Human Intuition and Artificial Intelligence Collide in Sparks @ Future Gallery in Berlin

Sparks, a group exhibition featuring works by Rush Baker IV, Kévin Bray, Amalie Jakobsen, Chanel Khoury, Anselm Reyle, Vickie Vainionpää, and Jack Warne, delves into emergent artistic processes, from Augmented Reality to collaborative AI and simulated asteroid mining. It offers insights into the diverse and imaginative techniques these artists employ, such as Bray’s collaboration with AI to meld countless versions of his original hand-drawn sketches processed by a generative engine, and Vainionpää’s use of code in her oil paintings as a medium to create infinite relationships between diameter, curve, and entanglement. Reyle’s works are characterized by the use of various found objects that have been removed from their original function, altered visually, and recontextualized. Remnants of consumer society, discarded materials, symbols of urbanity, and industrial change play a central role in his oeuvre.

Sparks is on view through June 1st at Future Gallery, Schöneberger Ufer 59, 10785 Berlin.

Wayne McGregor Employs AI In One Choreographic Work & Addresses The Climate Crisis In Another This Week @ Sadler's Wells In London

text by Lara Monro

This week, the multi-award-winning choreographer and director Wayne McGregor CBE will present Autobiography (v95 and v96) and UniVerse: A Dark Crystal Odyssey at Sadlers Wells, London. 

For over twenty five years, McGregor’s multi-dimensional choreographic work has radically redefined dance in the modern era, securing his position at the cutting edge of contemporary arts. Take, for example, his appointment as the first choreographer from a contemporary dance background to be Resident Choreographer at The Royal Ballet in 2006, where he has created over twenty productions that daringly reconfigure classical language. 

Alongside his multiple cross-sector collaborations and role at The Royal Ballet, Studio Wayne McGregor is the creative engine of his life-long enquiry into thinking through and with the body. The 30+ works created since being established in 1992 (as Random Dance) showcase the evolution of his distinctive visual style and reveal the movement possibilities of the body in ever more precise degrees of articulation. 

McGregor’s Autobiography (v95 and v96) is the latest iteration of Autobiography (1.0), a series of unique dance portraits inspired and determined by the sequencing of his own genetic code. The work upends the traditional nature of dance-making by using the new AI tool AISOMA to hijack his DNA data through its specially created algorithm, which overwrites the configurations of 100 hours+ of his choreographic learning to present fresh movement options to the performers. The meshing of artificial intelligence and instinct converge to create a totally unique dance sequence that complements the medium’s ephemeral quality. 

While v95 and v96 shines a light on the cutting edge innovation capabilities of dance and future facing technology, UniVerse: A Dark Crystal Odyssey is a moving meditation on the climate crisis. Inspired by the Jim Henson cult classic, The Dark Crystal, it depicts an Earth driven by extremes and urgently in need of healing; a modern eco-myth that asks how we can come together to be whole again. The combination of cutting-edge costumes paired with the digital landscapes creates a stunning blend of fantasy and documentary. 

Autobiography (v95 and v96) will be showcased this Tuesday and Wednesday (March 12th & 13th), while UniVerse: A Dark Crystal Odyssey will be showcased this Friday and Saturday (March 15 & 16th) at Sadlers Wells, London. 

scene from Autobiography (v95 and v96)

scene from UniVerse: A Dark Crystal Odyssey

crosslucid Manifests Human Stories through Artificial Intelligence in Dwellers Between the Waters @ ACUD Galerie in Berlin

‘Dwellers Between the Waters’ (2023) is conjured as a series of hybrid rituals that mediate the space between physical presence, trauma, memory, healing, and virtuality. Polyphonic in its artificially intelligent framework, Dwellers Between the Waters could be experienced as a happening that is chanted by various elemental entities such as waters, winds, earth, air, algorithm... as well as poetry, history, magic, human and more-than-human creatures. This happening of digital rituals questions the singularity of humanist perception of reality. Co-performing with artificial intelligence, it attempts to create alternative epistemologies and outlooks on (so-called) reality through rendering multi-focal narratives and embedding the psycho-magical practice in forms of living ‘sigils’.

Combing artificial intelligence with the practice of magic and alchemy, Dwellers Between the Waters seeks possible solutions in response to the traumas of the contemporary anthropos, and examines how artificial intelligence, in terms of artistic practice, remains integral to our contemporary condition, that is, the ever-evolving climate crisis and the sixth extinction of species coupled with wars, inflation, and capitalist exploitation. By evoking, cultivating, and connecting various forms of consciousness in the virtual realms, Dwellers Between the Waters invites the ‘dwellers’ who inhabit in and among ‘realities’ to share their stories and experiences, which then feed back to (so-called) reality as evolving strings materializing across both physical and virtual domains to bring novel perspectives for further changes.

Dwellers Between the Waters is on view through October 8th at ACUD Galerie, Veteranenstraße 21, 10119 Berlin.

Analia Saban Explores the Intersection of Humanity and Technology in Synthetic Self @ Sprüth Magers and Tanya Bonakdar Gallery in Los Angeles

Analia Saban, Flow Chart: Drawing a Hand, 2023. All images courtesy of the artist and Sprüth Magers.

text by Mia Milosevic

Analia Saban’s Synthetic Self ventures into the human instinct to quantify virtually everything. The exhibition—a unique two-part feature with different showings at Sprüth Magers and Tanya Bonakdar Gallery—encompasses nearly all aspects of technology's intersection with human civilization…from the heating of the universe to pornography. The mechanization of the world is intricately realized in her work, where minneal entities of the everyday are applied to the AI-entrenched craze of the present. 

Upon entry to Sprüth Magers—the site of the first half of Saban’s exhibition–and my first encounter with her work, the contrast between black-and-white coloration seems unapproachable, sterile, even unnerving. The work is, at first glance, not captivating and evidently not meant to be—that’s not the point. As we explore the nuances of natural phenomena we are simultaneously led to blend in with it. We become embedded in the mechanics of life and come to find out that this is actually our perpetual resting state.

To the left of the entrance at Sprüth Magers are rows of tapestries, detailed and glistening with copper thread which consecutively form the same shape as the marble structure residing on the floor of each room in the exhibition—it’s a computer fan. Its intended purpose is explained by the name, but what it symbolically represents in Saban’s exhibition is the cooling of the planet and broader stratosphere. It serves to comment on what has actually become the center of our universe, and what has the power to fix it. This allegory to climate change is present throughout the entirety of the exhibition, using technology as an emblematic resource with which to further delve into the problematic nuances of society. The computer fan is also symbolic of what powers contemporary life. This specific sculpture is equal in power to the engine it depicts. 

 
 

Saban seeks to replicate the encyclopedic age, invoking an omnipotent approach to nature. But there’s a lot of irony in this—she’ll never be able to define all of the variables. What characterizes this omnipotence to nature is the compulsive human tendency to quantify and define it. Saban’s work poses a multitude of questions, but seeks to answer none–this is the beauty of her work. What does it mean when a serious academic takes a selfie with a mouse filter? Saban’s work is filled with these kinds of satirical dichotomies. Her self-portrait of internet log-ins is another example of the individual identity we have inevitability entrenched in the technological realm; there’s an extreme absence of privacy, and invasive expectation to share. 

Images of the quotidian are almost all wrapped in the grid overlay that is quintessential of photoshop. Upon closer inspection, these figurative panels are full of errors–extra body parts and augmented facial features. She even includes an AI-generated “deep fake” of her own face. We see the world through the lens it’s run by. Saban’s art informs everyday life in simple terms. Not one image is spared the obstruction of a technological interface—of AI’s recognizable touch. It’s interesting to see the interplay between human nature and the artificial; to see how human instinct folds into the context of the invented. Even though the human instinct Saban depicts is the urge to quantify, define, explain, understand, her work actually achieves the opposite.

Synthetic Self is reminiscent of an iPhone, with the exhibition at Sprüth Magers being the front of the phone, and the one at Tanya Bonakdar Gallery being the back. The front represents a more human aspect, pervaded mostly by our own instinctual habits. The back represents the consumption of energy; it’s the burnt out crevice of humanity and the promiscuities that are hidden in our private browser. 

Upon entry to the Tanya Bonakdar Gallery, a series of computer circuits rendered in thick printer’s ink line the walls. Historical computer graphic cards are engraved with their countries of origin; this is where the natural and manmade come head-to-head. These variant computer parts highlight the global effort towards intelligent development. Embedded within each work is the irony of our reality in coexistence with worldwide industry—our rather insignificant role in the broader technological stratum becomes abundantly clear. 

The very last portion of the exhibition is pornographic—incorporating one of the most provocative uses of the innovation that rules the world. Images of black-and-white penises harbor a small squarespace, all of them slightly obstructed by different forms of measurement or anatomical labeling. The involvement of measurement is at its most satirical in this context, where the urge to quantify and define appears all the more trivial. The finale of the exhibition reverberates its most intriguing purpose, which is to unveil the inner-workings of the most up-to-date status of human instinct. 

Analia Saban, Cooling Rack (4 x 4), 2023.

Synthetic Self is on view through October 28 @ Sprüth Magers and Tanya Bonakdar Gallery

REALITYBYTES Warps The Virtual World @ panke.gallery in Berlin

REALITYBYTES is a web-browser plugin that substitutes images and photographs on cnn.com, thesun.co.uk and pornhub.com with AI-generated counterparts. 

The plugin blurs the boundary between AI-created and human-created images, delivering results that are both uncanny and humorous. At the same time, it provides a stark insight into the racism and biases deeply ingrained within AI, spotlighting AI's growing influence on image perception and representation. 

Next to this, a broadcast entirely authored by an artificial intelligence will be presented. The presentation not only probes the ethics and reliability of AI-generated content but also challenges us to question the integrity of the content we routinely absorb in this era where AI is omnipresent.

Lotte Louise de Jong is a media artist from the Netherlands with a background in film-making. Her work ranges from physical, digital and online installations to more traditional forms of narrative. Her practice addresses how we, as a society, view and shape our identity through mediated spaces like the digital world. The internet as a space for exploring intimacy has been the main focus of her past projects. She obtained a master’s degree in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019. In 2020 she received an emerging artist grant from the Mondriaan Fonds. 

REALITYBYTES is available for download here and will be on view through July 8th at panke.gallery, Hof V, Gerichtstraße 23, 13347 Berlin

Kristen Sanders' "Protoself" @ Asya Geisberg Gallery

 
Kristen Sanders, One in the Other, 2020. All images courtesy of Asya Geisberg Gallery.

Kristen Sanders, One in the Other, 2020. All images courtesy of Asya Geisberg Gallery.

 

For Protoself, Kristen Sanders asks the question: Where does the self-start or end, and are the traces/fragments left behind a part of self? Bringing together imagery such as marks left in fossils and bodies formed by medical mannequin skins, Sander’s uncanny paintings flatten time and explore the negative space between the physical body and one's environment where the self is formed. 

As the show’s title suggests, Sanders points her inquiry into the crux of what makes us human; imagining a moment of first consciousness of a hypothetical early human ancestor. Since 2015 her work has been circling between the extreme past of hominids millions of years ago – and the increasingly closer future of robots with super-human powers and artificial intelligence. Sanders’ fascination lies within the threshold of self-invention, distinguishing the human from both the animal and the animatronic. In considering the former, her work posits that behavioral aspects such as making a mark, or the first non-utilitarian artwork, should be valorized before corporeal evolution. By considering these defining moments for the pre-human, we can then reframe the post-human, negotiating our current unease with AI and its possible outpacing of the human body – arriving at a post-body consciousness.

Protoself is on view through July 8 at Asya Geisberg Gallery, 537B West 23rd Street, New York, NY 10011

 
 

Kate Crawford & Trevor Paglen: Training Humans @ Osservatorio Fondazione Prada In Milan

Training Humans, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”. Training Humans is on view through February 24 2020 at Osservatorio Fondazione Prada Corso Vittorio Emanuele II, 20121 Milano