Ava Zevop: The Rise and Fail of Algorithmic Cultures
Visual and intermedia artist Ava Zevop examines synthetic media as a new mode of cultural production, while questioning the insertion of computation into the fields of epistemology and the everyday. The Rise and Fail of Algorithmic Cultures is an interweaving of the artist's past projects and research that foregrounds the influence of different (mainly Western) cultural contexts on the construction of databases, the role of algorithms in generating images, and the resulting successes and failures of artificial intelligence.
The sculptures in the exhibition are generated using a machine learning model that draws on the art historical database ScanTheWorld, a database of three-dimensional scans of various artefacts. The objects on display in the basement room were generated in the process of learning, and therefore also reveal errors, while the two sculptures on display on the ground floor are from the generative space, when the learning process is supposed to have been completed. The duality of the sculptures' display thus reveals the course of such processes, which follow the path of existing and established ways of including and excluding in art collections, while at the same time displaying a completely abstract, alien logic inherent in the "reason" of the computational space itself.
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Visual and intermedia artist Ava Zevop examines synthetic media as a new mode of cultural production, while questioning the insertion of computation into the fields of epistemology and the everyday. The Rise and Fail of Algorithmic Cultures is an interweaving of the artist's past projects and research that foregrounds the influence of different (mainly Western) cultural contexts on the construction of databases, the role of algorithms in generating images, and the resulting successes and failures of artificial intelligence.
The sculptures in the exhibition are generated using a machine learning model that draws on the art historical database ScanTheWorld, a database of three-dimensional scans of various artefacts. The objects on display in the basement room were generated in the process of learning, and therefore also reveal errors, while the two sculptures on display on the ground floor are from the generative space, when the learning process is supposed to have been completed. The duality of the sculptures' display thus reveals the course of such processes, which follow the path of existing and established ways of including and excluding in art collections, while at the same time displaying a completely abstract, alien logic inherent in the "reason" of the computational space itself.
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