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In 2017, British artist Alan Warburton called computer-generated images the “new wilderness”: virtual reality and, more recently, of course, artificial intelligence. In his opinion, this is where the real artistic innovation happens, as major media and entertainment companies try to make their films look as “real” and realistic as possible.
IFFR
Art Directions. At various locations in Rotterdam until February 3rd. Info: iffr.com
These new techniques are a safe haven for mutations, misfires and experiments. A brave space for art that deviates from the usual, Frankenstein’s monster in computer art (albeit in neon colors), so to speak. How much this style has now become mainstream can be seen in “Art Directions”, the program for film art outside the cinema walls at the IFFR.
The “new wilderness” can be seen in the VR film, for example 8 billion self by Nemo Vos, who has collaborated with the musician and storyteller Spinvis, who will perform his compositions live for the occasion. It is one of the highlights of the festival. Through an odyssey of successive animation styles, the viewer travels through time and space, raising the question of whether people are as unique as we sometimes think. Especially when you consider that humans emerged from a large primordial soup.
https://www.youtube.com/watch?v=8u6nInwYWUc&t=18s
In Rotterdam Central Station, the Belgian-Australian artist duo Anne Fehres and Luke Conroy invite you to their film collage and parody of a YouTube tutorial unfolding out for morning yoga. Here too is a vision of the future in which this time you have landed in a wellness dictatorship. Everything is smooth and glittery, but it is Wellness also for humans Wellness for the planet? It is a typical product of the Millennial generation that is conquering video art: hermetic, vulnerable and serious at the same time.
In the three-screen installation We’ll definitely talk about it when the latest air alert ends by Yuri Yefanov from Ukraine in the Joey Ramone gallery, the future is Instagram purple and hippos swimming through the air. The work is partly a reflection on the war with Russia, partly a vision of the future in which a dubious new world order emerges after environmental crises and the apocalypse. A place where the differences between species disappear and humans are no longer the crowning glory of creation. Magic words like hybrid, fluid and non-binary also seem to apply to computer-generated mythical creatures.
Digi aesthetics
In a time of ontological uncertainty, there are no answers in art, but also hardly any questions, seems to be the common thread of the art directions. The Italian artist and filmmaker Rosa Barba had the opportunity to browse the Boij-mans depot. From Draw probable conclusions/Conclude with probable drawings One wishes it could stay longer than just the festival week. When it comes to the role of technology and video art, many associative lines can be drawn between the archival pieces in her mini-exhibition and the new works in Art Directions.
Since the advent of AI and supercomputers, the line between science and digital aesthetics has become even more blurred. Apart in V2_Lab for Unstable Media is an interdisciplinary research project. Of all the works, this work brings us the closest to the facts. AI presents possible solutions to the climate crisis in real time. Humans are no longer the focus, although one of the AI answers is based on very human logic: plant more trees.
The solution using AI is now also contributing to the problem: Data scientist Alex de Vries recently mapped the energy consumption of simple AI calculations: If we continue with ChatGPT as before, in 2027 we will use as much energy for AI worldwide as everyone does now Netherlands.
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