Zentrum für Netzkunst Berlin

@zfn

➠ reconstructing, archiving and exhibiting pioneering and contemporary net art & culture · /rosa project space w/ @pankegallery.bsky.social · Heidelberger Str. 28, 12059 Berlin Neukölln/Alt-Treptow

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Bluesky

¿Es tu perfil?Reclámalo y zfn.dirty.social es tuyo.Reclamar perfil

Zentrum für Netzkunst Berlin@zfn· 15d

New book: Akribie & Obsession [Meticulousness & Obsession: Aesthetics and Practices of the Cybernetic Conjuncture]; Spector Books, Leipzig, 2026 [in German] www.spectorbooks.com/de/buch/akri... — part of Calculating Control: (Net)Art and Cybernetics; Berlin, April – October 2021 netzkunst.berlin/cc

A close-up photograph of the spine of a silver-gray hardcover book held between thumb and fingers. The title AKRIBIE is printed vertically in large gray letters. The top corner of the cover is slightly bumped and worn. In the blurred background is a weathered metal surface with raised diamond tread and scattered dry leaves, creating an industrial setting.

An open book rests on a worn metal diamond-plate surface covered with dry leaves. The visible page features a black-and-white typographic artwork made entirely from repeated letters and the word "INFORMATION," arranged into five circular forms aligned vertically against a dense field of tiny characters. A German caption beneath identifies the work as Information from the late 1970s.

An open book lies on an aged metal tread plate with scattered leaves. The page shows a color photograph of the famous CyberSyn operations room, featuring a circular arrangement of futuristic white swivel chairs with integrated controls facing wall-mounted display screens in a wood-paneled interior. Above the image is German text discussing the CyberSyn project.

An open book is photographed from directly above on a weathered metal diamond-plate surface. The two-page spread presents intricate diagrammatic artworks. The left page contains layered blue, orange, and gray geometric forms resembling sound wave structures, while the right page displays a dense vertical notation chart with hundreds of fine lines, symbols, and labels. Page numbers 94 and 95 are visible, along with captions referencing Roland Kayn's Score für Allotropie (1962-1964).

Zentrum für Netzkunst Berlin@zfn· 29d

Installation view inside a spacious industrial-style gallery with unfinished concrete walls and high ceilings. In the foreground, a vintage mechanical calculating machine sits on a white pedestal. Suspended from the ceiling behind it is a row of hanging panels displaying black-and-white portraits and explanatory texts. Large black wall panels with framed minimalist artworks are mounted on the back wall, creating a dialogue between historical technology, archival material, and conceptual art.

A person with curly hair, glasses, and large white over-ear headphones sits indoors, looking attentively toward something outside the frame. Behind them, large windows reveal a city street with parked cars, buses, leafless trees, and apartment buildings. The image is embedded within a diagram, with German labels such as "Kybernetik, Sozialismus, Postkolonialismus," "ökonomische Schwierigkeiten," "Umwelt," and "5 Untersysteme" surrounding the portrait, suggesting a conceptual map relating cybernetics, politics, and systems theory.

Zentrum für Netzkunst Berlin@zfn· Jul 15

📖 Akribie & Obsession – Ästhetiken und Praktiken der kybernetischen Konjunktur; Anneliese Ostertag, Tabea Rossol (Hrsg.) / Zentrum für Netzkunst; Spector Books, Leipzig, Juli 2026 www.spectorbooks.com/book/akribie... ISBN: 9783959055840, 120 Seiten

Fotografie einer aufgeschlagenen Buchdoppelseite mit dem Inhaltsverzeichnis. Links steht die Überschrift „Einleitung“, darunter folgen Beiträge von Birgit Schneider, Francis Hunger, Wolfgang Ernst, Alexander Amberger und Oliver Sukrow mit Seitenzahlen und mehrzeiligen Titeln zu Themen wie Schreibmaschinen, Kybernetik, Bürokratie, Medienarchäologie und Organisationswissenschaft. Rechts sind weitere Beiträge von Katharina Loeber, Christian Booss, Martin Supper, Roland Kayn, Michaela Wünsch und Maroš Krivý aufgeführt, unter anderem zu Cybersyn, Kybernetik, Fernsehen, Psychoanalyse und Stadtplanung. Am unteren rechten Seitenrand befinden sich die Einträge „Biografien“, „Anmerkungen“, „Bildnachweise“ und „Impressum“ mit römischen Seitenzahlen. Die Gestaltung ist typografisch klar, mit schwarzen und hellrosa Überschriften auf weißem Papier. Oben rechts ist die Seitenzahl 73 sichtbar.

Zentrum für Netzkunst Berlin@zfn· Jul 6

Thank you to everyone who joined us for our 48h Reading Group at /rosa with @simonweckert.bsky.social, @evanroth.bsky.social, eeefff_org, and @bitnik.bsky.social, exploring the theme of Mapping the Internet. /rosa, 3–5 July 2026, part of 48 Hours Neukölln It was such a wonderful long weekend!

A group of people sit in a bright studio-like room during a reading group or workshop. Some are seated on chairs, others on beanbags or a sofa, arranged in a loose circle. One participant in the center gestures while speaking from printed notes as the others listen attentively. In the foreground, a participant reads from a tablet beside an open laptop on a low pink table cluttered with glasses, bowls, bottles, cables, and backpacks. Large windows reveal a street outside with parked bicycles, cars, and a visible "Heidelberger Str." street sign. Wooden floors, white walls, and books displayed on a small shelf create an informal, collaborative atmosphere.

An evening discussion takes place in the same studio space, illuminated by warm indoor lighting. Participants sit on sofas, chairs, beanbags, and the wooden floor, facing a large monitor placed directly on the floor that displays a presentation. A low pink coffee table in the center is covered with laptops, bottles, glasses, snacks, and notebooks. One participant on the left appears to be speaking while others follow the discussion or read printed material. White walls, wooden floors, an abstract striped artwork, and tall translucent wall panels frame the relaxed workshop setting.

A larger group gathers in the studio during a presentation. Participants sit closely together on chairs, sofas, beanbags, and the floor, facing two presenters seated near a large monitor displaying a coastal scene. One presenter gestures while speaking, while another works on a laptop. Above them, a projected image shows the words “No beauty” over a photograph of an empty interior. The room features white walls, wooden floors, translucent wall panels glowing pink from outside light, an abstract striped painting, and a central pink table covered with laptops, papers, drinks, and personal belongings.

Two presenters sit side by side in a bright studio during a presentation. In the foreground, a bald person wearing glasses, earrings, tattoos, a rust-colored overshirt, and black trousers sits on a beanbag with a laptop on their lap, listening thoughtfully with one hand on their face. Beside them, another presenter wearing a black cap works on a laptop while speaking. A large monitor on the floor displays a slide reading, “What are the reading sessions of the leaked code?” with smaller explanatory text. Behind them hang an abstract striped artwork and white brick architectural details, while the spacious room with wooden floors extends into adjoining areas.

Zentrum für Netzkunst Berlin@zfn· Jul 4

We're doing fine. 48h Reading Group, 3–5 July 2026 at /rosa, part of 48 Hours Neukölln panke.gallery/event/48h-re... ➠ Detailed program by day: cryptpad.bitnik.org/pad/#/2/pad/... Simon Weckert, Evan Roth, eeefff, and !Mediengruppe Bitnik are exploring the theme of Mapping the Internet.

A person with long dark hair tied in a bun sits on a dark beanbag in a bright gallery space, working on a laptop balanced on their lap. They wear a vivid blue overshirt over a light blue T-shirt, dark blue track pants with blue side stripes, white sneakers, and red socks. One hand rests on the computer while the other is raised with an extended finger, as if making a point during a presentation. In front of them, a large monitor placed directly on the wooden floor displays a blue slide titled "Power of Maps" with a world map. Behind them, a large abstract artwork of dense horizontal multicolored stripes hangs on a textured white wall. The open gallery space features wooden floors, white walls, and scattered furniture, creating an informal workshop atmosphere.

People gather around a low square table after a shared meal in a bright gallery. One person in a loose rust-colored shirt and black shorts stands on the left, serving food from a large metal bowl. Three others sit around the table, one working on a laptop, another looking toward them, and a third using a tablet. The tabletop is covered with used plates, bowls, glasses, bottles, mugs, and a large cooking pot, suggesting lunch or dinner during a workshop. A large abstract painting with horizontal multicolored stripes hangs on the wall in the background, while a monitor on the floor displays a black-and-white abstract graphic. Warm daylight filters through tall translucent orange curtains, giving the room a relaxed, collaborative atmosphere.

A person with short light brown hair relaxes on a large dark beanbag beside a wide window overlooking leafy green trees. They wear a black jacket over a beige patterned shirt, loose light blue jeans, and small hoop earrings, while reading from a handheld device with a stylus in hand. The large window fills the room with natural light. A white sign attached to the glass is visible in reverse from inside and reads "netzkunst.berlin / panke.gallery". A radiator runs beneath the window, reinforcing the calm atmosphere of focused reading in the gallery.

A close-up view from someone reclining on a beanbag shows an open MacBook Air resting on their lap inside a gallery. The screen displays a PDF titled "Atlas of Cyberspace", open to a page headed "Introducing cyberspace". A diagram labelled "Virtual geography" compares concepts such as Place, Space, Cyberspace, and Computer or CSpace, while several lines of text below are highlighted in orange. In the blurred background, another person lounges on a beanbag reading near large windows, with chairs, bags, shoes, and a table holding a metal bowl scattered around the wooden floor, conveying a quiet moment of study during an art residency or workshop.

Zentrum für Netzkunst Berlin@zfn· Jul 3

We start today, and finish on Sunday: 48h Reading Group, 3–5 July 2026 at /rosa ➠ Detailed program by day: cryptpad.bitnik.org/pad/#/2/pad/... Participants are welcome to stay overnight at /rosa, provided they register in advance via info@netzkunst.berlin. panke.gallery/event/48h-re...

A close-up photo of several books spread across a bright green fabric surface. Visible book covers include Uncomputable and other publications related to digital culture and media theory. Overlaid in the center is bold white text with a black outline announcing: “48h Reading Group ‘Mapping the Internet’ 3–5 July at /rosa with !Mediengruppe Bitnik, eeefff, Evan Roth, Simon Weckert.” The image has an informal, documentary feel, with the books partially overlapping and serving as a backdrop for the event information.

A graphic poster with a pink background featuring black-and-white pixelated abstract shapes resembling fragmented digital graphics or a distorted map. Light blue sans-serif text reads: “48 STUNDEN READING GROUP” near the top and “MAPPING THE INTERNET” in the lower half. The minimalist composition combines glitch aesthetics, pixel art, and soft pastel colors, reinforcing the theme of digital networks and internet culture.

Zentrum für Netzkunst Berlin@zfn· Jun 25

ROTBOTS Workshop with @bitnik.bsky.social: THU, 2 July at /rosa, Berlin distant.gallery/rotbots Can automated content become a form of resistance? Initiated by @networked.work with Fabian Hampel + @realclusterfuck.bsky.social, @lav.io, @tega.bsky.social, @iocose.bsky.social, !Mediengruppe Bitnik.

A surreal digital artwork showing the interior of an empty house transformed into a dreamlike landscape. The walls and ceiling are covered with a bright blue sky and white clouds, while the entire floor is densely filled with orange flowers resembling California poppies. Several doorways create a recursive view into more rooms with the same sky-and-flower environment. On the right is a white-curtained window and a white brick fireplace. Across the center of the image, large bold pink capital letters spell “ROTBOTS.” The overall palette is vivid blue, orange, white, and pink, creating a striking contrast between domestic architecture and an endless flowering field.

Zentrum für Netzkunst Berlin@zfn· Jun 8

Workshop w/ @realclusterfuck.bsky.social at /rosa. ROTBOTS focusses on building semi-autonomous ‘content machines’: systems that generate and distribute artistic brainrot across social media. distant.gallery/rotbots [@networked.work] + 13 June w/ @iocose.bsky.social 2 July w/ @bitnik.bsky.social

A group of people gathers around a rectangular table in a bright workshop or meeting space with white walls and large windows. Several participants work on laptops while a bearded man in a light grey short-sleeved shirt stands beside a monitor, appearing to lead a discussion. The monitor displays a green presentation slide with a circular portrait and text, alongside a small video-conference window showing remote participants. In the foreground, a person wearing a black sweatshirt with a large white circuit-like graphic on the back sits facing away from the camera. Another participant wears a blue-and-white jersey-style shirt with a large gold “10” on the back and a beige cap marked “POLO.” Power strips, cables, glasses of water, and laptops are scattered across the table. Sunlight enters through tall windows on the left, revealing parked cars and neighbouring buildings outside. A yellow shelving unit and a translucent ribbed partition stand on the right side of the room.

A workshop or group meeting takes place in a bright corner room with wooden floors and large windows on two sides. Around a rectangular table, several people sit with open laptops while a bearded man in a light grey shirt stands and gestures as he speaks. In the foreground, two participants are seen from behind: one wears a black sweatshirt with a large white graphic resembling a circuit board or technological diagram, and the other wears a blue-and-white jersey-style shirt with a large gold “10” on the back and a beige “POLO” cap. Another participant on the right drinks from a glass while seated at a laptop. Along the left wall, additional attendees sit on chairs and benches, some using devices and one reading a magazine. On the table are laptops, drinking glasses, and notebooks. Through the windows, green trees, parked vehicles, and a street sign reading “Heidelberger Str.” are visible outside. The atmosphere suggests a collaborative workshop, seminar, or working session.

Zentrum für Netzkunst Berlin@zfn· May 16

Workshop w/ @lav.io & @tega.bsky.social at /rosa. ROTBOTS focusses on building semi-autonomous ‘content machines’: systems that generate and distribute artistic brainrot across social media. Can automated content become a form of resistance? More workshops: distant.gallery/rotbots @networked.work

A group of people sits around tables and benches in a bright corner room with large windows facing the street. A man stands near the doorway speaking to the group while holding a drink and gesturing with one hand. Several people listen attentively, some seated at the tables with glasses, coffee cups, and plates of pastries in front of them. Daylight fills the minimalist space with white walls, wooden floors, and large street-facing windows showing trees, bicycles, and parked cars outside.

A workshop session takes place around a dark table with laptops, glasses, cables, and a projector. Two seated participants work at laptops while a man stands beside them speaking with one hand on his chest. A bright green computer interface is projected onto the wall behind them, casting green light across the scene. Other participants sit around the table listening and taking notes in a sparse room with white walls and technical equipment spread across the table.

Zentrum für Netzkunst Berlin@zfn· May 8

ROTBOTS – Workshop Series & Exhibition, 2026 distant.gallery/rotbots Initiated by Constant Dullaart, in collaboration with Fabian Hampel. A collaborative project by distant.gallery, Zentrum für Netzkunst and the Networked Materiality class at AdBK Nürnberg, supported by Stiftung Kunstfonds.

Poster for “ROTBOTS: Building Content Machines, Artistic Brainrot Workshops.” The design features a dark, collage-like background with multiple AI-generated imagery panels: close-up hands with long purple nails touching a red object under microphones, a large cartoonish monkey face in the center, black-and-white cinematic street scenes, surveillance-style graphics, and repeated portraits of two men in a warm orange-toned studio setting. Across the middle, the word “ROTBOTS” appears in huge white block letters outlined in bright pink. Below it reads: “Building Content Machines” and “Artistic Brainrot Workshops.” Event dates listed are 16 May, 5 June, 13 June, and 2 July at Zentrum für Netzkunst Berlin. Additional text says “more info distant.gallery.” The overall aesthetic combines internet culture, AI imagery, media overload, and cyber-surveillance visuals.

Zentrum für Netzkunst Berlin@zfn· May 1

Open call docs.google.com/document/d/1... What happens when work is automated? ROTBOTS invites artists & critical makers to build content machines that don't optimize labor, but disrupt it. @lav.io @tega.bsky.social @realclusterfuck.bsky.social @iocose.bsky.social @bitnik.bsky.social @networked.work

A layered collage-style image. In the background, a large close-up of an animated elderly monkey’s face with white hair and a stern expression fills the frame. Across the center, bold white capital letters outlined in bright pink spell “ROTBOTS.” At the top left, a close-up shows strawberries shaped like small mice being sliced with a knife on a wooden surface, with red juice spread like liquid. At the top right, a small inset shows hands with painted nails tapping or pressing on an object in an ASMR-style setup with microphones nearby. At the bottom right, another inset shows a person wearing a head-mounted device and holding a microphone near a window, while smaller fragmented video clips appear to the left, including a performer speaking and abstract digital imagery. The overall composition mixes playful, unsettling, and media-art elements.

Zentrum für Netzkunst Berlin@zfn· Mar 28

Transformation Digital Art 2026 – @li-ma-media-art.bsky.social symposium on the preservation of digital art, Amsterdam, 26–27 Mar 2026 li-ma.nl/article/tran... @ezka-ter.bsky.social & Sakrowski spoke about Inserting Net Art; how early internet artworks can be preserved without losing their context.

Audience members converse between sessions in a blue-seated auditorium during a digital art symposium. In the foreground, two people face each other in conversation, one with bright red braided hair and a pale scarf, the other wearing a yellow striped shirt and glasses while holding a drink. Around them, people sit scattered across the rows, chatting, checking phones, or watching the room. The image captures an informal social moment during the event.

A panel discussion on stage at “Transformation Digital Art 2026,” viewed from the audience. Five speakers sit in bright red chairs beneath a large projected program slide that reads “Collaborative preservation in Technical Environments.” Rows of blue auditorium seats fill the lower half of the image, with audience members watching the discussion. The setting is a contemporary screening room or lecture theater with a digital arts conference feel.

A crowded auditorium scene at the “Transformation Digital Art 2026” symposium. Dozens of people stand together at the front of the cinema-style room beneath a large projection screen displaying the event title and pastel abstract graphic shapes. Blue theater seats fill the foreground, while the stage floor features a bold black-and-white geometric pattern. The atmosphere feels lively and communal, like a group gathering at the close of a session or event.

A woman stands on stage with a microphone and a sheet of paper, speaking in front of a large projection screen at “Transformation Digital Art 2026.” Behind her, part of a slide is visible with the name “Annet Dekker” and the phrase “Framing: Collaboration and Trust.” Two bright red chairs sit empty on the patterned black-and-white stage floor, one with a microphone resting on it. The scene suggests an introduction or moderation before a panel discussion.

Zentrum für Netzkunst Berlin@zfn· Mar 17

Transformation Digital Art 2026 – @li-ma-media-art.bsky.social's 10th anniversary international symposium on the preservation of digital art, 26-27 March 2026 li-ma.nl/article/tran... Tereza Havlíková @ezka-ter.bsky.social and Sakrowski speak on Day 1, on THU, 26 March, about "Inserting Net Art".

Poster with a light grey background filled with abstract, organic, puzzle-like shapes in neon yellow and pale purple, outlined in dark lines. Centered in bold, rounded dark purple lettering is the title “Transformotion Digital.” Below and around it, the shapes repeat in varying sizes, creating a dynamic, flowing pattern. On the left, the date reads “26 & 27 March 2026.” On the right, smaller text states: “Annual international symposium on digital art preservation.” At the bottom left, the location is listed: “LI-MA, Arie Biemondstraat 111, Amsterdam.” The overall design is modern and playful, with high contrast between the dark text and bright accent colors.

Zentrum für Netzkunst Berlin@zfn· Mar 9

Tereza Havlíková @ezka-ter.bsky.social presenting Zentrum für Netzkunst Berlin at the Echolot Project meeting in Bilbao, March 2026, as part of the Case Study Group "Connecting Media Art Archives". www.tib.eu/en/research-... — @echoes-eu.bsky.social echoes-eccch.eu/echolot

Zentrum für Netzkunst Berlin@zfn· Feb 26

Zentrum für Netzkunst (Center for Net Art) reconstructs, maintains and preserves net art and net culture. The initiative researches archiving and contextualization of net art. netzkunst.berlin

A nighttime indoor scene showing a small media setup on a table in front of large glass patio doors. In the foreground, an open laptop displays a solid bright blue screen. To its right sits a second open laptop (partially visible), a black external hard drive with a glowing blue indicator light, a power adapter, a white power strip, and a clear drinking glass with water. In the background, a flat-screen TV placed on a transparent tabletop supported by red trestle legs also shows the same blue screen. Reflections of streetlights and nearby buildings are visible through the window panes behind the TV. The room lighting casts warm pinkish tones on the walls, contrasting with the cool blue screens.

Zentrum für Netzkunst Berlin@zfn· Feb 10

Join us for today's Data Entry Session with @chiarapassa.bsky.social: IDEASONAIR en.silvanaeditoriale.it/libro/978883... 🗓️ Tuesday, 10 February 2026, starting at 7 PM 📍 /rosa, Zentrum für Netzkunst (Heidelberger Str. 28, 12059 Berlin, Alt-Treptow/Neukölln) + vorspiel.berlin/events/still...

Book cover on a white background. At the top, black uppercase text reads “CHIARA PASSA.” Below it, the title “IDEASONAIR” appears in large bold letters: “IDEAS” in red, “ON” in green, and “AIR” in yellow. Under the title, black text reads “Blogging as an Open Art Project.” The illustration is a minimalist black line drawing of a person sitting at a desk, working on a computer inside an open room. A potted plant stands nearby, and shelves on the right hold small bottles with green, yellow, and red labels. Above the room, a cloud-like line suspends bottle-shaped objects, suggesting ideas floating down. Near the bottom, black text reads: “Finally, ideas have found a place!” At the very bottom is “SilvanaEditoriale.”

Zentrum für Netzkunst Berlin@zfn· Feb 1

Thank you to everyone who joined us for the opening, and to both artists, @chiarapassa.bsky.social & Mikuláš Mahr! #fullhouse The energy was incredible, the place was packed, and the art absolutely delivered. 📍 /rosa 🗓️ Open: 1–3 & 9–10 February, 3–7 PM stillllllife vorspiel.berlin/events/still...

An exhibition space with people viewing digital works. In the foreground, printed images or artworks are laid out on a table. In the background, visitors sit on simple cube stools and stand near a window, looking at a laptop placed on a narrow table.

A person sits at a wooden table reading a folded exhibition leaflet. Two open laptops are on the table in front of them, showing folders and digital images on their screens. A white coffee cup stands nearby, and an exhibition poster with artists’ names and dates lies on the table.

Two people sit on a brown leather sofa wearing VR headsets and holding handheld controllers. They smile and turn slightly toward each other, appearing engaged and amused. Behind them is a white brick wall decorated with dried flower arrangements.

A crowded gallery opening with people standing close together and talking. In the foreground, two people in winter jackets and beanies face each other in conversation, one holding an empty glass. Behind them, more visitors fill the room, with a doorway glowing with warm light and a poster on the wall.

Zentrum für Netzkunst Berlin@zfn· Jan 30

➠ @chiarapassa.bsky.social & Mikuláš Mahr: stillllllife vorspiel.berlin/events/still... Vorspiel 2026 📍 /rosa, Berlin 🗓️ opening reception: SAT 31 JAN, 6 PM In their works, the artists engage with the often-forgotten genre of still life, a tradition shaped and transformed over time.

A dense abstract digital collage filling the entire frame. Fragmented photographs of forest elements, tree trunks, roots, branches, rocks, and foliage are layered and torn into irregular shapes. Between these fragments are bold, flat areas of saturated color, including red, green, blue, yellow, purple, and rainbow gradients. The composition feels chaotic and dynamic, with no clear horizon or single focal point, blending natural textures with artificial, vividly colored shapes in a visually overwhelming mosaic.

A desktop screenshot showing a loose, scattered arrangement of many small image thumbnails on a white background. Each thumbnail has a visible filename underneath, such as “etazer_3 (kopie).jpg,” “ruze_2.jpg,” “ratolestr.jpg,” and “slupka_citron_2.jpg.” The images include repeated abstract artworks with pastel landscapes and handwritten text, botanical photos of olive branches and roses, a violin detail, a lemon peel, and various duplicates labeled as copies. The files are not aligned in a grid but spread irregularly across the screen, resembling a messy workspace or image sorting process.

Zentrum für Netzkunst Berlin@zfn· Jan 26

M. Mahr: "Here, the still-life form is democratized, stripped of physicality, and anchored within the flat space of a software interface" www.umprum.cz/cs/web/kated... ↓ @chiarapassa.bsky.social & Mikuláš Mahr vorspiel.berlin/events/still... 📍 /rosa, Heidelberger Str. 28, Berlin 🗓️ SAT 31 JAN, 6 PM

A digital collage on a white background showing fragmented product-style images arranged in a loose grid. Objects include a silver five-arm candelabrum with white candles, a clear glass goblet, a human skull viewed from the side, a brown leather-bound book, several walnuts, and three black feathers. Each object appears sliced into rectangular tiles, slightly misaligned. File-name fragments in black text are visible around the objects, such as “orechy_1.jpg,” “brk_1,” “brk_2,” “brk_3,” and partial words like “sv” and “svi,” giving the image a technical, archival feel.

A surreal, computer-generated scene viewed from a low angle. In the center stands a large, abstract, dark humanoid sculpture with raised arms, its surface glossy and organic, sitting or emerging from the ground. The background is a chaotic, colorful digital landscape with patches of bright blue sky, saturated rainbow colors, distorted trees, and floating fragments. Diagonal white lines and glitch-like textures cut across parts of the image. In the foreground, a faceted, purple, low-poly object partially blocks the view, reinforcing the virtual, artificial environment.

Zentrum für Netzkunst Berlin@zfn· Jan 23

➠ @chiarapassa.bsky.social and Mikuláš Mahr: stillllllife vorspiel.berlin/events/still... part of Vorspiel 2026 📍 /rosa, Zentrum für Netzkunst, Heidelberger Str. 28, 12059 Berlin, Alt-Treptow/Neukölln 🗓️ opening reception: Saturday, 31 January 2026 at 18:00 🗓️ open: 1–3 & 9–10 FEB, 3–7 PM Welcome!

An immersive, abstract digital scene with fragmented, colorful surfaces resembling walls and a floor. Bright blocks of blue, green, yellow, red, and purple mix with distorted landscape textures and broken image pieces. Two white, human-like virtual hands appear in the foreground, as if the viewer is inside a glitchy, computer-generated space.

A digital collage on a white background showing cut-out images of a dark glass wine bottle, empty wine glasses, olives with olive branches, oysters, a lobster, and a metal serving tray. The objects overlap and float without a clear surface, with visible file-name fragments beneath them, giving the image an unfinished, layered still-life look.

Zentrum für Netzkunst Berlin@zfn· Jan 20

Data Entry Session at /rosa ➠ Holger Friese: unprompted The exhibition is open until 22 January 2026 (3–7 PM). vorspiel.berlin/events/holge... 📍 /rosa, Zentrum für Netzkunst; part of Vorspiel 2026 (Heidelberger Str. 28, 12059 Berlin, Alt-Treptow/Neukölln)

A group of people sit closely together on wooden benches in a gallery space, facing a large screen on a stand. The screen shows a software interface with an image framed in gold. A laptop on the table is connected to the screen. The room has wooden floors, white walls, and large grid windows, with nighttime street reflections visible outside. Everyone is focused on the presentation.

A group of people seen from a wider angle inside the gallery. Several people sit around a simple wooden table with laptops, glasses, and a bottle on it, all facing a large screen displaying a digital image and editing software. The space has wooden floors, white walls, and glass doors and windows, creating a workshop or discussion atmosphere during an indoor presentation.

Zentrum für Netzkunst Berlin@zfn· Jan 17

Holger Friese: unprompted vorspiel.berlin/events/holge... 📍 /rosa, Zentrum für Netzkunst; part of Vorspiel 2026 (Heidelberger Str. 28, 12059 Berlin) Exhibition: 20–22 January 2026, 3–7 PM Artist talk + data entry session: Monday, 19 January 2026, 7–9 PM vorspiel.berlin/events/holge...

Close-up of gray archival boxes arranged on a dark tabletop. A printed document lies beside them, along with a round sticker showing a crossed-out camera symbol indicating no photography. The wooden floor is visible in the background, emphasizing the exhibition setting.

Wide view of a minimalist gallery room with a white textured wall. Small framed photographs are evenly spaced in a horizontal line. In the center stands a dark rectangular table on red trestle legs, holding several gray archival boxes and printed documents. Simple cardboard cube stools are placed around the table on a wooden floor.

View through an open doorway into the gallery space. An arched transom window with frosted glass sits above the door. Inside the room, the same dark table with gray archival boxes is visible, surrounded by cardboard cube stools on a wooden floor. Framed photographs hang in a neat row on the far wall.

A person stands behind the table in the gallery, partially framed by two windows. They wear a light-colored knit beanie, glasses, a dark jacket, and light sweater, gesturing with one hand as if explaining something. In front of them are large gray archival boxes on the table, with cardboard cube stools placed on the wooden floor in the foreground.

Zentrum für Netzkunst Berlin@zfn· Jan 16

Holger Friese: unprompted vorspiel.berlin/events/holge... 📍 /rosa, Zentrum für Netzkunst; part of Vorspiel 2026 (Heidelberger Str. 28, 12059 Berlin) Opening: Saturday, 17 January 2026 at 7 PM Exhibition: 20–22 January 2026, 3–7 pm Artist talk + data entry session: Monday, 19 January 2026 at 7–9 PM

Black-and-white photo of a modern bathroom. On the left is a rectangular white bathtub with a dark faucet and controls, set into dark tiled walls. On the right, a small white sink is mounted into the same dark tile, with a handheld shower hose draped over its edge. Toiletry items, including bottles and a sponge, sit on the sink ledge. The right side of the image fades into a transparent, checkerboard background, suggesting the photo is partially cropped or in the process of editing.

Zentrum für Netzkunst Berlin@zfn· Jan 11

EastUnBloc: Networks of Net Art – Syndicate and Deep Europe ~ with Tereza Havlíková @ezka-ter.bsky.social (art historian and curator) and Andreas Broeckmann (curator and researcher) 📍 nGbK, TUE, 13 JAN 2026 at 7 PM ngbk.de/en/programm/... nGbK, Karl-Liebknecht-Straße 11, 10178 Berlin, 1st floor

Side-by-side portrait of two people against a neutral, softly lit background. On the left, a woman with short, curly light-brown hair and glasses looks at the camera with a calm expression, wearing a light blue shirt over a dark top and a pearl necklace. On the right, a man with short gray hair and glasses smiles slightly, wearing a dark, striped button-up shirt, his arms loosely crossed. Both are shown from the chest up.

Zentrum für Netzkunst Berlin@zfn· Jan 8

Paloma Oliveira: Diversifying Open Source – An Open Standards Playbook for Inclusive and Equitable Tech Projects link.springer.com/book/10.1007... Apress, Berkeley, CA, 2025

Zentrum für Netzkunst Berlin@zfn· Dec 23

ఠ★∵⨰∞!

A minimalist New Year greeting illustration in a retro digital style. The image is vertically split into two halves. On the left, a teal background displays the lowercase white text "happy new year", stacked on three lines. On the right, on a very light mint background, the same phrase "happy new year" appears mirrored and reversed, as if reflected or flipped horizontally, in teal lettering. At the bottom center, overlapping both halves, is a pixel-art vintage desktop computer setup from the early 1990s, including a CRT monitor with a small webcam on top, a keyboard, a mouse, and two boxy external speakers. The overall color palette is teal, mint, gray, and white.

Zentrum für Netzkunst Berlin@zfn· Dec 12

Artist Talk and Data Entry Session on the occasion of the Zentrum für Netzkunst's acquisition of deleted net art works by Igor Štromajer @intima.bsky.social. intima.info/2025/12/01/z... 📍 /rosa – Zentrum für Netzkunst Heidelberger Str. 28, 12059 Berlin 🗓️ SAT, 13 DEC, 3 PM intima.org/ex 💾 Welcome!

A minimalist web interface titled “cgi-bin/search.pl” showing a list of emotional categories with checkboxes, an input field for entering a personal experience, and a button labeled “em-search.” The design is simple, with gray text on a white background.

A retro-style digital interface with a bright cyan background showing two rotating 3D cubes textured with a world map. Vertical dashed lines divide the screen into frames, and a text menu appears in the upper left corner.

A collage of zoomed-in and cropped image panels arranged on a gray background. Some panels show blurred surfaces, while one clearly reveals part of a woman's face, including her closed eye and cheek, viewed through pixelation.

A close-up of a hand holding a Siemens SL55 mobile phone with its sliding keypad extended. The screen shows a simple graphic and the text “sHe Gel Zurück,” and the keypad is lit from below.

Zentrum für Netzkunst Berlin@zfn· Dec 8

Artist Talk & Data Entry Session on the occasion of the Zentrum für Netzkunst's acquisition of deleted net art works by Igor Štromajer @intima.bsky.social. ➠ intima.info/2025/12/01/z... 📍 /rosa – Zentrum für Netzkunst Heidelberger Str. 28, Berlin 🗓️ SAT, 13 DEC at 3 PM 💾 intima.org/ex Join us!

A bright red screen designed to look like an old computer virus interface. Lines of fake command-prompt code fill the left side, while the right side shows a box labeled 'loading virus...' with a red progress bar stuck at 25 percent. The word 'activated' appears in red below the progress bar.

A red-tinted graphic showing a hand pressing a button labeled IT HURTS on a retro control panel. To the right are white input fields labeled 'life', 'death', 'sensitiveness', 'anxiety', and 'fear', each with a small 'control me' button next to it.

A grid of gray sliders and scrollbars arranged in two rows on a gray background. Each block shows different positions of sliding controls, resembling a technical interface or UI elements without any text.

Two black Sony Ericsson feature phones side by side. Both display text messages on small color screens. The left phone shows rows of bracket-like symbols that look random. The right phone shows a message filled with symbols such as plus signs, asterisks, and number signs.

Zentrum für Netzkunst Berlin@zfn· Oct 19

𝗗𝗶𝘀𝘁𝗿𝗶𝗯𝘂𝘁𝗶𝗼𝗻 𝗼𝗳 𝘁𝗵𝗲 𝗦𝗲𝗻𝘀𝗼𝗿𝗶𝗮𝗹 was a laboratory exhibition that explored accessibility and new media. Featuring the work of Sojung Bahng, Jan Berger, Hortense Boulais-Ifrène, Debbie Ding, Gabriel Menotti, DC Spensley. With Gabriel Menotti, Michael Wahl, Aya Schamoni, Katrina Blach, Paloma Oliveira.

A man sitting indoors holds a bright pink rectangular object close to his face, examining it carefully. The object has tactile Braille writing on its surface. He appears focused, wearing a light green jacket, and sitting near a window with a blurred street scene visible outside.

A man, seated, holds a detailed pink 3D-printed model in his hands, exploring its textured surface by touch. The model appears to represent a miniature landscape or architectural layout with raised shapes and structures.

Three people are seated indoors on wooden chairs and a leather sofa, listening attentively. The room has wooden floors and a large window letting in daylight. One person in a dark jacket sits near the window, another with long dark hair faces forward, and a third person with red hair sits beside them.

A group of people is gathered in a cozy room with a large window. One person is speaking and gesturing while sitting at a red table with a laptop, cups, and plates. The others listen attentively from wooden chairs and benches. The atmosphere appears informal and conversational.

Zentrum für Netzkunst Berlin@zfn· Oct 15

A big thank you to everyone who came to the opening yesterday! /rosa 14-17 Oct, 1–6 PM 18-19 Oct, 11 AM – 6 PM w/ Sojung Bahng, Jan Berger, Hortense Boulais-Ifrène, Debbie Ding, Gabriel Menotti, DC Spensley Workshops: 16 Oct, 4 PM 18 Oct, 11 AM Sign up: docs.google.com/forms/d/1876...