Exhibition by the artists Jeronimo Voss and Martin Stiehl, as well as other artists participating at the ultrablack nonference.

The exhibition will consist of the following art installations (and more!):

„Black Circle in Three Dimensions“, Objekt, Realism Working Group

„Why Frets? - Tombstone“, Klanginstallation, Marko Ciciliani

„Echo FX“, Videoinstallation, DMSTFCTN

Klanginstallation, Paul Wolff / Stereoist

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Calling all. This is our last cry before our eternal silence.

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Ultrablackness is a determining force. The outside folding in. Background noise of the thermodynamic disequilibrium.An indifferent un_groundedness, opaque like a heterogeneous mixture or transparent like see-through fluids.

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Ultrablackness therefore is not to be confused with the void - emptyness -, but is intrinsically messy. That which messes with the attempt to define, to limit, and territorialize, a dæmonic force subverting the godly order, defying the One-God-Universe. Black noise, unllike the searing buzz of white noise, is barely audible. Black noise traces the quiver of things we fail to perceive.
Our uchromia: to learn to think from the point of view of Black as what determines color in the last instance rather than what limits it.
Simplify color! See black, think white! See black rather than believe ‘unconscious.’ And think white rather than believe ‘conscious.’

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Don’t see, be a seer. Stop seeing and start visioning. Be a visionary.

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Ultrablack - blacker than black - denotes practices of negation, deconstruction, non-philosophy, pessimism and nihilism, heterogeneity, disintegration, queering, noise, insurrection, etc. etc.
Everything has to be rejected – and everything has to be rethought. It needs an act of major and painful disruption, an act of distancing, maybe even of violently marking a break, a rupture, a stopping of routine communication: the axe that is hacked into the table during conversation.
It is a kind of disaster studies, an act that breaks down the formal structures of space and time. In the mimicry of this approach to electronic music, both in science and in music, the formal structures of time collapse, regress to mud, and space is pushed back and forth until it bends to be trampled by the pulsations of alien music, while the thinking space becomes seasick: this is the disruption as it can be experienced when ultrablackness hits you. When the all-consuming, all-absorbing and all-imploding might of ultrablackness exercises its power of radical, pervasive and fundamental negation. The one message, the one action, the one intervention of ultrablackness is taking an axe and ramming it into the fake common ground or shared table and says: NO.