Notes
1
Bruno Latour and Peter Weibel eds., Making Things Public. Atmospheres of Democracy (Cambridge, MA: MIT Press, 2005), 22. The following footnote was added to the above quote: “See the Oxford Dictionary: “ORIGIN: Old English, of Germanic origin: related to German Ding. Early senses included ‘meeting’ and ‘matter’, ‘concern’ as well as ‘inanimate objects’.” Martin Heidegger, What is a thing?, trans. W. B. Barton, Jr., Vera Deutsch, Regnery, Chicago, 1968.”
2
“Fifteen groups consisting of artists, activists, critics and their guests presented their work, produced new concepts and started campaigns that developed and continued long after the gathering.” – This quote is taken from the archived website of Hybrid WorkSspace: ➝, accessed Last download June 18, 2.06.2025.
3
The etymology of both terms takes us back to the 1980s and ’90s. The terms cyberspace and meatspace emerged in contrast to each other, reflecting evolving understandings of physical and digital realities. The former was coined by William Gibson and published in his 1982 short story “Burning Chrome,” referring to the “mass consensual hallucination” of computer networks, while the latter emerged around a decade later in hacker culture and cyberpunk discourse.
4
Anna Kornbluh, Immediacy or, The Style of Too Late Capitalism (London: Verso. 2023).
5
Graham Harman, “Heidegger on Objects and Things” in ed. Latour and Weibel Making Things Public, 271.
6
Tiziana Terranova, Network Culture: Politics for the Information Age (London: Pluto Press, 2004), 41.
7
The best known summary of ANT by Latour can be found in: Bruno Latour, Reassembling the Social: An introduction to actor-network theory (Oxford University Press, 2005).
8
Coined by Weibel and Latour, the term Gedankenausstellung means a line of thought that proposes hypothetical “what if” scenarios, like the thought experiments of Galileo Galilei and Albert Einstein. Rather than mere visualizations of ideas, Gedankenausstellungen are parkours that involve visitors in an exploratory and participatory exhibition space. A Gedankenausstellung comes into being when science escapes its empirical boundaries and unfolds in the realm of ideas, and when art evades its functional and purpose-oriented roots in techné and allows itself to become scientific.
9
Bruno Latour, We Have Never Been Modern, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 1993).
10
See Beatrice von Bismarck, The Curatorial Condition (Berlin: Sternberg Press, 2022). This book is the most recent publication that elaborates on the concept of constellation and that refers to ANT as a basis to define the nonhierarchical, constantly evolving relation between actors and actants. Various other texts preceding The Curatorial Condition engage with curatorial constellations with a reference to ANT.
11
Beatrice von Bismarck, “The Exhibition as Collective” in ed. Beatrice von Bismarck et al., Cultures of the Curatorial (Berlin: Sternberg Press, 2012), 291.
12
Beatrice von Bismarck, In the Space of the Curatorial (Berlin: Sternberg Press, 2015), 43.
13
Terry Smith, Thinking Contemporary Curating (New York: Independent Curators International, 2012), 452. Kindle edition.
14
The exhibition model is available online: ➝.
15
Harman, “Heidegger on Objects and Things,” 270.
16
Jean-François Lyotard, “After Six Months of Work …,” 1984 in 30 Years After Les Immatériaux: Art, Science and Theory, ed. Yuk Hui and Andreas Broeckmann (Lüneburg, Germany: Meson Press, 2015), 36.
17
A digital model of the exhibition “Les Immatériaux”— similar to that of “Iconoclash”—was created under the title “Les Immatériaux: A Virtual Exhibition” as part of the same practice-based research project, Beyond Matter, in collaboration between the ZKM and the Centre Pompidou. Both were featured as part of the ZKM exhibition “Matter. Non-Matter. Anti-Matter” (2022–23), which explored the role of digitality and computer-generated environments in reshaping our material understanding of art production and its presentation.
18
See Matthew Fuller, Media Ecologies: Materialist Energies in Art and Technoculture (Cambridge, MA:MIT Press, 2005); Keller Easterling, Extrastatecraft: The Power of Infrastructure Space (London: Verso, 2014); Jussi Parikka, A Geology of Media (Minneapolis: University of Minnesota Press, 2015); and Yuk Hui, On the Existence of Digital Objects (Minneapolis: University of Minnesota Press, 2016).
19
Jean-François Lyotard, “Les Immatériaux: Une exposition expérimentale,” in Les Immatériaux (Paris: Centre Georges Pompidou, 1985). Exhibition Catalog.
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