The Origin of World 2017

The Origin of World 2017

The Origin of World 2017
Ehibition "Artists & Robots", Astana, Kazakhstan

Sizes: 295 ft²

Software: Cyrille Henry / Antoine Villeret

Technical production: Voxels Productions

From: 06/10/2017 To: 09/10/2017

astanacontemporaryartcenter.com

The Origin of the World  is inspired by the world of biology, microorganisms and cellular automata. Cells multiply in abundance, divide, and merge in sometimes slow, sometimes rapid rhythm. Everything comes together, comes apart, and changes shape at top speed and when the viewer moves, the trajectory of the cells is disrupted.   

These organic universes mingle sometimes with constructivist universes made up of Pixels. These unstable, black-and-white megapixel tableaux gradually give way to vivid, color-saturated spirals. An organic world or a pixilated one, this artificial universe somehow seems to meet up with the universe of living beings. This is a new kind of “technological Baroque” art that gives form to the formless while perpetually replenishing itself.

When the viewer moves, the trajectory of the cells is disrupted. Sinuously rippling curves bring back to life the artificial paradises of the Nineteen Seventies. They create unprecedented visual experiences that are not unreminiscent of psychedelic universes.

Ehibition "Artists & Robots"
Curators: Jérôme Neutres, director of strategy and development at the RMN-Grand Palais and Miguel Chevalier
Astana Contemporary Art Center, Kazakhstan
10 June to 10 September 2017

Artists: Memo Akten, Jacopo Baboni Schilingi, Michel Bret & Edmond Couchot, François Brument & Sonia Laugier, Miguel Chevalier, Demian Conrad, Elias Crespin, Michael Hansmeyer, Raquel Kogan, Peter Kogler, Lab[au], Rafael Lozano-Hemmer, Leonel Moura, Nervous System, Quayola, Stelarc, Patrick Tresset 

Our world has been universally and uniformly transformed by advances in artificial intelligence and its scientific, industrial, financial and domestic applications. We might be forgiven, then, for thinking that art, to paraphrase André Malraux, would be the last (direct) path from man to man. The Artists & Robots project explores this other, less publicised but no less actual dimension of the rule of advanced technology: the advent of the artificial imagination. Is a machine capable of being an artist’s equal? Can a robot ever replace a painter or sculptor? To what extent is there such a thing as artificial creativity? Five hundred years ago, Leonardo da Vinci drew dream machines - a floating palace, a helicopter, a tank, an industrial loom. But this kind of visionary genius does not seem to have dared imagine a machine to replace the artist. Machines to create: these are the works presented in the first museographic exhibition organised by the Rmn-Grand Palais to look in detail at artificial imagination in its various artistic materialisations, and to address the major issues raised by this technical revolution: artists who create machines that create art.

The exhibition features seventeen art installations produced between 1980 and 2017, all generated by computer software.
These robots have been designed, programmed and set up by artists from thirteen countries whose works are included in the collections of museums around the world. All of the creations presented in this exhibition - paintings, sculptures, mobiles, immersive installations, architecture, design and music - are the result of a collaboration between artists and the robotic programmes they have invented. These computer programmes are not only intelligent, they are also creative, to the extent that they are capable of producing unprecedented forms and figures that give us something both to look at and to think about.

A film by Claude Mossessian