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

Giulia Guido · 2 years 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!

*Beneath the neural wawes 2.0*, Entangled Others

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).

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.

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.

*Epitaphs For The Human Artist*, Numero Cromatico

Isabella Ståhl has returned to the North

Tommaso Berra · 5 days ago · Photography

Isabella Ståhl is a Swedish photographer who found herself rediscovering the landscapes of her childhood after traveling all over the world, starting from Stockholm to New York, Paris and Berlin. The North represents the cardinal point from which she initially moved, returning once she honed her artistic maturity, which allowed her to look at the rural, melancholy landscapes of her childhood in a new light.
In Isabella Ståhl’s photos, nature with its vast fields and wild, untamed animals shrouded in fog, which also hides everything else in the landscape like a white blanket, dominates. The extraordinary loneliness of the compositions and the melancholy that enters straight into the viewers’ eyes are two of the main characteristics of the work of Ståhl, an established photographer who has collaborated with some of the most important international brands and publishers during her artistic career. Her ability is not only to be able to build a story behind the moments she chooses to shoot, but also to return like physical sensations of warmth, coldness, and chills that make everyone who stops to look at the photographs a protagonist.

Isabella Ståhl was recently a guest artist in the group exhibition ImageNation in New York, March 10-12, 2023, curated by Martin Vegas.

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Cecilie Mengel’s photos are an inner dialogue

Tommaso Berra · 4 days ago · Photography

One only has to listen to the conversations that arise inside Cecilie Mengel‘s head to imagine how they might be represented photographically. The Danish artist and now resident in New York makes shots that are inner dialogues born from the stimuli she herself receives from her surroundings and the people with whom she experiences very everyday moments.
The result is an artistic production that is marked by a strong variety in subjects and settings, as well as in style, sometimes documentary, other times closer to a certain posed and theatrical photography. They range from shots stolen in the home during a conversation to details of a can of Heinz sauce found in the glove compartment of a cab, all reconstructing a common, everyday story.
Cecilie Mengel’s technique also reflects this same idea of variety. In fact, the artist combines digital and analog photography, in other cases post production adds graphic marks to the images. The lights are sometimes natural other times forcedly created with flash, creating a sense of the whole that is perhaps less homogeneous but rich in personal suggestions and recounts.

Cecilie Mengel was recently a guest artist in the group exhibition ImageNation in New York, March 10-12, 2023 curated by Martin Vegas.

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Cecilie Mengel’s photos are an inner dialogue

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Diego Dominici and the veil of Maya

Giorgia Massari · 4 days ago · Photography

A delicate, almost transparent and imperceptible veil floats before our eyes and filters reality, which becomes subjective and never absolute. The philosopher Schopenhauer called it “the veil of Maya,” that impediment that prohibits man from experiencing reality, that deludes us into thinking we know Truth. Photographer Diego Dominici places it between the viewer and his subjects, transforming it into the actual protagonist of the Atman and Red Clouds series. The figures – men and women – are trapped in the veil, struggling with it trying to escape, clinging tightly to it, trying to penetrate it; in other cases, instead, they welcome it, lying down and conforming to its persuading softness. The viewer is only allowed to catch a glimpse of the shapes of their naked bodies and their bones imprinted on the surface, in a dance of light and shadow that convey sensuality and loneliness at the same time.

Diego Dominici attempts to break the two-dimensionality of photography, creating two planes of depth: the one dictated by the fabric and its ripples and the one in which the subject is placed. The viewer’s eye is led to move continuously over the surface, trying to overcome it and thus reach the subject and its forms therefore, in other words, the Truth.
The analogy with human psychology is stated by the photographer who wants to “rip apart two-dimensionality to investigate the tangles of human interiority.” As in his shots, human beings can choose to be lulled by the veil of illusion, be caressed by a fictitious reality and stand firm on their point of view, or they can choose to break it, thus reaching the other side and look at reality from another perspective. The fabric, or rather the veil, becomes the emblem of relational barriers, those obstacles that come between us and others, which prevent us from understanding the motives of others and create unbridgeable distances. At the same time, the veil becomes part of us, a kind of wrapping that envelops and shapes us, preventing us from going beyond it. But, as Schopenhauer said, the veil of Maya must be torn down, ripped open like a Fountain’s canvas, human must shed the envelope like a snake changing its skin, in order to open up to the other. After all, what is love if not “the cancellation of the ego, the collapse of all conscious discrimination and the renunciation of all methodical choice?” said Salvador Dali in My Secret Life. Diego Dominici’s works thus invite deep intimate reflection but, thanks to his carefully curated aesthetics, they can also simply satisfy the eye and appear as sensual works, in which the veil becomes a prelude to intimate pleasure.

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6 photos to discover the magic of Rodney Smith

Tommaso Berra · 21 hours ago · Photography

He was first a great teacher, educator and essayist, then also a great photographer, who linked his career to portraiture and later to the world of fashion. Over the course of his career Rodney Smith (1947-2016) depicted meticulously constructed, humorous, paradoxical, romantic and funny scenes, which will now be collected in a volume entitled “Rodney Smith: A Leap of Faith,” containing more than two hundred photographs – some previously unpublished – just acquired by the J. Paul Getty Museum.
The project and the Getty acquisition trace a creative trajectory that has made fantasy and elegance a true photographic strand. Viewers are invited to activate a comparison with the Surrealist René Magritte, the painter who comes closest to Rodney Smith in themes and subject matter, as Getty Museum curator Paul Martineau describes Smith: “…like Lewis Carroll’s Alice in Wonderland, his photographs lead us down the rabbit hole to a fantastical place that is just beyond our reach but one intended to inspire us to be better versions of ourselves.“

Collater.al has selected six of Rodney Smith’s most beautiful photographs, A Leap of Faith, the impression is that of frames from a fantasy film or scenes from a great costume musical, with the protagonists dancing and kissing over the roof of a yellow New York taxi cab.