Kelly Luck
Strangeland 1 (excerpt)

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Kelly Luck – Strangeland 1 (excerpt) – United States

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

CEREMONIAL FORMALITY
Frederik Heyman’s work is a balancing act incorporating multiple media – including video, installations and photogaphy – often in a digitally altered environment. In his work, Heyman explores memory and duration, using photogrammetry and 3D scanning to depict and represent the passage of time. The hallmarks of Heyman’s work are mechanical and technological: wires, wheels, scrolling LED marquees, metal frames, clamps, industrial lights, screens and cameras. Bodies–as opposed to humans–are subject to unusual dynamics with these technological trappings. In Ceremonial Formality (2020) a contortionist is encased in a metal cage while a spectator, hooked up to wires, looks on.

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

ダグエイケン
道格·艾特肯
new horizon
Doug Aitken was born in California in 1968. He lives and works in Los Angeles and New York. Widely known for his innovative fine art installations, Doug Aitken is at the forefront of 21st century communication. Utilizing a wide array of media and artistic approaches, his eye leads us into a world where time, space, and memory are fluid concepts.

FILEALIVE/ARQUIVOVIVO
online meetings
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The FILEALIVE / ARQUIVOVIVO online meetings, to be held on March 29, 30 and 31, 2021, will include professionals and researchers dedicated to the areas of digital memory, cultural heritage preservation and information technology, present in six round tables, presenting case studies, examples of archives and conservation strategies for organizations that aim the free dissemination and protection of art and technology collections.

Memoria frammentata
Phillip Stearns utilizza in modo creativo tutte le forme di elettronica nel suo lavoro, spesso mescolando luce e suono con tecniche tradizionali come la tessitura. Un aspetto del suo lavoro è la trasformazione della glitch art in disegni intrecciati attraverso il suo marchio tessile concettuale Glitch Textiles, fondato nel 2011. Questo spazia dalla visualizzazione di dati binari grezzi delle applicazioni alla scrittura di algoritmi personalizzati per generare modelli che possono essere trasformati in tattili e funzionali opere d’arte. Un’altra impresa è il trittico Fragmented Memory di grandi arazzi tessuti completato nel maggio 2013 al TextielMuseum di Tilburg, nei Paesi Bassi. Questo progetto ha utilizzato pratiche e processi digitali per sfumare i confini tra fotografia, visualizzazione dei dati, design tessile e informatica.

White Water and Dust
White Water and Dust, a rare double bill by the internationally renowned choreographer Lin Hwai-min, brings great intensity of contrast between the two works. While White Water, set to piano music by Erik Satie, flows like a movable celebration of life, Dust, to a powerful rendering of Shostakovich’s String Quartet No. 8, evokes a memory of Goya’s Black Paintings.

瓦妮莎比克罗夫特
נסה יקרופט
ヴァネッサ·ビークロフト
바네사 비크로프트
ВАНЕССА БИКРОФТ
La Membre Fantôme
For the installation ‘le membre fantôme’, vanessa beecroft takes the visitor back to the classical language of sculpture through a conceptual perspective, leading us towards an intimate gallery room inhabited by timeless statuary. shown at the 2015 venice biennale, beecroft presents a scene that is visible only at a distance, where the viewer must look through a crevice carved out of two marble walls. Through the panels, we see fragments of a stone garden, rich in archaeological allures and echoes of early twentieth century avant-garde. the archive of memory is here a tribute in bronze – placed at the centre of the installation – to marcel duchamp’s ‘étant donnés’, a reference model for her research that combines personal memories, historical and artistic impressions and a conceptual tension.

朱利安·奥利弗
줄리안 올리버
ג’וליאן אוליבר
ジュリアン・オリバー
Джулиан Оливер
Levelhead
FILE FESTIVAL
LevelHead is a spatial memory game. The game takes its inspiration from the “Philosphical Toys” of 18th/19th century Europe and the memory systems (“memory loci”) of the ancient Greeks. levelHead uses a hand-held solid-plastic cube as its only interface. On-screen it appears that each face of the cube contains a little room, each of which are logically connected by doors. In one of these rooms is a character. By tilting the cube, the player directs this character from room to room in an effort to find the exit. Some doors lead nowhere and will send the character back to the room they started in, a trick designed to challenge the player’s spatial memory. Which doors belong to which rooms? There are three cubes (levels) in all, each of them connected by a single door. Players have as a goal to move the character from room to room, cube to cube, in an attempt to find the final exit door of all three cubes. If this door is found, the character will appear to leave the cube, walk across the table surface and vanish. Then the game starts over.

MOL
MOL (2018) takes up the ancient technique of memorizing information by placing symbols and signs along a mental path through an imagined house from room to room. Interested in the way technology affects both our sense of and need for memory, Nymann attempts to capture her own active and associative thinking by reconstructing her path through her abandoned childhood home. In the work, she visualizes her past experiences through the placement of anchor objects—which, according to the ancient Greco-Roman method of loci, shape the way we perceive the external world—suggesting that in our increasing reliance on technology to memorize for us, we allow others to form our view of the world.

פיונה טאן
フィオナ·タン
Фиона Тан
فيونا تان
Rise and Fall
Fiona Tan explores storytelling, memory, and the part they play in the formation of identity throughout this exhibition of five video installations, various associated sketches and one single-channel video. Rise and Fall (2009), elongated projections onto two large, side-by-side screens, is a wordless meditation, set to music, of a woman no longer young but still conscious of her looks; she was clearly a beauty in her youth. As the video proceeds we gather that the young woman pictured on the second screen is the memory of her younger self. They often move through domestic activities (sleeping, bathing, dressing) in parallel; this is inter-cut with scenes of violently rushing water (shot at Niagra Falls, it turns out). It’s a hackneyed metaphor – the water’s endless surging as an image of time’s relentless uni-directionality – but in Tan’s hands that doesn’t seem to matter; she creates extraordinarily emotional work out of simple stories and well-worn themes.