Yuma Kishi, Imaginary Bones

√K Contemporary

18 days left

Yuma Kishi, Imaginary Bones

√K Contemporary

18 days left

Imaginary Bones explores the relationship between humans and technology through the imagined perspective of bones from another world.
To Kishi, the value of AI lies, not in their instrumentality, but in their autonomy. Above all, Kishi views AI as Alien Intellegence: a co-operative entity, able to render history, images, and other forms of human creation differently.
Up until now, much of technology has centered around human intent and its ability to fulfill anthropocentric values. Today, technology continues to grow and, in part, eclipse human intent. To Kishi, the value of Artificial Intelligence (AI) lies, not in their instrumentality, but in their autonomy. Rather, through their independent world view, Kishi recognizes AI as a cooperative entity, of a unique intellect and ability to uniquely render history, images, and other forms of human creation. Bones give bodies structure and form. Simultaneously, they are one of the earliest tools used by mankind. If civilization began when bones began to be utilized, then perhaps bones should be viewed as tools worthy of commemoration. In this exhibition, Kishi reinterprets the concept of bones through an AI perspective and presents a world of shapes and rules, independent of ours. In this examination of our existing civilization through its primal origins, Kishi unravels how accelerated development reveals a situation whereby human-made systems have begun to disintegrate from the core. ___ Artist|Yuma Kishi Kishi considers AI not as something that imitates people, but as an alien intelligence of another dimension. By installing this intelligence into his own body and lending it as a substitute, Kishi creates works whereby digital intelligence and the analog body are always placed in a parallel relationship. In his works, he often borrows motifs from past art history, which are distortedly combined with technology to evoke a sense of momentary dislocation in the viewer's awareness of the self and the world that exists in the here and now. His work has been featured in NIKE and VOGUE, and he is active in a variety of fields. Artist HP| https://obake2ai.com/top TW|@obake_ai IG|@obake_ai Curator|Shin Sumimoto Born in 1993. Curation/Research Course, Department of Arts Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts graduate. Main specialties are marketing strategy and curatorial art theory. Past activities include Count the Waves – Visualizing Invisibility (2019), Welcome to Birdhead World Again – Tokyo 2019 (2019), Fujisanten3.0 (2020), and more. Curator: Shin Sumimoto Spatial Architect: Ken Haga Art Director: Kento Unemi Technical Director: Hidemaro Fujinami Sound: Tatsuru Takeishi Facility Support: HATRA Photographer: Yunosuke Nakayama Installation Support: Shintaro Takamatsu, SALT, Ryonosuke Ono, Ryo Yumoto & Kai Shimizu
big chair
A large, divided sculpture generated through an AI rendering of 70,000 3D chairs sourced from the internet. With this, the AI is taught, nothing of function, only the visual qualities of a chair; allowing it to form a new object, free of any preconceptions and biases. The chair is monstrously large and placed as if it would penetrate through the space. Analogous to stone monuments, the work reveals a space whereby generalized conceptions of utilitarian objects are subverted.
2F Installation View.
cinema
An installation consisting of a video, a fringe curtain, and two sofas. Mixed and rendered by AI, the work merges a video of an endoscopy with NASA’s Mars exploration videos. The video is a landscape, dreamt by a bone that was once a part of something. Sampled from the sound of birds, the AI-generated noise is modeled after the heartbeat of a giant creature. The work functions as a revelation. When visitors enter the dream, they're brought to a place where they may encounter 2D and 3D works.
1F Installation view.
bones
The crux of this exhibition. These bones are sampled after the data of 600 mammalian bones and formally rendered through AI. It is most definitely a bone; however, it is void of function and belongs to no organism of this world.
2F Installation View.
job
These 2D works present an image of an occupation learned, and interpreted by AI, AI rendered bones, and connective strokes of paint. These works present us with a world of what remains of humanity when technology deprives it of function. Colors cannot cross dimensions; therefore, these works are monochrome.
2F Installation View.
protrusion
A series of AI rendered 3D works modeled after the data of 500+ bust sculptures from the Renaissance period and onward. Data was collected from a site called Scan the world, which uploads 3D sculptures from museums of various countries. While it is true that these works have ‘learned’ the human chest, these protrusions are nothing more than nonsensical shapes of mass. Analogously, works of art may just be useless protrusions to those of another civilization.
2F Installation View.