In general we presume that artists make art, but what happens when machines produce art? Do artists then become engineers? What does the apparent withdrawal of the artist from the creative act mean, and what consequences for the originality and the uniqueness of t he work of art result from it? What is a work of art in the first place in such cases: the machine, the product, or the act of produ ction? What role is granted the viewer in the course of production: interaction or exclusion? Beginning with Jean Tinguely's drawing machines of the 1950s, an exhibition conceived jointly by the Schirn and the Museum Tinguely in Basel will present art machines fro m various contexts right up to the present - such as works by Michael Beutler and Roxy Paine. The exhibition space becomes a product ion space. Curators: Katharina Dohm (Schirn) and Dr. des. Heinz Stahlhut (Museum Tinguely, Basel)

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In this live set Niblock mixes between audio pieces based on diverse field recordings (which are very different from his music compositions.) Liberovskaya mixes video using Jitter/Max/MSP and drawing from a vast personal database of clips shot over the past fifteen years. Katherine Liberovskaya is a Canadian video & media artist, working predominantly in experimental video since the late eighties. In 2003 she began exploring live video mixing in improvisation with live new music/sound. Since, she has performed live video mixing at a variety of venues in NY, Montreal and Europe with a number of music/sound artists including: o.blaat, Toshio Kajiwara, Shelley Hirsch, Vortex, Anthony Coleman and Al Margolis (aka If Bwana.) The program includes: A new piece for Organ (World Premier), Three Orchids for three orchestras (performed by Trio Scordatura plus one [Alfrun Schmid, voice; Elisabeth Smalt, viola; Bob Gilmore, synthesizer; plus Guy De Bievre, dobro]) and 4 Chorch +1 (2007).

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