Program / AUTOMATA EXHIBITION

From to

Tuesday - Wednesday: 11 a.m. - 6 p.m.
Thursday - Friday: 11 a.m. - 8 p.m.
Saturday - Sunday: 10 a.m. - 5 p.m.

Fee payable $ 10

Open at regular hours on June 24 and July 1

Opening

Photo: Gridspace

 

From June 3 to July 3, 2016, ELEKTRA and Arsenal Contemporary Art join forces to present a new Montreal and international cultural event, on a scale never seen before. For one month, Canadian and international artists will set up at Arsenal Contemporary Art as part of the major exhibition for the 3rd edition of the International Digital Art Biennial (BIAN), with the theme AUTOMATA: Art made by machines for machines.

 

MOVING OBJECTS | N ° 1703 - 1750, MOVING OBJECTS | N°1415 -1702, POSITIONING SYSTEMS VI

PE LANG (CH)
Installations
Photo: PE Lang

 

PE Lang is known for creating minimal kinetic artworks that control and put physical forces in action with a captivating elegance. The piece moving objects | n ° 1703 1750, is based on sound. Once the tension is released, the sound of crumpled paper lingers for up to a minute. The rings in moving objects | n° 1415 1702 are not meant to generate any particular sound, but to create associations of ideas instead. Finally, positioning systems VI, is a machine that adds drops of water onto a special textured surface. Each drop forms into an almost perfect sphere through the surface tension of the water and the hydrophobic surface.

Credits

Presented in collaboration with Mapping Festival, with the support of Pro Helvetia, fondation suisse pour la culture, swissnex Boston and the Consulat général de Suisse à Montréal
 

FULL TURN

BENJAMIN MUZZIN (CH)
Installation
Photo: ECAL/Benjamin Muzzin

 

Full Turn explores the notion of the third dimension, with the desire to get out of the usual frame of a flat screen. For this, Benjamin Muzzin’s diploma work at the ECAL/University of art and design Lausanne mainly consisted in exploring and experimenting different devices for displaying images, trying to give to animations volume in space. The resulting machine works with the rotation of two screens placed back to back, creating a three-dimensional animated sequence that can be seen at 360 degrees unlike any other type of screens. Due to the persistence of vision, the shapes that appear on the screen turn into moving kinetic light sculptures. Those animated figures seem to float in the air, like one single intangible bright stream evolving through time.

Credits

Presented in collaboration with Mapping Festival, with the support of Pro Helvetia, fondation suisse pour la culture, swissnex Boston and the Consulat général de Suisse à Montréal
 

205 PREPARED DC-MOTORS, COTTON BALLS, CARDBOARD BOXES 55 x 55 x 55 cm, 2013

ZIMOUN (CH)
Installation
Photo: Studio Zimoun

 

Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects.

 

In an obsessive display of useful and somehow familiar materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.

Credits


Presented in collaboration with Mapping Festival, with the support of Pro Helvetia, fondation suisse pour la culture, swissnex Boston and the Consulat général de Suisse à Montréal.
 

DAY 2501 | 2016

A NORMAL WORKING DAY (CH)
Installation
Photo: Courtesy a normal working day. thx, zimoun

 

By creating immersive installations, the collective A Normal Working Day develops a multidisciplinary approach through the use of different mediums. The two performers’ bodies are the main component in their creations, whether they are physically present and/or reproduced by elements and systems. A huge database is created, containing hundreds of digital characters, which are then used to transform space and objects. Their work offers a wide range of associations and connections to the world around us, with its share of human absurdity, cultures and illusions. A Normal Working Day is a collective project by the two artists Delgado Fuchs and the installation artist Zimoun.

Credits


Presented in collaboration with Mapping Festival, with the support of Pro Helvetia, fondation suisse pour la culture, swissnex Boston and the Consulat général de Suisse à Montréal.
 

DÉJÀ ENTENDU | AN OPERA AUTOMATON

LUKAS TRUNIGER (CH)
Generative Installation
Photo: Lukas Truniger

 

The installation is based on texts and melodies collected from operas narrating the Faust myth – the epic of human curiosity and its limits. 102 screens and speakers are arranged in repetitive patterns creating an emergent space. The phrases and melodies of the vocalist are reproduced using machine learning software. A new version of Faust is created in fragmented movements of light and sound. It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. This reveals the proper poetics – in all its absurdity – of the digital.

Credits


Presented in collaboration with Mapping Festival, with the support of Pro Helvetia, fondation suisse pour la culture, swissnex Boston and the Consulat général de Suisse à Montréal.

A production of Le Fresnoy - Studio national des arts contemporains
Supported by Bipolar in the framework of RUNAWAY
Electronics & bus programming: Glenn Silver 

LET’S TURN BACK TIME, LET’S START THIS DAY AGAIN

UGO RONDINONE (CH)
Sculpture
Photo: Ugo Rondinone

 

Let’s Turn Back Time, Let’s Start This Day Again is an immense aluminum-cast sculpture of a 2000-year-old olive tree from Naples. By casting the tree in aluminum, Rondinone bars the organic from becoming perishable and denies the inevitable passage of time, while simultaneously capturing 1000s of years of growth.

Ugo Rondinone is a multimedia artist known predominantly for his circular aerosol paintings, his video environments, his installations and his sculptures through which he explores themes of imagination, desire and of alienation.

SERIAL MUTATIONS (MODULUS)

MATTHEW BIEDERMAN (QC-CA/US)
Projection
Photo: Matthew Biederman

 

Serial Mutations (modulus) continues the trajectory of Biederman’s Serial Mutations series that examines the dichotomy of the screen as space vs. the screen as surface. 

Today’s CG and Virtual Reality are as preoccupied with the dissolution of the screen surface as were early painters.

Serial Mutations abstracts the perception of pictorial depth and perspective through the use of color, luminance, line and plane. Synthetic architectures and spaces are created and destroyed drawing attention to the apparatus of the screen, abstracting perspective directly through generative code.

 

Credits


Commissioned work by ACREQ | ELEKTRA

MEGA HYSTERICAL MACHINE

BILL VORN (QC-CA)
Interactive Installation
Photo: Marie-Chantale Desrosiers

 

The Mega Hysterical Machine is a supersized version of the original Hysterical Machine, created in 2002. The aim of the project is to induce empathy in the viewer towards an entity that is nothing more than an articulated metallic structure. The Mega Hysterical Machine has a spherical body surrounded by eight mobile arms made of aluminium tubing. Its system of sensors, controls, and motors act as an autonomous and entirely reactive nervous system.

ETERNITY

NICOLAS BAIER (QC-CA)
Sculpture
Photo: Guy Lheureux

 

Eternity is a sculpture with a commanding presence, an undulating curtain of mirror-finish stainless steel rising ten feet from the floor, stretching out  twenty-five feet long and over six feet wide. This mirrored wall – permanent, unassailable – hides a message in plain sight; the word Eternity spelled out in classic cursive. Yet since the piece cannot be seen from above, knowledge or even recognition of “eternity” is adamantly denied. In the reflective but impenetrable surface of Eternity, Baier aims to give form to the boundless mystery of the world, and to the vanity of mankind’s desire to grasp the future.

THEM FUCKIN ROBOTS

NORMAN WHITE (ON-CA), LAURA KIKAUKA (ON-CA)
Video
Photo: Norman White

 

Laura Kikauka and Norman White each built an electro-mechanical sex machine (hers, female; his, male) without consulting each other on the particulars, apart from the dimensions of the engaging organs. Then, they brought these two machines together for a public performance. The male machine, responds to the magnetic fields generated by the female organ, thereby increasing its rate of breathing and moving its limbs. The female machine, on the other hand, is made of a diverse assemblage all hanging from an old bedspring and energized by an electronic sequencer.

 

DYFORME

PAOLO ALMARIO (QC-CA/CO)
Installation
Photo: Paolo Almario

 

In dyforme, Paolo Almario stages the overthrow of man by machine. Photo mosaic portraits, with 4,800 pictorial elements, representing historical figures from computer science and cybernetics, are dismantled one by one, one element at a time, by the “order machine," an automated mechanical device designed by the artist. The lives and careers of Ada Lovelace, Adele Goldberg, Charles Babbage, Elon Musk, Grace Hopper, John Von Neumann, Norbert Wiener and Ray Kurzweil symbolically end up on the floor after having been rationalized, encoded, dematerialized, fragmented and fractured. Almario creates a dramatic device that offers a glimpse of a radical rupture in human history.

 

Paul Kawczak

Credits


Commission by ACREQ | ELEKTRA

][LIMINAL][

KENNY WONG (QC-CA/HK), MARCO DE MUTIIS (IT/CH)
Video
Photo: Kenny Wong

 

][LIMINAL][ employs a swarm of hacked semi-autonomous flying drones equipped with loudspeakers. These flying drones perform and explore spaces and the way we occupy them.

We keep on creating and occupying spaces in our unconscious daily movements. In a massively compressed urban space like Hong Kong we constantly try to achieve the highest mobility in a limited volume. This creates a space that lies in a constant negotiation between temporary presence and absence, a tension embodied in in-between spaces.

][LIMINAL][ aims at enhancing this tension while simultaneously creating an awareness of these transient intermediate states.

WATCHING AND DREAMING (2001: A SPACE ODYSSEY) (VERSION 1)

BEN BOGART (BC-CA)
Generative Video Installation
Photo: Ben Bogart

 

We are constantly and unconsciously constructing internal simulations from abstractions of sensory information. When we perceive the external world, our simulations are bound to the external sensory information we attend to. The visual world as presented in Stanley Kubrick’s 2001: A Space Odyssey (1968) inspires a machine to generate a continuous flow of imagery where past, present, bizarre and plausible images are juxtaposed. The viewer is confronted with the tension between the fiction of AI and the machine's imagination enabled by literal AI methods.

 

Credits


This work manifests a model of dreaming developed in collaboration with Philippe Pasquier that is informed by an Integrative Theory of visual mentation developed in collaboration with Philippe Pasquier and Steven Barnes. This work is funded by the Social Sciences and Humanities Research Council of Canada and associated with the Metacreation lab in the School of Interactive Art and Technology at Simon Fraser University.

LEARNING TO SEE THE LABORATORY WHERE THE ROBOT IS PROGRAMMED TO WORK

TOM SHERMAN (CA/US)
Video Installation
Photo: Tom Sherman

 

Learning to see the laboratory where the robot is programmed to work was recorded at the National Research Laboratories in Ottawa in 1988. Tom Sherman directed control engineer George Hollinworth to program a Unimation PUMA robot to describe the laboratory environment it was stationed in. The PUMA robot makes Sherman’s perception of the laboratory concrete through a video camcorder. The video document articulates Sherman’s experience/description of the laboratory as it is refined over a three-day experimental session. Approximately three hours of recordings were analyzed and edited by Sherman into the finished 16 minute 26 second video loop in 2016.

LA TOMBE DE NÉFERTITI

PHILIPPE INTERNOSCIA (QC-CA)
3D Animation and Modelling
Photo: Philippe Internoscia

 

The Tomb of Nefertiti is a visual collage of two cultures. Elements borrowed from Kabuki theatre, samurai, and manga evoke the spirit of Japan, while the narrative spine is inspired by ancient Egypt and the possible discovery of Nefertiti’s final resting place within a secret chamber of Tutankhamun’s tomb.  

Finally, a Western element, sound, adds a third dimension to the piece, thus generating confusion in the viewer.

This 3D animation addresses several topics of psychoanalytical interest, including twinning of the artist and post-colonial theories on Orientalism, power, and the “other.”

Credits


Commissionned by ACREQ/ ELEKTRA
With the support of Réseau international Hexagram. 
Music sample "Kabuki" by Claude Engel, 1987.

FACING DESIGN N°1 AVEC JEU DE MASQUE EN RÉALITÉ AUGMENTÉE, 2014 ; FACING DESIGN N°10 AVEC HIP-HOP EN RÉALITÉ AUGMENTÉE, 2014 ; FACING DESIGN N°5 AVEC COROLLE EN RÉALITÉ AUGMENTÉE, 2014 ; FACING DESIGN N°8 AVEC SALTO EN RÉALITÉ AUGMENTÉE, 2014

ORLAN (FR)
Photo: ORLAN

 

ORLAN continues with her engaged “self-hybridations” work by presenting a new series with masks from the Beijing Opera. The “self-hybridations” are no longer in the artist’s own flesh, unlike her previous surgical performances, but rather in the “pixels of virtual flesh.” For ORLAN, the masks are formal characters that speak to spectators through colours and signs.

These pieces feature new augmented reality technology, which ORLAN uses to again step outside the frame.

Credits


Presented in collaboration with Arcadi Île-de-France, with the support of the Fonds franco-québécois pour la coopération décentralisée (FFQCD) as part of the Commission permanente de coopération franco-québécoise (CPCFQ), under the responsability of the ministère des Relations internationales et de la Francophonie et du Consulat général de France à Québec.

MEN AT WORK

JULIEN MAIRE (FR)
Stereolithographic projection
Photo: Julien Maire @Imal.org

 

With Men at Work, Julien Maire presents a conceptual game built on the old myth of relief cinema, popular today both in dark rooms and in mass consumer electronics. But his 3D cinema is deep, both symbolically and literally. Running in a loop, the film shows a man printed in 3D endlessly digging a hole: removing earth from one spot and accumulating it in another, as with today’s subtractive or additive manufacturing technologies.

Credits


Presented in collaboration with Arcadi Île-de-France, with the support of the Fonds franco-québécois pour la coopération décentralisée (FFQCD) as part of the Commission permanente de coopération franco-québécoise (CPCFQ), under the responsability of the ministère des Relations internationales et de la Francophonie et du Consulat général de France à Québec.

3D animation realised by Paul Jadoul, Studio l'Enclume. Produced by iMAL as part of the résidences de création with the support of the Fédération Wallonie-Bruxelles, the Quinzaine Numérique, Agence WBTD du FabLab.iMAL and Formlabs.
 

5RNP, HUMAN STUDY #1

PATRICK TRESSET (FR)
Theatrical robotic installation
Photo: Stéphanie Horak

 

5RNP Étude humaine #1 is a theatrical robotic installation in which humans become the actors. In a scenario similar to a live model drawing class, the visitor takes a seat, ready to be drawn by five robots. Placed in an ambivalent situation, the visitor is both at the mercy of the robots’ gaze and the object of artistic attention. Like a live model, the human loses its identity, becoming a passive object of study, while the robots take on the role of artistic creator. Despite being immobile, the visitor is an integral part of the installation. 

Credits


Presented in collaboration with Arcadi Île-de-France, with the support of the Fonds franco-québécois pour la coopération décentralisée (FFQCD) as part of the Commission permanente de coopération franco-québécoise (CPCFQ), under the responsability of the ministère des Relations internationales et de la Francophonie et du Consulat général de France à Québec.

FRANCIS, NARCISSE, UNTITLED, HEART

PASCAL HAUDRESSY (FR)
Video installations
Photo: Pascal Haudressy

 

Haudressy “cracks” computers to produce new pictorial material, both chaotic and organized. He introduces glitches and bugs that create uncontrolled changes to the image. Alterations, transformations, distortions: the computer has to keep recalculating the coordinates for each point or pixel. Caught in an endless iterative process, the drawing no longer has a static structure, but is instead shapes in the making. In the most literal sense of the term, the movement is “breathed” into the representation.

The pieces presented are part of the series entitled Tableaux that draws inspiration from a set of emblematic works in the history of western and eastern painting.

 

David Rosenberg

Credits


Presented in collaboration with Arcadi Île-de-France, with the support of the Fonds franco-québécois pour la coopération décentralisée (FFQCD) as part of the Commission permanente de coopération franco-québécoise (CPCFQ), under the responsability of the ministère des Relations internationales et de la Francophonie et du Consulat général de France à Québec.

THE VALUE OF ART

CHRISTA SOMMERER (AT), LAURENT MIGNONNEAU (FR)
Interactive Painting
Photo: Courtesy de la Galerie Charlot (Paris), Laurent Mignonneau & Christa Sommerer

 

The Value of Art is a group of interactive paintings that deal with the attention economy and value creation in the world of art. The artists transform paintings by equipping them with a thermal printer and sensors that can measure the exact time visitors spend in front of the painting. An initial value, including costs and expenses, is printed at the beginning of each exhibition. The value of the painting increases the more time visitors spend admiring it, laying bare the process of the creation of value with a work of art.

Credits


Presented in collaboration with Arcadi Île-de-France, with the support of the Fonds franco-québécois pour la coopération décentralisée (FFQCD) as part of the Commission permanente de coopération franco-québécoise (CPCFQ), under the responsability of the ministère des Relations internationales et de la Francophonie et du Consulat général de France à Québec.

TRACKPAD, US DRONE STRIKES, YEMEN 2014

JEAN-BENOIT LALLEMANT (FR)
Painting
Photo: Aurélie Cenno

 

Coming soon

Credits


Presented on collaboration with Arcadi Île-de-France, with the support of Fonds franco-québécois pour la coopération décentralisée (FFQCD) as part of the Commission permanente de coopération franco-québécoise (CPCFQ), under the responsability of the ministère des Relations internationales et de la Francophonie et du Consulat général de France à Québec.
 

THE WAYS OF FOLDING SPACE AND FLYING

MOON KYUNGWON (KR), JEON JOONHO (KR)
Video
Photo: MOON Kyungwon & JEON Joonho

 

The project by the two artists is based on the Korean words chukjibeop, a hypothetical Taoist method of contracting physical distance and enabling travel in a more limited space/time, and bihaengsul, the supernatural power of flying and travelling through space and time.

In the history of Asian culture, these ideas have been explored through meditation and methods for achieving a state where the body and mind can break free of physical limitations. These methods reflect the human desire to overcome perceived physical barriers and the structures that hold us back, in spite of the apparent absurdity of this desire.

Credits


Curator: Dooeun Choi

MACHINE WITH HAIR CAUGHT IN IT, SILENCE OF THE WOLF_SECRET KEEPING MACHINE

UJOO+LIMHEEYOUNG (KR)
Kinetic Sculptures
Photo: Ujoo+Limheeyoung

 

Machine with Hair Caught in It expresses the human within uncomfortable appearances seen in the absurd reality.

Alternative new essential reality is disclosed by showing the chaos which comes from nonunderstandable dreamlike reality.

 

Silence of The Wolf_Secret Keeping Machine is a machine that protects the secrets of the world; a device that securely hides the secrets of the days and nights.

CALF, RED SNAKE

KIM JOON (KR)
3D animation looping
Photo: Kim Joon

 

He began this discourse – on the relationship of body and tattoo, a cultural and legal taboo in Korea – in his early works. More precisely, tattoos demonstrate the repression of individuals under a shifting set of social conventions.

More recently, Kim Joon has used traditional motifs as reminders of traditional culture and values. Luxury brand labels are also mapped onto human figures: icons of western and materialistic cultures imprinted on our mindset. The confluence of the traditional and contemporary themes and ensuing issues of self and worth are at the center of Kim Joon’s practice.

Credits


Curator: Dooeun Choi
 

PORTRAIT

MINHA YANG (KR)
Photo: Minha Yang

 

Dec 2: Draw portrait depending on basic instinct and desire.

Dec 4: Choose a truly virtuous woman and take pictures of her, and reflect desire.

Dec 5: Combine several algorithms to substitute computing for desire.

Dec 6: Gather the substituted bit and record the computing process.

Portrait is the attempt to substitute computer algorithms for basic instinct and desire of human.

 

Minha Yang studied visual communication design and received his MFA in generative design at Seoul National University.

 

Credits


Curator: Dooeun Choi

UTERUS-MAN

LUYANG (CN)
Video
Photo: LuYang

 

The shape of a woman’s uterus is like the silhouette of someone standing with their arms open. This resemblance is what inspired the character Uterus-Man. The pieces of its armour correspond to parts of the human uterus.

The androgynous Uterus-Man sustains an ambiguity about his gender. The source of his superpowers lies in the singular ability of his uterus to reproduce. This piece by LuYang looks at gender, the classification of species, genetic selection and evolution.

Credits


Curator: Dooeun Choi

DELUSIONAL MANDALA

LUYANG (CN)
Video
Photo: LuYang

 

With his piece Delusional Mandala, LuYang creates a digital, asexual human simulator in his image. This piece takes a close look at neuroscience, which has always fascinated the artist. The work is a reflection by the artist on his process, past, present and future. With Delusional Mandala, LuYang simulates the fantasy of repeatedly harming his body and his work.

This new series of pieces (the first of which was Moving Gods) is a departure from LuYang’s past work. Here the artist uses the method of the mandala to meditate, practice and delicately build, using different means, this delusional mandala.

Credits


Curator: Dooeun Choi

CT_T-01

SÉBASTIEN LACOMBLEZ (BE)
Tapestries
Photo: Lucile Dizier

 

CT_t-01 is a first series of tapestry based on these cellular automata system of Conus Textiles composed by a custom-made algorithm. A cellular automaton consists of a regular grid of cells. For each cell, a set of cells called its neighborhood is defined relative to the specified cell. An initial state (time t = 0) is selected by assigning a state for each cell. A new generation is created (advancing t by 1). Typically, the rule for updating the state of cells is the same for each cell and does not change over time, and is applied to the whole grid simultaneously, though exceptions are known.

Credits


Programming: Emmanuel Pire; Weaving: Néolice
A co-production of Secteur art numériques, Fédération Wallonie-Bruxelles and IMAL

NIHIL EX NIHILO (THE DIALOGUE)

FELIX LUQUE SANCHEZ (BE)
Light Installation
Photo: Félix-Luque Sanchez

 

A Science fiction story about botnets, spam and a rebellious computer 

SN W8931CGX66E is one among thousands of millions of others identical machines. Since it was made, it has always followed commands. In a world dominated by botnets, it early became a zombie and has always acted like one. But then one day due to an electronic alteration, it acquires a certain conscience... The Dialogue: A digital display (8 giant size alphanumeric displays) shows the data flow between the entity and the other computers in the network. At each spam message received and read, SN W8931CGX66E reacts by generating a reply. His e-mail algorithmic generator creates these messages.

Credits

 

Design of the alphanumeric display: Damien Gernay

Arduino programming: Vincent Evrard

Reply texts: Jon Bilbao Lopategui

-
A co-production of secteur arts numériques, Fédération Wallonie-Bruxelles and iMAL. Courtesy White Circle.
 

INTERCEPTOR DELUGE SEQUENCE

SHAUN GLADWELL (AU)
Video
Photo: Shaun Gladwell

 

Interceptor Deluge Sequence creates a strong symbolic connection, between the body of man and the uterus of the woman he inhabited. Spectators will discover a figure typical of Gladwell’s work: a man dressed in black from head to toe, getting out of and walking around a unique vehicle that is oddly familiar: the interceptor, Mad Max’s legendary car.

Gladwell uses it in his piece as the symbol of a post-apocalyptic world and a society on its last legs, which is “washed” and “purified by Max, in the hopes that the human race will not be the author of its own demise.

Credits


Courtesy: Analix Forever

PHOTOSHOP CS, SQUARE PIXELS AND DEFAULT GRADIENT, 84 x 50 INCHES

CORY ARCHANGEL (US)
Cromogenic print
Photo: Courtesy Bruno Varon

 

Through techniques of hacking, manipulating, recycling, and reconfiguring, Cory Arcangel turns the intersection of technology and culture into materials for making art.

He works in a range of mediums, from music, film, painting, and performance to video games, websites, and software, often relying on appropriation of pop cultural idioms, particularly those found online.

The piece shown at Arsenal Contemporary Art is from the Photoshop Gradient Demonstrations series: digital paintings made from the software’s ubiquitous templates.

Credits


Collection Bruno Varon
 

COMPOUND EYES

GRAHAM CALDWELL (US)
Sculpture
Photo: Graham Caldwell

 

Caldwell’s sculpture entitled Compound Eyes evokes to the viewer the disturbing feeling of being watched. The mirrors’ fixed gazes observe overlapping spaces, not unlike the security cameras that surveil empty streets and deserted passageways. The eyes of the assemblage of mirrors look at us while distorting the image of the passersby to reconstruct a new visual logic

Caldwell's works are predominantly composed of glass and mirrors that he shapes and assembles into different forms, inviting the viewer to reconsider their vision of reality.

Credits


Collection Majudia

BIOS [BIBLE]

ROBOTLAB (DE)
Robotic Installation
Photo: Robotlab

 

The installation bios [bible] consists of an industrial robot that writes down the bible on rolls of paper. The machine draws the calligraphic lines with high precision. Like a monk in the scriptorium, it creates step by step the text. Starting with the Old Testament and the books of Moses, bios [bible] is focussing on the questions of faith and technical progress. The installation correlates two cultural systems which are fundamental for societies today: religion and scientific rationalism. In this context, scripture had all times an elementary function as Holy Scripture or as formal writing of knowledge.

Credits


With the support of: ZKM Center for Art and Media Karlsruhe/Germany and KUKA Roboter GmbH Augsburg/Germany

WHAT DO MACHINES SING OF?

MARTIN BACKES (DE)
Installation
Photo: Martin Backes

 

What do machines sing of? is a fully automated machine, that sings pop hits from the 1990s on a loop. As the computer program performs these emotionally loaded songs, it attempts to reproduce the appropriate human sentiments. This behaviour reflects the machine’s desire to become sophisticated enough to create its own personality.

LOOPS OF RELATION

NELMARIE DU PREEZ (ZA)
Video installation
Photo: Nelmarie du Preez

 

For the serie Loops of Relation, Nelmarie du Preez established a collective named "Du Preez/Gui" between herself and her computer, where they stand as equal actors in a performance-based artistic collaboration. In these works, Du Preez/Gui aim to question the mapping of relation, by means of interactivity. Taking inspiration from the works of performance artists Marina Abramovic and Ulay, du Preez/Gui use their ‘bodies’ to explore the parameters that drive the dynamics of a symbiotic relationship.

SUBSTANCES OF HUMAN ORIGIN

ALEKSANDRA DOMANOVIC (YU)
Installation

 

Aleksandra Domanović’s work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances. Her works create strange taxonomies and manic associative chains that poke and prod at copyright laws, unpack the geopolitical implications of Web domains, or explore, for instance, the model of exhibitions.

Most recently, Domanović has turned her attention to the complex ways in which image culture and information flows have formed the postwar environment of former Yugoslavia.

Credits


Collection Bruno Varon
 

THE HUNTER AND THE DOG

OLIVIER LARIC (AT/DE)
Sculpture
Photo: Olivier Laric

 

Oliver Laric’s work seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures.

Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.

 

Credits


Collection Bruno Varon