However, two individuals of darker complexion are kneeling on the floor in evident discomfort. It is challenging to discern their expressions as their features are concealed by large, plush golden masks, reminiscent of being immersed in the top half of an Easter chicken.
Merely observing the subtle rise and fall of their chests offers a hint of their humanity, as they remain eerily still, resembling sculptures more than living beings. This is quite fitting since these beings are not entirely human; they are hybrids known as “Idioms,” a creation of the French designer Pierre Huyghe for his grand exhibition, Liminal, showcased at Punta della Dogana in Venice.
Throughout the months from March to November, these Idioms meander within the museum, with artificial intelligence poised to interpret data collected from sensors embedded in their masks, gradually transforming it into a unique language. Over time, the Idioms may develop vocabulary, perhaps even establishing a means to communicate amongst themselves. With each passing moment, Huyghe ponders the potential conversations they might engage in two decades hence.
In a dimly lit room, two Idioms kneel opposite a sizable black box suspended from the ceiling, described as a “self-generating instrument” equipped with environmental sensors that produce ambient music and intersecting beams of light just before the exhibition’s public unveiling. The Idioms seem to have mustered only a few syllables in response to the artwork before them, which are mirrored on the gold LED screens adorning their foreheads. Their inquiries manifest as crackling voices, echoing a simple query, “What is this?”
It is indeed a pertinent question. Artists delving into the realm of artificial intelligence, a domain characterized by paradigm shifts and era-defining advancements, often find that the true essence lies beyond the surface. Huyghe himself acknowledged during a press briefing three weeks before the exhibition that grasping the AI-generated nature of the Idioms’ communication might pose a challenge for casual observers, who may misconstrue the voices emanating from the Idioms’ masks as their own.
Modern artists are compelled to engage with the burgeoning technological landscape that has revolutionized various sectors, from journalism to education, since the emergence of ChatGPT in 2022. Notable figures like the German filmmaker Hito Steyerl and the European conceptual artist Gillian Wearing have harnessed AI to augment their artistic endeavors, mirroring Huyghe’s approach. Following the closure of Liminal’s second iteration, an upcoming multimedia exhibition by the European artist Philippe Parreno, purportedly “fully IoT-driven,” will grace the Haus der Kunst in Munich.
The utilization of AI by artists runs the risk of appearing superficial as it becomes increasingly pervasive in daily life. Refik Anadol’s “live paintings” at the Serpentine Gallery in London, which purportedly captivated audiences for extended periods, exemplify this trend. Anadol’s AI-infused exhibitions, such as Echoes of the Earth: Living Archive, crafted using imagery of rainforests and coral reefs, have drawn both admiration and criticism, with some suggesting that his AI-generated works are overhyped.
Critics, such as New York Magazine’s Jerry Saltz, have expressed reservations about the depth and significance of AI-generated art, pointing out instances where the novelty overshadowed substantial artistic expression. Saltz’s critique of Anadol’s Unsupervised installation at the Museum of Modern Art underscores the importance of imbuing AI-generated art with vision and purpose to resonate with audiences on a profound level.
Huyghe’s Idioms offer a unique perspective on the intersection of art and artificial intelligence, presenting an ongoing process of “artificial learning” rather than a static state of “artificial intelligence.” The unpredictable nature of the Idioms’ evolving language, beyond the artist’s direct control, introduces an element of excitement and uncertainty, raising intriguing questions about human-non-human interactions.
In contrast, the incorporation of AI in Camata’s installation appears less provocative. Robotic appendages encircle a skeleton in an arid desert, engaging in a mysterious ritual captured through real-time editing by artificially intelligent “editors.” This dynamic editing process, influenced by a myriad of factors captured by sensors, offers a glimpse into a complex interplay of technology and artistry.
As audiences immerse themselves in these AI-infused exhibitions, a sense of wonder and curiosity pervades the experience, prompting contemplation of the fantastical elements at play behind the scenes. While the technical intricacies of these AI-driven artworks may remain veiled, the impact on the viewer’s engagement and perception is undeniable, underscoring the evolving landscape of art in the digital age.
The ongoing evolution of AI in art heralds a new chapter in artistic expression, challenging conventions and blurring the boundaries between creator and creation. As AI continues to weave its way into the fabric of artistic endeavors, the discourse surrounding its role and impact in the art world will undoubtedly evolve, paving the way for innovative interpretations and immersive experiences that transcend traditional artistic paradigms.
