Re:Humanism, the exhibition about connection between contemporary art and Artificial Intelligence

Re:Humanism, the exhibition about connection between contemporary art and Artificial Intelligence

Giulia Guido · 6 months ago · Art

From Wednesday 5 to Sunday 30 May, the Spazio CORNER MAXXI of the Museo nazionale delle Arti del XXI secolo, in Rome, will open its doors to host the second edition of the exhibition Re:Humanism – Re:define the Boundaries.

Ten artists will investigate the relationship between Artificial Intelligence and contemporary art, inviting to reflect on a future increasingly linked to technology in all its aspects. For this reason, the works will touch on themes related to society, but also to biodiversity, ecological awareness, gender identity. 

WHAT:
Re:Humanism – Re:define the Boundaries
WHEN:
5 – 30 MAY
WHERE:
Spazio CORNER MAXXI, Museo nazionale delle Arti del XXI secolo (RomE)

The artists in the exhibition will be the Entangled Others, Yuguang Zhang, Johanna Bruckner, Irene Fenara, the collective Umanesimo Artificiale, the duo composed by Elizabeth Christoforetti & Romy El Sayah, Mariagrazia Pontorno, Egor Kraft, Numero Cromatico and Carola Bonfili, and their projects in the exhibition are the winners of Re:Humanism Art Prize

The relationship between contemporary art and Artificial Intelligence is a theme that can not be ignored and, in addition to making us discover worlds and technologies far from our daily lives, can give rise to a healthy debate on the future of art and beyond.
We at Collater.al were lucky enough to ask a few questions to Daniela Cotimbo, curator and President of the association Re:Humanism, who told us what we will find in the exhibition and her point of view on the subject. Don’t miss the interview below and some images of the works and visit the official website to find out all the Infos!

Before talking about the exhibition, let’s talk a bit about you. Your research has always focused on the analysis and investigation of issues related to the present through different and new means of expression and through new technologies. Where do your interest in this subject and these themes come from?

The fascination for the world of technology has always been part of me, I think. I belong to that generation of people who have seen the spread of the Internet and subsequent technologies connected through devices such as smartphones, PCs and more. Behind what seem to be simple tools I read all the complexity of human progress and its social implications. If art has accompanied me throughout my school career, technology has entered in an important way in my research, starting from my three-year thesis, where I explored the worlds of art within Second Life. The approach to artificial intelligence, on the other hand, was born from my meeting with Alan Advantage, the company that promoted the prize, which from the beginning stimulated me with transversal themes and deeper technical knowledge. Today I believe it is really difficult to keep technology out of humanistic discourse.

From May 5 to 30 “Re:Humanism – Re:define the boundaries” will open its doors, what will a person who decides to visit the exhibition find in front of him?

Good question, certainly not a canonical exhibition, in the sense that if you expect to be surrounded by robots, cables and computers (although I love the aesthetics of technology) you might be disappointed. In fact, this award is a testament to how technological languages such as AI are slowly penetrating more and more into the fabric of contemporary art. Artists are using them both as an end in themselves, to better understand their nature and implications, and as a tool to support their ideas or imagine new types of interfaces. Thus, it may happen to see in the exhibition a tapestry that makes us reflect on the concept of extinction of tigers (Irene Fenara), an aquarium populated by a coral reef generated by algorithms (Entangled Others), a bed animated by a non-human gesture (Yuguang Zhang) or the sound recall of a modified DNA (Artificial Humanism). On the contrary, there are other works that tell how artificial intelligence helps us to revisit ancient languages such as Chinese painting (Egor Kraft), the untranslatable Voynich manuscript (Mariagrazia Pontorno) or the poetic verses contained in epitaphs (Numero Cromatico). Finally, there are works that exploit the language and culture that revolve around AI to imagine new forms of relationship between species (Johanna Bruckner), between body and space (Elizabeth Christoforetti & Romy El Sayah) and existence within the digital (Carola Bonfili).

re:humanism
Molecular Sex, Johanna Bruckner

When you try to relate distant and separate disciplines, such as art and new technologies, something extraordinary is often born, but not everyone can understand it right away. How would you explain to these people the need to create new ways of artistic production?

On this we must make a premise, art has always gone hand in hand with what we used to call technique and that today through technological advancement has become a real language. When, for example, cave painting was born, someone understood that he could use tools or his own body to communicate with others in a symbolic language. If we think about this in relation to technology, we realize that what we are witnessing is nothing more than a natural process of evolution of art as an expression of the reality that surrounds us. Certainly technology today runs faster than ever and it is not always easy to keep up with new discoveries and the latest developments. However, it is an effort that needs to be made because the implications, and here I am referring especially to AI, are so many and now concern us very closely. Perhaps the opposite is true, namely that it is the art that, by subverting the rules of the game, helps us to better understand technology.

Among the works that will be on display, the one that attracted my attention the most is “Epitaphs for the human artist” by Numero Cromatico. It is a sort of epitaph that definitively decrees the death of the human artist. Do you think that this figure will disappear completely in the future or do you think that the human artist will resist in time but will have to share the role of the creator with technological devices, artificial intelligence and algorithms?

Numero Cromatico’s work acts on several semantic levels. It certainly helps us reflect on how poetic forms that have been handed down spontaneously, such as the verses normally contained in epitaphs, in the very near future will be totally the prerogative of algorithms. The point, again, is not whether it will be the human artist who will disappear but how these forms of expression will be passed on to us. Are we willing to entrust an intimate memory such as the one that accompanies our lives to an AI? And if so, how will we experience it? To answer your question even better, AI algorithms already have a very developed “creative” potential, the so called “Black Box”, a latent semantic space that is not yet clear to us how it is able to process the data we give it. All this is very fascinating but the real question we should ask ourselves is: what is art “for” and why should an AI replace an artist in this sense? The answer I can give myself today is that AI enhances the creative possibilities of an artist in so many ways that I am very curious to explore.

Re:Humanism
Epitaphs For The Human Artist, Numero Cromatico

In the last few years, and especially in the last few months, we are noticing how not only artistic production is becoming more and more linked to the technological world, but also the sale and fruition of art are becoming more digital. Do you think that in this way, in the long run, art will be more accessible to everyone or, on the contrary, will it become more exclusive?

I guess you are referring in particular to the rise of NFTs (Non-fungible tokens) which at this moment represent a very interesting phenomenon within the art world and beyond. Personally, I don’t like sectorizations, I think that technology is now part of the tools available to artists but certainly, not being neutral tools, every time we introduce one we have to expand our gaze to the context of production. I mention NFTs because they actually represent a nice paradigm shift, they push us to conceive art no longer as an object, something to be owned necessarily in a physical way, in most cases we are talking about digital formats that can be presented on screens but also simply be stored in a folder on our PC. Certainly a technology of this kind is revolutionizing the way we approach art, favoring the rise of new types of collectors and enthusiasts. However, we must specify that these collective phenomena could be temporary and due to the initial enthusiasm, what could easily happen is that everything returns to the canons of the traditional art market. So, to answer you, I have to say that the complexity of contemporary art is not something we can renounce to and it is not said that technologies facilitate the access to complex contents, however I believe in a greater need by artists to measure themselves with the themes of our time and this, probably can really facilitate this encounter with the public.

Re:Humanism
(Non-)Human: The Moving Bedsheet, Yuguang Zhang
re:humanism
Body As Building, Elizabeth Bowie Christoforetti & Romy El Sayah
Re:Humanism, the exhibition about connection between contemporary art and Artificial Intelligence
Art
Re:Humanism, the exhibition about connection between contemporary art and Artificial Intelligence
Re:Humanism, the exhibition about connection between contemporary art and Artificial Intelligence
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Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022

Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022

Giulia Guido · 5 days ago · Photography

On a Monday unlike any other, I was walking along a small Florentine alleyway, dimly lit by the sun, until a marvel appeared before my eyes. Piazza della Signoria welcomes me with its beauty, and no matter how many times you have been to Florence, it always seems incredible to think that a place like this can survive the passage of time.
It is here, in the Camera d’Arme of Palazzo Vecchio, that I take my place to discover the new Lavazza Calendar 2022

Last year, Lavazza presented the Calendar under the banner of The New Humanity, inviting us to imagine a future based on a new humanity at a time of uncertainty and fear like few other times in recent decades. It is perhaps in this concept that the theme of next year’s Calendar, I Can Change The World, has its roots. 

In a way, it is as if Lavazza is telling us that it is not enough to imagine and dream of a different future but that we must take action and fight to build it. So, what better place than the city that was the birthplace of Brunelleschi, Lorenzo de’ Medici, Dante Alighieri, Machiavelli, but also Guccio Gucci, Oriana Fallaci and Tiziano Terzani to show how never change will come until each of us dedicates our lives to this cause.

As in any self-respecting battle, we need captains to follow and imitate. Lavazza offers us six of them, six outstanding personalities in their field, six young people who have managed to combine their passion with all the values they believe in. 

The street dancer Shamell Bell, who fights against racism, the marine biologist Cristina Mittermeier, who documents the advancing destruction of the oceans with underwater and other photographs, the Afghan refugee rapper Sonita Alizada, and the musician Ben Harper, who has always been committed to fighting social inequality and climate change. The sextet is completed by Shilpa Yarlagadda, a jewelry designer who supports female empowerment, and land artist Saype

To direct and photograph these six activists, or artivists – as Francesca Lavazza called them when she presented the project – Lavazza entrusted the task to the best director of photography ever, Emmanuel Lubezki

Lubezki

I held my breath, and with me all the press present, as he took the stage. Just a few words are enough to understand that the purity and sensitivity of the images he creates and that we are used to seeing on the big screen are just a reflection of his personality, something I was able to ascertain during the minutes we spent together after the conference and perhaps the main reason why he was chosen to tell the story of the claim “I Can Change The World” with 12 shots. 

Shots that want to, and can, only give the LA to the change we wish to see in the world and of this Chivo – Emmanuel Lubezki’s nickname – is aware. “It would be too pretentious to think that a calendar can change the world”, he tells me, adding “the only thing I can do is amplify the voices of these artists. Each of them is working really hard to change the world. They are deeply optimistic and when you are optimistic you really live your life, believing in what you are doing, and they are doing it. In this case, my job is a humble one and I put myself at their service to tell them who they are and what they do in the hope of setting off positive vibes in those who discover them.

Lubezki

I can sense from the way he talks about it and from the shiny eyes that sometimes betray him that the bond created with the six protagonists of the Calendar is real and deep. Finding out that each of them was shot in different places on the Planet that show both the impact of climate change and the beauty the world we live in has to offer, and that Chivo experienced them all alongside the young activists, even being directed by them, only confirmed my thoughts. “I spoke to them,” he tells me, “we talked and I immediately understood that I shouldn’t work as a photographer, but more like a director of photography, letting myself be directed by them and also being guided by their ideas. This is why we have portraits in close-up, but also photos where the landscape dominates.” 

At this point, it really only takes one look at the photos to understand how the 12 shots create a more complex and structured narrative. “From the desert chosen by Sonita to the Caribbean Sea where I photographed Cristina, all the landscapes we worked in are endangered and shooting these six young people immersed in the beauty and fragility of these places underlines their profound optimism that I mentioned at the beginning. I tried to create a journey through the calendar, through the different places, but also through light“. 

This choice should not come as a surprise, as Lubezki is internationally recognized precisely for his meticulous and perfect use of natural light. “Well – he confides – I have to say that the use of natural light came from the directors I work with, in particular Terrence Malick, who called me to work with him to make a film entirely with natural light. Thanks to his knowledge of the behaviour of natural light, but also of photography, we were able to make four films together using only natural light. For Revenant it was different and I think it was interesting for Alejandro to explore this world and understand how to move and work during the day with respect to light. But it wasn’t me who had the initial idea.” Nevertheless, this stylistic imprint has now become his signature and we can find it within the Calendar as well, in fact he added “In this particular case, I incorporated natural light into the Calendar because I thought it would give a purer result, which would help me incorporate the characters within the landscape, although sometimes I used flash. For Saype, for example, I had to. His picture was taken between three and four in the morning in Alaska and it was so dark that I had to use lights“. 

Lubezki

As mentioned a few lines above, the one created by Lavazza and Emmanuel Lubezki is a voyage of discovery of the world we occupy for the short time of a lifetime and which we are taking too much for granted. To some, the choice of entrusting the production and art direction to a cinematographer used to working in the film industry may raise eyebrows. If, however, you dig deeper and look at Chivo’s Instagram profile (you can find him as @chivexp, the name given to him by Steven Soderbergh), the circle is closed and all doubts are cleared.
As one of the 500,000 people who follow him, I couldn’t help but take the opportunity to ask him what he thought of Instagram, suddenly finding myself talking to a 56-year-old person who probably understands better than me and many young people what the right use is. “I started using Instagram both because I wanted to know what it was about, but also because, having two daughters, I was worried about the effect it has on young people. Gradually I began to discover an encyclopedic aspect and it became a place to find incredible photographs, dancers, choreographers, painters, musicians, artists. Finally, it also became a place to meet people, Saype I met through Instagram.”

Our meeting concludes by agreeing that smartphones have, to all intents and purposes, changed the way we take photographs, but that if the result is to live outside the screen of a phone then you have to rely on other tools. “If you’re going to print photos, say the size of those for the Lavazza Calendar, you’ll probably need a higher quality camera“. 

I take my leave with the knowledge that I have just had one of those once-in-a-lifetime encounters and one phrase keeps ringing in my head, “I Can Change The World”. 

Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
Photography
Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
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Erotic and sexy photography by Joshua Rhodes

Erotic and sexy photography by Joshua Rhodes

Buddy · 4 days ago · Photography

Joshua Rhodes is a Californian photographer present on Instagram with the accounts @fuzzyaxolotl and @fuzzyanalog.

His images are charged with solar eroticism: pin-up style models, portrayed with irony and sensuality, with a vintage style that seems to echo the editorial taste of Playboy and a certain 70s erotic cinema.

The statuesque bodies of blonde models shine in the sun on perfect beaches, emerge from the water of the ocean or crystalline pools.

Natural shots, delicate and glossy lights.

Check out a selection of his shots here, follow him on Instagram and on his personal website.

Erotic and sexy photography by Joshua Rhodes
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Erotic and sexy photography by Joshua Rhodes
Erotic and sexy photography by Joshua Rhodes
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The world’s best nature photography of 2021

The world’s best nature photography of 2021

Tommaso Berra · 4 days ago · Photography

After the ranking of the best astronomical and microscope photographs of 2021, these days the best wildlife photos of the last year have also been awarded. The Wildlife Photographer of the Year is a competition organized by the Natural History Museum in London, now in its 57th edition.
There are many aspects that make extraordinary the 100 photos in competition, taken by professional photographers or amateurs and selected from 50 thousand proposals. On the one hand, the technique used and the patience in waiting to take the perfect shot, unrepeatable in many cases. On the other hand, the unusual point of view, which brings viewers closer to unusual natural events or animals that are difficult to approach, such as the shot of the spider as big as a human hand or the “selfie” taken by a grizzly bear in front of the carcass of a deer in the United States.

The Wildlife Photographer of the Year contest is divided into 19 categories, from which the two winners have been announced. Laurent Ballesta, who specializes in aquatic photography, won the Adult Grand Title Winner with an image capturing some camouflaged groupers in French Polynesia emerging from a cloud of eggs and sperm. It took the French photographer five years of night diving to capture this moment, which occurs only during the July full moon period.
The other winner of the wildlife photo contest was Vidyun R. Hebbar, just ten years old, who was awarded the Young Wildlife Photographer of the Year for his image of a spider wrapped in its web, taken in Bangalore, India.

foto naturalistiche | Collater.al
The world’s best nature photography of 2021
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The world’s best nature photography of 2021
The world’s best nature photography of 2021
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Female portraits by Marat Safin

Female portraits by Marat Safin

Giulia Guido · 4 days ago · Photography

Women are the protagonists of the shots by Russian self-taught photographer Marat Safin. Lonely women, women in the house, in the kitchen or lying on the bed, women immersed in nature, free among the high grass, women looking in the car or immortalized in spontaneous poses. 

Marat’s female portraits convey a sense of calm, intimacy. 

The warm light that we find in all her shots immediately gives the family atmosphere, giving us an air of home, of familiarity. 

In our gallery you can find a selection of her shots, to find out more go to the Marat Safin’s Instagram profile

maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
Female portraits by Marat Safin
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Female portraits by Marat Safin
Female portraits by Marat Safin
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