The Forgettable Art Machine

FILE 2024 | Installations

International Electronic Language Festival

The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.

Bio

Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.

Credits

Co-production: Zester
IA Music: Than van Nispen

Pétrole
L’idée principale de ce projet est de présenter aux visiteurs de l’exposition la possibilité de détruire tout objet qui pourrait se trouver sur leur personne, afin de le transformer en une composition sonore unique. L’installation se compose de cinq presses hydrauliques, capables d’écraser pratiquement n’importe quel objet (téléphone portable, paire de lunettes, écouteurs ou autre). En cours de destruction, un microphone spécial enregistre les sons émis lors de la déformation de l’objet et, en quelques minutes seulement, un algorithme informatique les transforme en un album de 20 minutes.

Omelia Contadina
Omelia Contadina est née de l’intérêt de JR pour les difficultés rencontrées par un grand nombre de petits agriculteurs et d’habitants des campagnes italiennes. Alice Rohrwacher explique les origines du projet: “l’automne dernier, lors d’une promenade à la frontière entre l’Ombrie, le Latium et la Toscane, j’ai fait part à mon ami et artiste JR de mes inquiétudes quant à la destruction du paysage agricole, violé par les monocultures intensives avec quelles grandes entreprises façonnent des territoires entiers. Je lui ai raconté, en fille d’apiculteur, la mort massive d’insectes que provoquent de tels changements… À un moment donné, nous nous sommes arrêtés à un carrefour: de tous côtés, des rangées ininterrompues de noisetiers remplissaient le paysage jusqu’à l’horizon. En regardant cela, nous nous sommes dit que cela ressemblait à un cimetière de guerre. Sur le chemin du retour, nous avons décidé – si cela ressemble à un cimetière, nous devons organiser des funérailles. Mais ce doit être un enterrement plein de vie!”

Chronos XXI
Chronos the god of time, permanently destroys and recreates. He who symbolises evanescence and return, was the thematic point of departure for the creation of the kinetic media installation Chronos XXI. The piece is a ‘finger exercise on antiquity’ by our Creative Director Joachim Sauter and was created during his residency at Villa Massimo in Rome. A pendulum continuously swings in front of a monitor. This motion controls the slow synthesis and destruction of depictions of Chronos on the monitor. Chronos appears in various interpretations by painters of the late Renaissance, Baroque and Classicism – as a man who disrobes Veritas, as a performer of volatile music, or docking Cupid’s wings, or as children and crop eating, a scythe and an hour glass carrying, beardy and winged old man.
video

Poetic AI
Ouchhh created an Artificial Intelligence and the t-SNE visualization of the hundreds of books and articles [approx. 20 million lines of text] written by scientists who changed the destiny of the world -and wrote history- were fed to the Recurrent Neural Network during the training. This, later on, was used to generate novel text in the exhibition. 136 projectors shining to be a veritable oneiric experience, the ‘POETIC – AI’ digital installation uses Artificial Intelligence in the visual creation process: the forms, light, and movement are generated by an algorithm that creates a unique and contemplative digital work, an AI dancing in the dark, trying to show us connections we could never see otherwise.

As above
As Above is a short film exploring the tight link between the microscopic world and immensity of the universe. Illustrating our universe’s never ending dance of destruction and creation, in which life can emerge. As Above was made of one single shot filmed on the 8mm2 (0.3 square inch) surface of a chemical reaction. The environment in which we live, is at the constant mercy of the ever changing flow of planets, stars and galaxies… As well as the composition of the microscopic world. “As Above” is an invitation to contemplate the beauty of this perpetual movement of which we are part of… And perhaps invite the viewer to reflect on his position in the universe and the preciosity of life.

Breaking News: Flooding of the Louvre
Natural disaster increasingly linked to a climate change has arrived to the museum of Louvre, which responds to the flooding of Paris in 2018. The artwork also respresents the issue of cultural leftover. Recycling is the main value of the process. By destruction of model that was a part of previous project Put Your Head into Gallery, the leftovers are reconstructed and new meanings and possibilities are created. The flooding of the Louvre Museum speaks about news culture and our fluctuating perception of disasters as it is seen through media. The scale of the disaster is often difficult to assess from news coverage. In the work “Breaking News” flood goes slowly into the room of the Louvre, letting the viewer to gradually watch the destruction of interior. it brings the viewer shochinkly close to what has not happened but easily could have, viewer sees the before and after effect in a highly visualized manner, which is as convincing and threatening, as fake.

Videosculpture XXI
Van der Auwera’s VideoSculptures take a new position to explore the intersections of digital and physical life and how the filtering of images in production, dissemination, and digestion alter both individual perception and consensual experience. Using the screen as sculptural material, these works break images out of the frame in a low-tech manner. They start with an act of destruction as the artist literally takes a knife to a screen to carve away physical layers. Unbeknown to most, these layers are filters that are adhered to every LCD screen. Without the mediation of these filters, images become impossible to see with the naked eye and white noise fills the space.

Oil
The main idea of this project is to present exhibition visitors with the chance to destroy any object that might happen to be on their person, in order to transform it into a unique sound composition. The installation consists of five hydraulic presses, capable of crushing practically any object (a mobile telephone, pair of glasses, headphones or whatever). In the process of destruction, a special microphone records the sounds made as the object undergoes deformation, and in just a few minutes, a computer algorithm transforms them into a 20 minutes album.

Damnatio Memoriae

From the Latin, damnatio memoriae describes an act of erasure from the historical record reserved for
those who have brought dishonor to the Roman State. Employed as the most stringent punishment for
treason, damnatio memoriae physically razes all traces of an individual from society, typically through
the destruction a statue’s physiognomy or the abrasion of inscribed monuments. Throughout the past
two decades, Sassolino has developed a body of work that examines the relationship between industrial
machines and humanist impulses where viewers are meant to question how an sculpture’s kinetic
function aesthetically and conceptually allegorizes human experiences and cultural conditions.

Ada
File Festival
Similar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unawarely struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA”, by Karina Smigla-Bobinski, is a post-industrial “creature“, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures. “ADA” is much larger, esthetically much more complex, an interactive art-making machine.

LA SOCIETE DE LA PLACE DES SPECTACLES
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under the materiality of video, and generate his creative process from the destruction of consumer components.

Reaching for the sky
“He works with the materials provided by the chosen site and shapes sculptural forms in relation to the landscape.It is a process of working with the natural world, the elements of which are shaped into geometrical forms that participate with their environment, continually changing until their final destruction.”more…

高松次郎

The Splits (Rehearsal)

The Splits begins with the bisecting of various string instruments into two halves, cutting them along their length, creating two separate instruments. The two halves must then be played together to complete a tune and are, thus, for duets (or quartets, octets or dectets) only—pieces which she is creating in collaboration with musicians and composers. The act of splitting at once destroys the integrity of the instrument as an object, and disrupts the conventional process of aesthetic creation that the instrument traditionally permits. Splitting is not merely an act of destruction, however. Instead, it opens graceful passages for imagined evolution: the split instrument becomes a newly creative instrument, permitting the creation not only of new music, but new communities (visual artist, the composer, the musicians, and the audience). Ms. Benson has “split” two violins, a viola, cello and double bass: all, cheap, mass-produced string instruments made in China.