Location:

nGbK, Karl-Liebknecht-Str. 11/13, 10178 Berlin

With contributions by:

Sarah Alberti, Zemira Alajbegović & Neven Korda, Art Servers Unlimited, Tilman Baumgärtel, Andreas Broeckmann, Radúz Činčera / Alena Činčerová, C.U.K.T., D’epog, Aleksandra Domanović, Eclectic Tech Carnival, Davide Grassi, Marina Gržinić & Aina Šmid, Gusztáv Hámos, Tereza Havlíková, Benjamin Heidersberger, Mike Hentz, Brendan Howell, Infermental, Laibach, Dalibor Martinis, MetaForum, Monoskop, Pneuma Szöv. / TV Free Europe, Pneuma Vizuál, Lucia Repašská, Zbigniew Rybczyński, Sakrowski, Satori, Slovak Game Developers Association / Slovak Design Museum, Igor Štromajer, Szilárd Matusik, Vákuum TV (Dóra Csernatony, Kristóf Forgács, Dániel Garas, Donáta Gajzágó, László Kistamás, Attila Till), Van Gogh TV / Piazza Virtuale, Vašulka Kitchen Brno (Jennifer Helia DeFelice), Sabine Vogel & Mike Steiner, Krzysztof Wodiczko and many more

Exhibition design:

Luca Szabados

nGbK work group:

Dušan Barok, Zsuzsa Berecz, Friedemann Bochow, Natalie Gravenor, Sarah Günther

35 years into the post-socialist transition in Europe, images of the “former East” are often still rendered in shades of gray. Only recently, Cold War scholarship is beginning to move away from a view of two monolithic opposing blocs, instead exploring the concept of alternate or parallel modernities rather than the idea of lack and lag in the former Eastern bloc. To add color to these images, explore the ruptures and permeability of the “Iron Curtain” and blast apart pre-conceptions, the group exhibition EastUnBloc presents subversive and experimental media art works and practices by more than two dozen artists and collectives from socialist and transition-era Central and Eastern Europe as well as the production contexts in which they were created. Beyond presentation, the exhibition seeks to reclaim these works, as “artistic intelligence”: inspiration and toolkits to respond to current challenges. 

In Central and Eastern Europe, the late 1980s and early 1990s were marked by intertwined paradigm shifts: the dissolution of state socialism and the dawn of the digital and internet age. This simultaneity brought about a diverse body of media works. Borrowing a term from computer programming, EastUnBloc ‘reverse engineers’ the underlying principles of these works and their production processes by thinking of them as “scripts”.

These “scripts” invite visitors to connect with the exhibited works and reflect their past, present and future through the exhibits’ lenses: “Reality bending” features pranks, hoaxes and other hacks. “Expose the Seams” reveals media’s underlying processes. “Make Your Own Media” shows empowerment through autonomous or counterpublic media production and interactivity. “Turn Shit Into Chocolate” refers to making use of limited resources for maximal effect. “Bring a Friend” assembles works which created communities or documented communal activities. “Space in Time” forges connections across spatial and temporal boundaries.

The works, which encompass experimental film, video art, TV broadcast experiments, net.art, computer games and installations, are not ordered hierarchically, neither chronologically nor geographically. Rather the „scripts“ the works exemplify guide visitors to encounter works in an optional order. Vintage reproduction technology and (often obsolete) storage media are used. An onsite media lab enables visitors to contribute own media interventions to the exhibition by applying the scripts.    

A cooperation with Wiki-based arts online library Monoskop provides background information, which is interconnected with the exhibits, such as more detailed texts about works, the creators, explored topics, cities and countries of origin, and a historical timeline. The exhibition is accompanied by discussions, screenings, workshops and performances. EastUnBloc also ties into past nGbK projects such as hybrid video tracks (2001) and Left Performance Histories (2018). 

Listen to the EastUnBloc Audio Guide here.

PROGRAM

Opening
Fri, 28.11.25, 6.00 pm

EastUnBloc is celebrating its opening:
There will be music and an opening act with livestream by Pneuma Szöv. (Budapest/Berlin), with special guest Kristóf Forgács of the Hungarian artist group Vákuum TV.

Bring your slippers and hang out in the TV Room.

“Bring a Friend” – Early Night Show
Sat, 29.11.25, 7.00–8.30 pm

TV Free Europe presents: A performance and time travel talk show by Pneuma Szöv. (Budapest/Berlin) and guests: Gusztáv Hámos, Mike Hentz and Benjamin Heidersberger. Live at and from nGbK!

“Bring your friends and houseshoes! Good mood is not obligatory.”
— Marie Grau, 1989

Mari Szürke from Budapest and her friend Marie Grau from the GDR travel directly from 1989 to nGbK 2025 in their Gorenje time machine. A joyful reunion between friends, who can finally get into the art world of the future.They bring along other time travelers from Infermental and Van Gogh TV to see what has changed since the old times.

A retro-futuristic early night show by the tragicomic duo Mari&Marie from TV Free Europe.

“Hopefully our Artistic Intelligence or at least our Amateur Intelligence (A.I.) works in Berlin, in 2025.”
— Szürke Mari, 1989

Gusztáv Hámos emigrated from Hungary to West Berlin in 1979, where he played a key role in shaping the Berlin video art scene. In 1981, he co-produced the first issue of Infermental. With his video essay „1989. The Revolution on Television,“ he realized that the first video periodical had intermedially documented the last decade of the Cold War.

Benjamin Heidersberger (*1957 in Braunschweig) is a media artist, publicist, entrepreneur, and cultural manager. At Van Gogh TV, he was responsible for concept, technology, and interaction models as part of a larger collective. Today, he manages the legacy of his father, the photographer Heinrich Heidersberger, and is working on the algorithmic piano composition Pentatonic Permutations.

Mike Hentz (*1954 in New Jersey) is a polymedia artist and American European. In 1988, Hentz produced an issue of the video art magazine Infermental. With Van Gogh TV, he realized the project „Piazza Virtuale“ in the 1990s and numerous interactive television events via cable or satellite with „Universcity TV.“

Pneuma Szöv. is a Budapest/Berlin based art network collective exploring since 2008 the field in-between playing, living, politicizing, socializing, failing and learning. From 2019 to 2021, they dedicated themselves to exploring tele-theater visions between performance and television in their project TV Free Europe.

By & with: Pneuma Szöv. members: Csilla File, Luca Szabados, Réka Pável (guest), Sarah Günther, Viktor Markos (Pneuma Vizuál), Zsuzsa Berecz

Entropy Coding
Experiments with Video and Permacomputing
Tue, 2.12.25, 2.00–6.00 pm

Workshop with Brendan Howell (artist and reluctant engineer, wintermute.org and permacomputing.net)

In this hands-on session participants will experiment with outmoded and low-fi digital cameras as tools for new aesthetics and narratives.

Guided by a permacomputing approach of extending the life and expressive potential of existing devices instead of discarding them, the workshop treats them as material starting points. Participants will also explore how constraints (low resolution, limited functionality, analog-digital quirks) can become generative. More than a technical exercise, this is a moment to reflect on computing’s materiality — what technology we use, why, and how we might re-imagine it for sustainability, creativity and alternative narratives.

Net Art
Gallery Surfing Session
Thu, 11.12.25, 7.00 pm

Curator Sakrowski and artist Igor Štromajer browse and chat about net art activities on the web. Live at nGbK and online.

Igor Štromajer, intima.org – „the Pavarotti of HTML“ (Libération) – researches tactical emotional actions, intimate guerrilla, and traumatic low-tech communication strategies. He has shown his work at more than two hundred fifty exhibitions in more than sixty countries (transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Microwave, Banff Centre and many more) and received a number of awards (in Frankfurt, Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor, Podgorica). His projects form part of the permanent collections of several art institutions, among them Le Centre national d’art et de Culture Georges Pompidou – Musée national d’art moderne in Paris, the Museo Nacional Centro de Arte Reina Sofía in Madrid, Computerfinearts – net and media art collection in New York, and Maribor Art Gallery in Slovenia. As a guest artist he lectures at universities and contemporary art institutes.

Sakrowski holds a master‘s degree in art history and works as a curator in Berlin. From 1999 – 2003 he curated and organized exhibitions and lectures on net art as part of the netart-datenbank.org project. From 2007 to 2009 he worked as a researcher on the Netzpioniere 1.0 research project at the Ludwig Boltzmann Institute Media.Art.Research in Linz. Since 2007, under the name CuratingYouTube.net, he has been working intensively with the web.video phenomena and, with gridr.org (2012), he provides an online tool specially designed for this purpose. In 2014/15 he worked for the transmediale festival 2015 capture all as curator. Since October 2016, he has managed and curated the panke.gallery in Berlin-Wedding. He is a founding member (2019) of the Center for Net Art. In 2022 he opened with the Center for Net Art and panke.gallery the project space /rosa. In 2021 he developed the web platform openAR (2021) for he presentation and curation of web-based augmented reality objects.

39th Chaos Communication Congress
XLterrestrial Remote Viewing Station
Sat, 27.12. – Sun, 28.12.25, 11.00–10.00 pm

The XLterrestrial Remote Viewing Station is live streaming the Chaos Communication Congress in Hamburg in the frame of the exhibition „EastUnBloc“ at nGbK.

CCC is one of the most important gatherings of hackers, activists, artists and thinkers of the digital age.

XLterrestrials are an arts and praxis group who work as a collective identity. XLterrestrial hosts will provide a bit of analysis and discussion of the CCC contributions.

The event introduces also non-tech specialists to ‘Netzpolitik’ issues and debates, because these days we’re all deeply affected by the massive social impacts of technology and digital culture. And the general public should be a part of understanding and deciding how all these technologies will shape our being, our social infrastructures and our environment, now and in the future.

Chaos Communication Congress, organized by Chaos Computer Club, began in 1984 and is now in its 39th edition.

You can read more here.

Networks of Net Art – Syndicate and Deep Europe
Tue, 13.1.26, 7.00 pm

With Tereza Havlíková (netzkunst.berlin) and Andreas Broeckmann (curator and researcher)

Mailing lists played an important role in net art in the 1990s. They were tools for sharing open calls, organising events and circulating art news. But they were also public spaces for fostering connections and building discourse around media art. In 1996, the Syndicate mailing list was started as an „East-West Network“, exploring the possibilities of collaboration and explicitly reaching out to artists in the newly „reconnected“ Eastern Europe. As the name suggests, the members of the mailing list saw themselves as part of translocal relationships and a wider community.

The EastUnBloc exhibition argues that net art is shaped by storytelling. Therefore, Tereza Havlíková invited Andreas Broeckmann, one of the initiators and administrators of the Syndicate mailing list, to share the stories of this particular network. Together, they revisit the term „Deep Europe“, which was associated with the Syndicate network and fostered a European identity that transcended national borders, „enmeshed in a complex ‘felt’ of layers“. By exploring the Syndicate archive and viewing net artworks created in close proximity to this art and culture network, we hope to capture some of the spirit that drove net artists in Europe in the mid-1990s, a time of political and technological transition.

Andreas Broeckmann is an art historian and curator who lives in Berlin. He is a Visiting Professor in the PhD Program at Malmö Art Academy, and he teaches at the Academy of Fine Arts, Leipzig (HGB – Hochschule für Grafik und Buchkunst) where he holds an Honorary Professorship. He was a member of the Berlin-based media association mikro. In 1996 he initiated, together with Inke Arns and others, the Syndicate mailing list which was intended as an East-West network for artists, activists and journalists working in and with new media.

Tereza Havlíková is an art historian and curator based in Berlin and Bochum. Her research focuses on net art and digital art within the broader context of internet history and culture. She is a founding member of the Zentrum für Netzkunst (ZfN) initiative in Berlin, which reconstructs, archives and presents early net art, with a particular focus on the Berlin scene. Since 2024, she has been a research assistant at Ruhr University Bochum, focusing on new media art. She is currently working on her doctoral thesis about the localities of net art.

Bye Bye My Eye: Confirmed. Understood. Over and out.
Wed, 28.1.26, 7.00 pm

RADIO TRANSMITTER SONATA. ODE TO COMMUNICATION.
Live cinema. Live performance. (c) D’epog.

A video probe into the logbook of a space crew driven to explore, only to explode. A take on discovery, ingenuity, submission, communication, and colonization. Peeking inside the black box of a shipwrecked vessel that sailed into the known. Berlin, you have a problem.

An audiovisual event balancing between live cinema and performance. The format unfolds within a cinematic situation, exploring the principles of chance, unrepeatability, and radical expressivity.

This project emerges from a long-term collaboration between the D’epog collective and Marie and Petr Šprincl — an artistic duo working under the label Flesh&Brain, known for their experimental film projects (Moravia, Beautiful Land, Satan Kingdom Babylon, Vienna Calling, and more.). The sound design is shaped by Prague-based producer, DJ, and composer Mojmír Měchura — a member of the Wrong collective and author of numerous theatre and film scores.

The performance is an intervention in the EastUnBloc exhibition at the nGbK in Berlin. The format reflects the exhibition framework and thematically focuses on the subversive mediality of socialist landscapes in the Eastern Bloc and the tension between free and censored communication as a metaphor for the dividing line of the Iron Curtain.

D’epog (www.depog.com) is a platform for contemporary performance art created by a group of artists that has been active on their home scene in Brno since 2010. Within the framework of its long-term activity, it is dedicated to creating regular productions, one-shot performances, borderline art projects and educational activities in the form of practical and specialized workshops.

In Medias Rest
Thu, 29.1.26, 3.00–7.00 pm

Sharing Approaches to Archive Access and Activation: Audience Outreach, Rights and Technical Issues

Session 1 — Spaces of (Informal) Education, Visibility of Marginalized Communities and Artistic Research

This session highlights initiatives which are making experimental, subversive and „marginalized“ audiovisual practices of the past visible and accessible while engaging new audiences or inspiring artistic creation.

Sinema Transtopia (Berlin) by the bi’bak collective (guest: artistic co-director Malve Lippmann) redefines the cinema as a transnational space for social discourse, exchange and solidarity. „Please Rewind“, an early project, explored German-Turkish film and video culture in Berlin and the role it played in shaping diasporic, post-migrant identities. Through workshops and symposia, Sinema Transtopia investigates transnational archival politics through the lens of post-colonialism and how to make archiving inclusive of migrant and marginalized viewpoints (such as feminist or queer). Sinema also offers a variety of educational activities for school children, students and adults and has launched a fellowship for film educators from diverse backgrounds.

With the collection of pioneering video artists Steina & Woody Vasulka as a point of departure, Vašulka Kitchen Brno (guest: Jennifer Helia DeFelice) is dedicated to presenting (new) media art. VKB has developed educational programs for children and families, kindergartens and schools, universities and adults which promote media literacy and self-creation using current and vintage technologies. Vašulka Kitchen Brno also supports scholarly and artistic research as well as the creation of new media art works with a residency program.

The performance collective D’epog (Brno) is a platform for contemporary experimental stage work. The company’s activities are of laboratory nature and their work often transcends artistic disciplines. Their commissioned intervention into the EastUnBloc exhibition, BYE BYE MY EYE: Confirmed. Understood. Over and out, was developed in collaboration with experimental filmmakers Marie and Petr Šprincl and sound designer, producer, DJ, and composer Mojmír Měchura.  Lucia Repašská of D’epog will discuss how this live cinema experience explores the principles of chance, unrepeatability, and radical expressivity, with retrofuturist and media archaeological elements.

Flóra Barkóczi (Central European Research Institute for Art History) examines the MetaForum conferences in Budapest  (1994–1996, 2024) as a key site of cultural transfer in the post-socialist context, where emerging digital technologies and media theory met local artistic practices. She will investigate how far MetaForum enabled meaningful knowledge exchange and whether it succeeded in integrating regional voices into the international discourse. 

Session 2 – Sustainable Access to Media Art in Physical and Online Archives: Technical and Legal Challenges

30+ year-old moving image works have seen conversion from film to tape and then digitization as various formats: DVD, mp4 and DCP. Conserving interactive digital, browser-native works has been more challenging, as transferring and migrating code is more complex than digitizing film or video. Furthermore, the disppearance of online platforms and finite server hosting contracts has stranded some net art works in the realm of 404, unless the Wayback Machine crawl or initiatives like Rhizome have salvaged at least some screenshots if not the full functionalty. Another issue is copyright.

Paul Klimpel of the digital rights NGO iRights.info will provide an overview of rights models. How can rights claims of artists, estates, galleries, commercial and non-commercial distributors, collections etc. be untangled so works can be sustainably accessible on site and also online? What solutions could copyleft models like Creative Commons or CC2r provide?

As a case study, Jennifer Helia DeFelice of Vašulka Kitchen Brno will discuss the presentation of Steina Vašulka’s evolving and multi iteration work Violin Power within a rights framework that was conceived for static intellectual property.

Lukas Fuchsgruber will present Art Doc Archive, a prototype for distributed self-documentation of Berlin’s cultural scene, addressing the largely unarchived web-based traces produced by artists and cultural workers since the 1990s. Developed in 2022/23 with support from the Berlin Senate, the project brings together web archiving, data parsing, and visualization to explore new ways of collectively preserving and reclaiming cultural memory.

Last Night a DJ Saved My Life
Fri, 13.2.26, 6.00–10.00 pm

Club Culture, Electronic Music, Intermedia in Central and Eastern Europe
Creating Spaces of Empowerment and Resistance
With Marina Gržinić,  Elisa  (Elizen the Emperor) and Bass Resistance: Ann Mysochka  & Habitat Shaking aka Róman Selezinka

Club culture creates safe spaces for living queer sexuality, fosters multimedia experimentation with music, video art and performance and then and now can be labs for new social ideas. The punk and new wave scene in 1980s Ljubljana was one inspiring example. And to this day, party collectives in Ukraine, Georgia and Eastern Germany dance in resistance against authoritarianism in their respective contexts while maintaining diaspora communities abroad. Slovenian video artist and philosopher Marina Gržinić revisits the 1980s Ljubljana scene and foregrounds its relevance today. Berlin based Bass Resistance is a Ukrainian DJ collective „with a mission“, in opposition to the war and oppression. The Never//Now party collective provides emancipatory subculture for local youths and supports democracy building initiatives in Brandenburg when state funding for such projects is becoming scarcer. Film screening and DJ sets round off the program.

Marina Gržinić holds a PhD in philosophy and works as a Principal Research Associate at the Institute of Philosophy of the Scientific Research Center of the Slovenian Academy of Sciences and Arts (ZRC SAZU) in Ljubljana. She also works as a freelance media theorist, art critic and curator. Gržinić is a professor at the Academy of Fine Arts Vienna. She has published hundreds of articles and essays, as well as numerous books.

Since 1982, Gržinić has worked with video, in collaboration with Aina Šmid. They participated in more than 40 video art projects, shot a 16mm short film and created numerous video and media installations; they independently directed several video documentaries and television productions. In 1997, they created an interactive CD-ROM for the ZKM in Karlsruhe. Gržinić and Šmid presented and exhibited their video works and video installations at more than 100 video festivals around the world and received several important awards for their video production.

Marina Gržinić  is a curator of the exhibitions Slovenian Punk  & Photography (5. 12. 2023 – 11. 2. 2024, Galerija CD, Ljubljana); Punk. Subculture. Socialism. Archives of the Future. Photography from Slovenia. (27. 4. 2024–26. 5. 2024, A.K.T; Pforzheim, Germany and 03. 08. 2024–28. 09. 2024, Pavelhaus, Laafeld, Austria). Furthermore, she has curated programs of film and video art, including the seminal special program Sex, Rock ‘n’ Roll and History – (Video)films From Eastern Europe 1950-2000 for the Oberhausen International Short Film Festival (2000).

Gržinić & Šmid’s video “Transcentrala” is on view in the exhibition.

Elisa Georgi is a cultural mediator, political communicator, and voice of Berlin’s club culture. With an academic background in philosophy, sociology, cultural studies, and semiotics, she combines theoretical analysis with practical experience—especially where culture intersects with social conflicts. At the Center for Art and Urbanistics (ZK/U Berlin), she works at the intersection of art, urban society, and political communication. There, she designs participatory processes and cultural formats that understand urban spaces as places of democratic negotiation. Her commitment is also fueled by her experiences in East Germany—by her knowledge of structural breaks, stories of transformation, and the need for solidarity-based counter-concepts.

As Elizen the Emperor, she is a DJ, producer, and curator. Her sets move confidently through the spaces between electronic music genres—from left-field groove to house and disco to organic techno. Her dramaturgy follows no dogma, but rather a political and emotional intuition: the dance floor as a collective space of experience. She specifically advocates for FLINTA* artists, promotes diversity on and behind the stage, and understands curatorial work as a structural intervention in existing power relations.

As a founding member and booker of the collective NEVER//NOW, she explicitly links club culture with anti-fascist practice. The collective understands parties as political spaces—organized on a voluntary basis, supported by solidarity, and clearly positioned against authoritarian tendencies. Here, dance becomes resistance, community becomes a safe space, and music becomes a form of social intervention. For Elisa Georgi, club culture is not escapism. It is an alternative—a lively, solidarity-based practice that generates movement: on the dance floor and beyond.

Bass Resistance

Ann Mysochka, born in Kharkiv, Ukraine and working in Kyiv, is a DJ and collage artist. Her sets are a tribute to dance music with engaging vocals, shifted rhythms and heavy bass lines transcending musical genre boundaries. Her passion for music began at the age of 19, when she discovered DJing. Although her sets are varied, the genres she feels close to are afro house, deep house, tribal house and French touch. She often combines them with ethnic motifs in the form of vocals, percussion and traditional instruments. In addition, she explores new genres and their combinations, such as dark Italo disco, tech house and Detroit techno. As a collage artist, she makes analog collages with scissors and glue, using old magazines. A member of the Agency of Artists in Exile since June 2022, she performed as a DJ at the Party in Exile at Mucem and during Visions d’exil 2022. Resident of LYL Radio and 20ft Radio and member of Bass Resistance.

Roman Selezinka aka Habitat Shaking is a Ukraine-born (Kolomyja in West Ukraine) DJ, Radio Maker, and Cultural Manager. Since 2016 he has been curating purpose-driven electronic music events in Berlin with a focus on fundraising and awareness building. Roman is a co-founder of the event series „Chain Reaction“, artist collective „Bass Resistance“ and Festival „Ukrainian Sound Garden“ His DJ alias Habitat Shaking is set to represent fresh and modern sound that makes people dance and wonder. His sets mostly consist of fresh tracks full of energy and sophisticated sound design to complement the vibes housy discothèques and bassy raves. Habitat Shaking is known for its outstanding music selection for every DJ slot and special closing sets that deliver a euphoric final dance experience.

Supported by the Slovenian Cultural Institute

Visitors, Makers & Curators Together in Space and Time
Sat, 14.2.26, 3.00–5.00 pm

Workshops, special screeneings and conversations about and with the exhibits.
Special guest: Benjamin Heidersberger (Van Gogh TV) with a special introduction to Piazza Virtuale

3:00–5:00 pm
Meet the curators and visit the exhibition with a deeper insight:
mini-workshops, special screenings, enhanced greenbox recordings and conversations about and with the exhibits and the curators.

4:00–5:00 pm
Commented collective viewing with a special introduction to Piazza Virtuale by Benjamin Heidersberger (Van Gogh TV)

Van Gogh TV – Piazza virtuale.
Commented collective viewing of the 30-minute film “The Documentation” (1993).
Introduction to the background and technology of the complex project between analog and digital media. Questions and answers with Benjamin Heidersberger.

Benjamin Heidersberger (*1957 in Braunschweig) is a media artist, publicist, entrepreneur, and cultural manager. At Van Gogh TV, he was responsible for concept, technology, and interaction models as part of a larger collective. Today, he manages the legacy of his father, the photographer Heinrich Heidersberger, and is working on the algorithmic piano composition Pentatonic Permutations.

EastUnBlocked – Transmission Sign Off
Sat, 14.2.26, 6.00–10.00 pm

Exhibition closing celebration with screenings (best of visitor greenbox videos and Lenin model projections), open stage, DJ sets, live music and cocktail bar

With Janine Sack and Cornelia Sollfrank, neonnutria, DJ Podinski (XLterrestrials) and many more

from 6:00 pm
East Playlist & Best-of Greenbox
For 9 weeks, visitors of the exhibition were able to travel in time and space in the greenbox and record themselves. Tonight they will become part of the exhibition and be projected during the finissage. EastPlaylist with DJ Nat.

7:00-7:30 pm

frauen·und·technik: Penisneidspiele
Two former members of the Hamburg-based artists’ group frauen-und-technik provide insight into the world of “Penisneidspiele” (Penis Envy Games), an interactive TV format by Piazzetta Hamburg, which contributed twenty episodes to Piazza Virtuale. With Janine Sack and Cornelia Sollfrank.

Janine Sack works as a publisher, art director and lecturer in Berlin. She runs EECLECTIC, a publishing project for digital publications in the field of visual culture. Co-founder of the feminist artist groups frauen·und·technik and -Innen. She is part of the techno-feminist network PurpleNoise. Freelance art director for taz, die tageszeitung since 2017.

Cornelia Sollfrank (PhD) is an artist, researcher and writer living in Berlin. Since the mid 1990s she combines artistic, activist and scientific methodologies to develop projects in the realm of technofeminism and intellectual property.
https://artwarez.org

ca. 7:45 pm
Live Music with Neonnutria tribute band (Budapest/Berlin) in the Greenbox
Viva Tosca! – Out of the dark autonomous cellars of Budapest into nGbK. The transborder therapeutic Berlin-Budapest band (motto: Rehearsals are for cowards) performs some of their core songs with live projections in the greenbox.

ca. 8:30 pm
DJ Podinski (XLterrestrials)
Party