SCHRÖDINGER’S BABY
Schrödinger’s Baby(2019/20), TZUSOO alludes to the popular thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. Schrödinger proposed a scenario in which a cat is locked in a box with an unstable radioactive atom that could potentially begin to emit radiation and release a toxic gas. However, there is no way to say with certainty when or indeed whether this will happen without opening the box. The result is a paradox, with Schrödinger asserting that the cat enters a state of superposition that makes it impossible to say whether it is alive or dead.The South Korean artist translates this famous paradox into the reality of her own life, creating a digital baby in virtual space. Based on her inner grappling with potential motherhood, TZUSOO bought the digital model of a developing embryo, refining it according to her own ideas. She is free to determine the sex, skin colour and other characteristics or to dispense with all specifications so as to avoid stereotyping. In Schrödinger’s Baby, TZUSOO thus discuss core aspects of her work including reflection on gender and origin for which she also draws on her personal experience as a South Korean artist in Europe.

After Party

(AI) infinite simulations

‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.

FILE SAO PAULO 2019

МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون
The Last Judgment in Cyberspace
虚拟最后审判
In his latest body of work, The Last Judgement in Cyberspace, Miao Xiaochun appropriates Michelangelo’s Sistine Chapel fresco as territory for similar provocation. Developed on computer, Miao has built a virtual model of the Apocalypse, architecturally structuring the tiers of Christian afterlife. Replacing each of the 400 figures in Michelangelo’s iconic work with his own image and placing them in corresponding pose and position to the original painting, Miao ‘photographs’ the scene from various vantages, ‘documenting’ the Second Coming from viewpoints both within and outside of the scene.