Exhibitions, Projects

MegaPixels

Adam Harvey (US), Jules LaPlace (US)

The project aims to provide a critical perspective on machine learning image datasets, one that might otherwise be overlooked by academic and industry-funded artificial intelligence think tanks. Each dataset presented on this site undergoes a thorough review of its images, intent, and funding sources.

Forever 27 Club

Ophélie Demurger (FR)

Through videos and performances, I will attempt to find the common essence that I have with the various members of the “Forever 27 Club” – singers who died at the apex of their career – in the hope of finding the keys that will lead me to success. I started this work when I was 24 years old; I now only have two years and a few months left until I too reach that age. Here is my life’s punchline: three years to succeed or die.

The World in 24 Hours

Robert Adrian X (CA/AT)

In 1982 this telecommunications program attempted to combine SSTV, computer communication and telefacsimile in a global multimedia telecommunication project. The conceptual intention of The World in 24 Hours focused on demonstrating the global nature of electronic networks—as well as the fact that most of the globe was missing from the network (all of Africa and South America and most of Eastern Europe and Asia), and to challenge the hegemony of the one-to-many broadcast media by using the telephone system for one-to-one multimedia interaction. Another aspect was the attempt to make a statement about a new role for the artist in the age of electronic media as a creator of the space for art rather than as a mere a producer of objects. During the project artists around the world connected in a non-stop series of dialogues beginning at 12 noon on September 27 and ending at 12 noon on September 28, 1982 (Central European Time).

Sensory autonomy

Ophélie Demurger (FR), Valentin Godard (FR)

A microphone recorder has slipped in between whispers and the ear canal. Those who operated from afar are now before your eyes: the humanoids of BoTaG are there for you. Enigmatic and secret creatures, they then return behind their screens, for a filmed ASMR session that is broadcasted continuously throughout the duration of the exhibition.

Learning to See: Gloomy Sunday

Memo Akten (TR)

Learning to See: Gloomy Sunday is a video and an interactive installation where the recordings taken by a live camera aimed at a table covered with objects are analyzed by a series of neural networks trained on different data sets (ocean, fire, clouds, and flowers).

Sigils

Alix Desaubliaux (FR)

In Sigils, a speculative archeology takes place in an abandoned metal factory. Industrial blueprints gathered on the spot as well as exchanges between engineers and commercials, clients and operators host new fictions where obsolescence sets up a magical dimension. From those clues and artefacts, several videographic and plastic objects are conceived: aluminum sheets laser-engraved with magical inspired drawings, generative sounds made by converting the blueprints into audio specter, and video exploration of the place.

Havoc

Tomáš Červený (CZ/SK)

A mythological comics wall exploring a combination of contemporary CGI technologies with the topics of heroic epic tradition, kitsch, pathos, violence and mythology. What is “violence”? What is “justice”? What does it mean to be a “hero” and what is the hero’s mission in society? These are the questions the author raises in his digital tapestry Havoc.

Earth Radio

Zbyšek Semelka (CZ)

Experimental videos focusing on things that are hidden: the naturally occurring electromagnetic radiation in the atmosphere, differences of video compressions so the final artwork is the compression itself, visualization of a traffic landscape, and expression through structures and patterns.

Origin

Refik Anadol (TR/US)

Origin is an immersive installation that narrates the incredible cultural and scientific legacy of Ars Electronica. Using archival information from the past 40 years, this piece aims to tell the story not only the story of the institutions’ foresight and innovation but also use this history to visualize future trends and realities.

In Posse

Charlotte Jarvis (UK)

In Posse is an attempt to make the world’s first “female” semen using the artist’s own stem cells and material donated by multiple women, trans and gender-non-binary people. *In Posse* seeks to use science and art to undermine traditional notions of patriarchal power and to examine the meaning of gender now and in the future.