As an artist I am interested in data (internet), automation (algorithms, machine learning, artifical intelligence, distributed computing), the nature of randomness and how memory is represented in a world that is radically unmanageable. In my artistic practice I develop methods where decision making is partly automated.
Sometime in 2013 my website was hacked and used as a relay for distributing spam mails. As a reaction to this, I decided to stop publishing for at least one year.
Online content, like every other published content, seems to be public property for knowledge holders of technology of appropriation. Once you get access, the appropriation of authorship is only a matter of hiding traces.
To create a particular opinion - or pattern, any data can be recontextualized with any other data. In this sense, algorithms can be defined as operations with open ends. The input and output can be restricted to a certain format, but there is no restriction how the output is used - or not.
Today, meta processes that observe child processes for unusual patterns are used to prevent the Halting Problem. The modern computer can be seen as the set of all sets that are not members of themselves. The user must be seen as a necessary member to complete the set - in contradiction of its own definition.
However if a process produces data that is used by other processes, the context gets much more complex. Interrelation is only readable if the pairing nodes are known (see above: this is where the hiding starts).
Following this circle of thought, the current buzzword Big Data reveals its much bigger counterpart: unused data (dead data).
Among the fastest algorithms today are sorting, searching and indexing methods. A huge industry exists only to determine the distinction of referenced and unreferenced data. However, data is always represented in form of digital memory which is in its physical form indistinguishable. What is the model of distinction for memory that only exists in a virtual medium ?
Therefore the product of the future will be the "Verdacht" (under suspicion) machine. An automation that is able to indicate where a distinction might be necessary - or not. According to the Laws Of Form suspicion will be the pre indicator for the distinction of what we know and what we don't know. The fetish of commodity becomes the fetish of distinguishability, that is always, and can only be indistinguishable memory.(Frank Eickhoff, Berlin, 2014)
|2000 - 2005||Media Art, University Art and Design, Karlsruhe, Germany
ZKM | Center for Art and Media, Karlsruhe, Germany
with Boris Groys, Peter Sloterdijk, Ulay, Michael Saup
|1998 - 1999||TV Technician, Düsseldorf, Germany|
|2009 - 2010||Startup Fund of the Berlin Senate|
|2008||Startup Fund of the Research and Science Center Juelich|
|2014||"Apparently, cemeteries are full of napping cops", LageEgal, Berlin|
|2012||"Heads it's Form, Tails it's not Content", Fischerundfischer gallery, Berlin|
|2011||"Paradox der Form", frontviews gallery, Berlin|
|2010||"The Hat Matter", Fischerundfischer gallery, Berlin|
"Printage", frontviews temporary, Berlin|
"True Mirror", Espace Commines, Paris
"High Pressure Systems", frontviews temporary, Berlin|
"Forth under, skip down", frontviews temporary, Berlin
"Integrale Realität", Haus am Lützowplatz, Berlin|
"For Jean B.", Haus am Lützowplatz, Berlin
"Meta-Ikon", September, Berlin|
"Le Trac, frontviews temporary", Berlin
"Frank Eickhoff, David Matorin, Jodi's My%Desktop", Fischerundfischer gallery, Berlin
"Slide Show", frontviews temporary, Berlin
"Aus der Zeit", frontviews temporary, Berlin
|2014||"We need an art of communication in order to navigate the entire picture of being", Anja Wiesinger|
"The Great Pacific Garbage Patch", Max Benkendorff|
"Paradox der Form", Catalog
"Augmented Photography", Article