We are very pleased to present the exhibition „K.I. Künstlerische Intelligenz I A.I. Artistic Intelligence“ as part of the gallery festival „Curated by_Vienna“. It was curated by cultural and media theorist Paul Feigelfeld und addresses the automatisation of processes of writing and image generation in art. On view are both historic works by artists such as Joseph Beuys, Hanne Darboven and Channa Horwitz, and recent works by younger artists such as Constant Dullaart, Cohen Van Balen, Christine Sun Kim, Julian Oliver and Ignacio Uriarte, which already include machine generated writings, text and imagery.
The exhibition explores various layers and histories of processes of seeing, writing and reading under the technological condition. Counting and recounting between time-critical systems of notation and code can be seen in „o.T. (Skizze zu: 1. Plan Drehung 1+2+3+4+)“ by Hanne Darboven from the year 1968 and „2190 Tage bis zum Ende des Kapitalismus“ by Joseph Beuys from1981, according to which we have already been beyond Capitalism for over thirty years.
Undermining the exhibition are works by the artist duo Cohen van Balen. Titled „Itchy Palm Trees“ and „Leopard, Impala“ they contain the geopolitical and material narratives of a colonial and technological history in the form of Hong Kong manufactured neon tubes coated in rare earth phosphates, mammoth ivory from Siberia and the inner workings of exhibits from the Royal Museum for Central Africa in Tervuren, Belgium, made visible only through X-ray.
The starting point for Constant Dullaart‘s works are machine learning algorithms and image data banks. The artist let image recognition software invent the images „Synthesised Imagenet class (Crosswalk)“ and „Synthesised Imagenet class (Engine Room)“. They manifest the interface of arti cial and artistic intelligence. This automatisation process between data banks and image classi ers was completed by painters in the village of Dafen in Shenzhen, China, the world‘s largest workshop for copied oil paintings. Human painters transposed the machine generated images into traditional ink and oil paintings. Ignacio Uriarte‘s „Period 6“ (2014) analyses the periodicity and difference of type writer typographies. In a continuation of Darboven‘s concepts, Uriarte works in and on the inconspicuous, yet ubiquitous media of bureaucracy and normalisation and their inscription into reality.
„Binary Operations: Stuxnet.exe“ (2012) and „The Orchid Project“ (2015) by artist and critical engineer Julian Oliver seem to depict quite banal images of technical devices, bit patterns and orchids. Buried and encoded into them, however, we find the source code of Stuxnet, the world‘s first large-scale cyber weapon, as well as that of an open source firmware which can be used to liberate and repurpose about ten popular internet routers.
The back room is the black box of the exhibition: „Composition I“ (1977) by Channa Horwitz is a notation to be seen and played, which in its minimalist meticulousness is already directed less at humans than at technical instruments. Christine Sun Kim and Thomas Mader‘s video „Classified Digits“ (2016) is set between the inhibitions and extensions of signed and spoken communications. Nuanced gestures and facial expressions, signs and signifiers describe different encounters. Index (as index finger) and digit (also finger, number, cipher, position) mark delicate, funny and awkward classifiers of situations in and beyond American Sign Language. A printer seems to have been forgotten in the very last corner. Hidden inside it is Julian Oliver‘s „Stealth Cell Tower“ (2016) which sets up a cellular service provider in- and outside the gallery. With a technology similar to that used by police to surveille mobile phone users, it snatches up the visitors‘ mobile phone information and starts texting and calling them, seemingly as if it knows them. The snatched data and responses of the visitors is subsequently printed out.