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Paris: Artists and Robots at the Grand Palais

July 2, 2018 butterfly

The Grand Palais (RMN) in Paris is currently showing an impressive exhibition ‘Artists and Robots’ dedicated to AI: artificial imagination, a common term to design robotic art, generative art and algorithmic art.

The exhibition invites audiences to experience works created by artists with the aid of ever more intelligent robots. Around thirty works offer visitors a glimpse into an immersive and interactive virtual world, a tangible experience of augmented reality, of space and time overturned.

Artificial intelligence is now transforming human existence and also affecting the very nature of the artist’s artwork , from its production, exhibition, to its distribution, conservation and reception.

Immersive works, paintings, sculptures, mobiles, cinema, design, and music: all the creations presented in this exhibition arise from artists working with robotic programs invented and provided for the purpose of art.

With the use of increasingly powerful software, artists gain a greater autonomy and an infinite capacity to work with shapes and interactivity. The software programs employed are not only intelligent, but also generate new shapes and figures that allow to see and give pause for thought.

The exhibition is structured in three folds.
The first section present ‘The creative machine’. Robots are always on the move and their movements are sometimes so ‘physical’ and amusing that it is could be easy to give them an animal or human dimension, or even a ‘psychology’.
Featuring works by Jean Tinguely, Nam June Paik, Nicolas Schöffer, Leonel Moura, Patrick Tresset, So Kanno and Takahiro Yamaguchi, J. Lee Thompson, Arcangelo Sassolino.

The second section is about ‘Programmed artwork’, where the robot is becoming invisible. Computing and algorithmic programmes infuse the artwork and technical expertise is set aside as we, the spectators, marvel at the majesty of infinite shapes that change according to the movements of our bodies.

Featuring works by Manfred Mohr, Vera Molnar, Iannis Xenakis, Demian Conrad, Raquel Kogan, Ryoji Ikeda, Pascal Dombis, Elias Crespin, Jacopo Baboni Schilingi, Edmond Couchot and Michel Bret, Miguel Chevalier, Joan Fontcuberta, Michael Hansmeyer and Peter Kogler.

And lastly the space is dedicated to ‘The robot frees itself’.
Deep Learning is making robots even more intelligent and active, to the point where they seem not only to rival humans, but to augment them, fuse with them, taunt them and possibly even duplicate them.

Featuring works by Christa Sommerer & Laurent Mignonneau, Catherine Ikam and Louis Fléri, Stelarc, Nicolas Darrot, Fabien Giraud and Raphaël Siboni, Koji Fukada, Oscar Sharp, Daft Punk, Pascal Haudressy, Memo Akten, ORLAN, Takashi Murakami.

The contemporary works presented in this exhibition give us a good idea of the questions artists are asking, which mirror our own: What is an artist? What is an artwork? What can a robot achieve that an artist cannot? If it has artificial intelligence, does a robot have imagination? Who decides: the artist, the engineer, the spectator, all of us? Can we talk about a collective artwork?

View the full set of pics here

Artists & Robots
Le Grand Palais
Until 8 July 2018

Paris, streets

Paris: Banksy joins the celebrations of Mai 68 riots

June 30, 2018 butterfly

While Paris has been celebrating the 50th Anniversary of the May 68 Riots with multiple exhibitions, elusive artist Banksy has hit the streets of the French capital with a series of new artworks.

May 68 in France – Ten million workers on strike, young people in the streets, public services at a standstill, a paralysed economy: the state faced a major social crisis which threatened to shake its very foundations. The entire country was affected, including all sectors of activity.

Facing the entrance of La Sorbonne University, Banksy put up a dark stencil of a man hiding a saw behind his back while an amputated dog is salivating looking up at a bone. Could be a play on words ‘Saw Bone’ which sounds similar to ‘Sorbonne’, but also is a very cynical symbol of our society, raising questions of sacrifice and perceived rewards from the powers in place.

Placement and context are always very important. This is where the major student demonstrations took place. Interestingly, less than 10 meters away from this ‘Saw & Bone’ stencil, Invader placed a pixelated commemoration plaque on the Place de La Sorbonne earlier this May.

Click on the pics to enlarge

Banksy painted additional little rats characters, with the tag 1968 and the 8 falling apart and being transformed into the bow of the famous Minnie mouse, nod to Disneyland, symbolising with his stencils that the 1968 uprising has lost its luster and morphed into capitalism.

Next to the Centre Pompidou, which hosts Le Musee d’art Moderne, the largest museum of modern art in Europe, Banksy painted a mischief rat, which was later transformed into a bigger one holding a cutter. He posted the caption on his Instagram: ‘Fifty years since the uprising in Paris 1968. The birthplace of modern stencil art.’

The entire city is celebrating the 50th Anniversary, from the streets to institutions. For further historical context about the 1968 riots, the Hotel de Ville is presenting historical pictures by photograph Gilles Caron who documented the student revolts while the Archives Nationales are showing the events of May-June 1968 as seen by the authorities of the time. Earlier in May we also shared the intervention of Spanish artist ESCIF on the external walls ‘Open Borders’ of the modern art institution Palais de Tokyo ( see full coverage here).

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Stay tuned as we continue our coverage of Banksy invasion of the French capital…

London

London: Banksy Vote Love

June 26, 2018 butterfly 2 Comments

For the 250th Anniversary of the Summer Exhibiton at the Royal Academy in London, Banksy submitted an artwork under the pseudonym Bryan S Gaakman, anagram of ‘banksy anagram’ and it was refused. However when curator Grayson Perry contacted him to submit something, Banksy did it again and it is now displayed in the gallery 3.

View this post on Instagram

A post shared by Banksy (@banksy)

The artwork features a heart shaped balloon with plaster over a political board that was used for the Brexit referendum vote. The initial board favoured the ‘Leave’ campaign.
With his humorous style, the ‘Leave’ campaign has been replaced by a ‘Love’ statement. To add further irony, the price tag on the artwork is £350 millions, a nod to the infamous ‘Leave bus’ claiming that Britain would save £350m a week after Brexit.

The heart shaped balloon is an image close to Banksy, starting with his iconic Girl with Balloon (2002) who was also used worldwide for the #withSyria campaign in 2014

The first Love Heart Balloon with plaster appeared at the MOCA exhibition ‘Arts in the Streets’ in Los Angeles in 2011.

Pic by BirdMan

A Heart Balloon mural was painted in the streets of New York in 2013 during his artistic residency Better Out than In.

And a painted canvas with the Heart Balloon was then sold in 2014 to support the Haitian Charity Auction for $650K.

Pic by Banksy

Throughout the years, Banksy expressed his views on political issues, and specially the Brexit. We recall the mural in Dover in May 2017 featuring a worker chiselling away a star from the European Flag (see our previous coverage here).

This was followed by the release of a revisited version of the Girl With Balloon featuring a heart with the Union Jack flag for the UK Elections in June 2017, which was later recalled due to criminal offence (covered)

Pic by Banksy

The 250th Summer Exhibition of the Royal Academy features 1300 artworks from internationally renowned artists and exciting new talents.

Come back again soon for our full coverage on the exhibition.

250th Summer Exhibition
Royal Academy
Until 19 August 2018
Burlington House, Piccadilly,
London, W1J 0BD

Paris, streets

Paris: Banksy for World Refugee Day

June 22, 2018 butterfly 2 Comments

A new mural appeared in the streets of Paris . A black and white stencilled little girl standing on a wooden palette is painting a pink wallpaper over a Nazi cross.

It bears all the tales of Banksy. Timing and locations are key: It’s world Refugee Day and the artwork is located on the wall of dismantled refugee camp in the north of Paris.

It’s the first time that Banksy paints in Paris

The image is reminiscent of his 2009 artwork ‘Go flock yourself’, with the same wallpaper pattern.

The little girl is homeless as shown with her teddy bear and duvet stencilled on the lower part of the wall. Banksy continues to fight against xenophobia and continue to raise awareness about the refugee crisis.

Stay tuned for more Banksy news to come…

London, Shows

London: Sandra Chevrier – Les Cages: We Can’t Be Tamed

June 22, 2018 butterfly

StolenSpace Gallery is currently showcasing the latest body of work by Canadian born artist, Sandra Chevrier, as she makes her long awaited return to the UK. Evocatively titled ‘Les Cages; We Can’t Be Tamed’, the exhibition features a fresh series of Chevrier’s iconic ‘Cage Paintings’ – juxtaposing feminine subjects with comic book iconography in order to explore concepts of social expectation via the female gaze.

”A man can believe until his last breath that he is different from a Caged animal in a Zoo. But through all his life until his death; he will be living in a prison without walls and will still believe he is free when in fact, everyday he will be shackled, whipped, and exist in captivity. We are all slaves of something, of someone, of an idea.”

“The Cages series as been revolving around submission, oppression, unfreedom, confinement and imprisonment. Cages are Cages, whether they were build with steel or from the fabric of the mind. We cannot be free outside the Cage unless we are able to experience the freedom within it. The freedom is inside us. Freedom within a Cage. I have a dream. A dream that freedom is not just an idea or a word. Only; I am not sure what it is… Not yet.”

By applying the comic book trope of the masked figure, Sandra Chevrier conceals the identity of her subjects, rendering them as simultaneously heroic, yet restricted.
Obscured by scenes of hostility and struggle, they peer from the canvas, challenging the viewer to look beyond their own preconceived notions of femininity. Often the artist applies scenes of heroic downfall to her collages – images that display the vulnerability of their super-powered subjects and remind us of their limitations. Sandra Chevrier’s intention is to make clear the often impossibly high standards that society holds women to.