Opening earlyhumanadapter

Invitation earlyhumanadapter

BcmArte und Kleiner Salon laden zur Einweihung von earlyhumanadapter ein.
(Scroll down for English version)

Die Installation earlyhumanadapter ist das Ergebnis einer intensiven Auseinandersetzung mit dem Thema Der neue Mensch, das von BcmArte für das Format Artistic dialogue ausgewählt wurde. Gemeinsam mit dem Mentor Timo Maier haben die Künstler Roberta Busechian und Thomas Heidtmann eine interaktive Installation gebaut, die Außen- und Innenbereich des Projektraums miteinander verbindet und Sound, Projektion sowie ein EEG-Neurointerface dazu nutzt, um eine immersive Erfahrung für das Publikum zu schaffen.

Vernissage am 2. Oktober um 19:00 Uhr
Geöffnet vom 2. Oktober bis 9. Oktober 2014
Öffnungszeiten 19:00 Uhr bis 22:00 Uhr

Facebook Event

Kleiner Salon
Manteuffelstraße 42, 10997 Berlin



Cyborgs & Panels

The cover of a collected edition of Robotman.

The cover of a collected edition of Robotman.

In April 1942, on the cover of the seventh issue of DC’s Star Spangled Comics the reader could see a full-coloured drawing, and written on the bottom, a message featuring some new characters, such as Robert Crane, a. k. a. Robotman. Years later, in 1979, in the pages of the british music magazine Dark Star, a weirdo with a cleaver as his left hand saw the light, created by Pedro Henry and Curt Vile. Finally, from 2005 to 2006, Tony Stark, better known as Iron Man and probably the most famous of these three characters, got the last cyberpunk push that he needed to become a complete cyborg under the storyarc Extremis.

What do these three iconic characters have in common? Mostly, two things: they are cyborgs and they are comic book characters. These things, which are of course obvious, must be kept in mind. Cyborgs in comics, have since the beginning  been expressions of a yearning, the yearning of becoming someone (or something) else. Since the superhero genre offered a way of daydreaming by showing us people who could overcome the human limits and cyborgs are nothing but that, one can understand why these concepts have been so attracted to each other. In the last years, we’ve been constantly watching a work in progress by which common people are becoming something else. In fiction, where movies didnt have the special effects that today are shown, comic books were the best chance to let our imagination run wild and portray those half machine half human characters.



The New Flesh is over


Frame of the film Crash , David Cronenberg, 1996

In all the varied literature written about the New Flesh and from all the different perspectives I have not been able to find a clear and definitive description of the term. It affects many creative manifestations such as cinema, plastic arts, performative arts, literature and of course philosophy. It infected many of these manifestations during the last decades of the 20th century spreading like a disease, being in some cases extremely dominant and appearing in other cases just as a trace. Those who know what it is can see it in all these different manifestations, recognise the smell of it. But the essence of it can be hardly enclosed in a unique hermeneutic discourse; no consensus about it has been reached.

The New Flesh comes from a deep anguish caused by the fear of transformation, the rupture of the unity of the ones existence, psychic and physical mutilation, above all: the deep and inevitable terror of death, of the end of the conscious aperture to the world and the arrival of nothingness. These fears are driven into an obsession for body transformation, an extremely graphic aesthetic of the monstrous, including all kinds of secret pustules; open scars that lead you inside the body and show indiscernible organs, extreme surgery and cyborgs as well as violent sex. The aesthetics of the New Flesh is not though, an aesthetic of ugliness or of the unpleasant. It goes much deeper since it deals with a theory of the subject connected to existentialism on one side and with the dissolution of identity on the other side as well as with a dramatic rupture with the classic Cartesian psycho-physical duality.



Artistic Dialogue – Tomorrow’s human nature

Artistic Dialogue

Der Artistic Dialogue ist ein Format von Berlin con mucho arte (BcmArte) und heißt alle Interessierten recht herzlich willkommen!

Hierbei handelt es sich um ein experimentelles Dialogformat, bei dem jeweils ein inländischer und ein ausländischer Künstler hier in Berlin zusammen mit einem Mentor ein Thema bearbeiten.


Der Prozess ist ergebnisoffen, der Weg ist sprichwörtlich das Ziel. Wir, das sind Roberta Busechian (Künstlerin), Thomas Heidtmann (Künstler) und Timo Maier (Mentor) haben den Kleinen Salon in Kreuzberg zur experimentellen Zone erklärt, um gemeinsam das Thema Tomorrow’s human nature zu bearbeiten. Unterstützt werden wir dabei von der Kuratorin Ana Sanfrutos Cano und den Mitarbeitern von BcmArte.