facing the preservation of global heritage sites and how the production of copies can aid in the preservation of cultural artifacts.

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Videostill The Other Nefertiti

Ecological uncertainty, violent attacks, and the increasing demands of tourism are just a few of the factors putting global heritage sites and cultural artifacts at risk of destruction and loss. Copies and scans have emerged as a way of mitigating risk by providing valuable records of culture, and offering alternatives for a demanding public who want to experience historical sites and objects first-hand.

Museums have a long history of producing copies. In the 19th century, the V&A led an effort to produce and display plaster casts of significant works of art for the benefit of art students and local audiences who could not travel to important sites across Europe and its purpose built Cast Courts in the Museum still remain open today. Cast collections proliferated throughout Europe and America as an educational tool. However, in the early 20th century, attitudes towards the value of copies shifted, and many of these collections were discarded.

For the cast collections that survived however, a new value emerged: preservation. Through decades of careful conservation, museum casts have outlasted many of their originals, which have either been destroyed by war, or degraded through circumstance. These casts are now the prime transmitters of precious knowledge and culture.

With the emergence of new scanning and fabrication technologies, there is a renewed effort to preserve through copies. With that comes a host of difficult questions: What do we copy and how? What distinguishes a bad copy from one with lasting value? What is the relationship between the copy and the original in a society that privileges authenticity? And how can such an effort be properly coordinated at a truly global and inclusive scale?”
-Brendan Cormier

More information here:

http://www.labiennale.org/en/architecture/exhibition/special-projects/parts.html

The Other Nefertiti went viral via Hyperallergic

Today the #NefertitiHack is published on every continent in various languages from New Zealand to Turkey or Japan to Mexico and hence the data is downloaded uncountable times, the bust 3D printed in all forms and material. The copy is not a slave of the original but an independent peace. Viral technoheritage.

“Artists Covertly Scan Bust of Nefertiti and Release the Data for Free Online” New York, 02-19-16

You can find the first article by Claire Voon here: http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/?ref=featured

“Could the Nefertiti Scan Be a Hoax – and Does that Matter?” New York, 03-09-16

You can find the second article by Claire Voon here:
http://hyperallergic.com/281739/could-the-nefertiti-scan-be-a-hoax-and-does-that-matter/

nefertitihack_website

Videostill, 2016

SAVVY Contemporary – Unlearning the Given

#NefertitiHack is part of the long night of ideas

UNLEARNING THE GIVEN – Exercises in Demodernity and Decoloniality of Ideas and Knowledge

April 14th, 2016 | All night: 6pm-6am

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin-Wedding

More information here: http://savvy-contemporary.com

#NefertitiHack in The New York Times

“Swiping a Priceless Antiquity… With a Scanner and a 3-D Printer.”

From March 1st, 2016

BERLIN — Two German artists walked into the Neues Museum in central Berlin in October and used a mobile device to secretly scan the 19-inch-tall bust of Queen Nefertiti, a limestone-and-stucco sculpture more than 3,000 years old that is one of Germany’s most visited attractions. They used the data to create copies of the bust and delivered them to Egypt.

Then last December, in the tradition of Internet activism, they released the data to the world, allowing anyone to download the information for free and create their own copies with 3-D printers.

On Thursday, German museum authorities responded publicly for the first time. They were not amused…

For more follow this link.

Lecture at Chaos Communication Camp 32c3

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We were pleased to be invited at the greatest hacker convention from Chaos Computer Club to launch the 3D data of Nefertiti and to talk about the artistic intervention “The Other Nefertiti” in December 2015. You can watch the lecture “The Mummy Unwrapped. Cultural Commons durch Kunstraub” here in German or English.

 

 

Nefertiti for everyone!

 

Nefertiti 3D

From today on everybody around the world can access, study, print or remix a 3D dataset of Nefertitis head in high resolution. This data will be accessible without any charge under a public domain as a 100 MB downloadable STL-file.

The Neues Museum in Berlin until today does not allow open access to the data from their scan of the original head. Two German artists assume responsibility to publish the data under a public domain. Therefore they scanned the head of Nefertiti clandestinely in the Neues Museum.

At this link you will find a torrent to access the dataset:

http://nefertitihack.alloversky.com

Here you can watch the recorded talk where the data was released at the 32C3 Chaos Communication Congress at 27 Dec 11:30 am: http://streaming.media.ccc.de/32c3/relive/7543/ Hall G
or https://media.ccc.de

“The Other Nefertiti” is an artistic intervention by Jan Nikolai Nelles and Nora Al- Badri. “With the data leak as a part of this counter narrative within our investigative practice we want to activate the artefact, to inspire a critical re-assessment of today’s conditions and to overcome the colonial notion of possession in Germany” the two artists say.

In the course of the artistic intervention Nefertiti returned to the place where it was found. For the first time since the sculpture was excavated and stolen over 100 years ago, the iconic artefact is shown in Cairo from 30. November on. The artists exhibited in Something-Else Off Biennale in Cairo a 3D-Print made out of this most precise scan ever made public of the original head of Nefertiti. The piece will partly remain in Egypt at the American University in Cairo as a permanent installation.

With regard to the notion of belonging and possession of material objects of other cultures, the artists intention is to make cultural objects publicly accessible and to promote a contemporary and critical approach on how the Global North deals with heritage and the representation of “the other”.

Al-Badri and Nelles collaborated with Dr. Monica Hanna, Egypt’s most renowned Egyptologist when it comes to the illegal trade of antiquities. They intended to overcome the old patterns of redundant struggle between Egypt and Germany on restitution, which only reaffirms existing power structures.

Simon Njami was curating the exhibition of Nelles and Al-Badri. He said: “There is something strange with the dancing mask. When you see it in a European Museum it is not dancing anymore. Therefore I don’t think that Nefertitis head in some German museum is the real one, because as a dancing mask it has lost its meaning. This is the reason why I was interested to give it its reality and Jan Nikolai Nelles and Nora Al-Badri gave me that opportunity. Where else than in Cairo could that reality be incarnated?”

The artists chose the Nefertiti, because not only she is an artefact, but also an icon with its own symbolic and social power. They state: “The head of Nefertiti represents all the other millions of looted and sold out artefacts all over the world currently happening for example in Syria, Iraq and in Egypt. Archaeological artefacts as a cultural memory originate for the most part from the Global South, however, a vast number of important objects can be found in Western Museums and private collections. We should face the fact that the colonial structures continue to exist today and still produce their inherent symbolic struggles.”

One can clearly notice the colonial and imperial self-conception of the German museum, which they try to constitute – objects as well as their digital representation remain sealed and are considered legitimate possessions. It occurs what Baudrillard describes about the effects of de-contextualization and abstraction of objects: their function is no longer a utility value but the function of the objects is to be possessed.

Nefertiti 3D 2