Camera d’Arte

27
Nov

Kate Crawford |Trevor Paglen: Training Humans

“Training Humans”, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”.

“Training Humans Symposium” took place on Saturday 26 October at 2.30 pm, engaging with the exhibition. The event involved Prof. Stephanie Dick (University of Pennsylvania), Prof. Eden Medina (MIT), Prof. Jacob Gaboury (University of California, Berkeley), along with the project curators Kate Crawford and Trevor Paglen. Putting the ideas in the exhibit in conversation with their path-breaking work, the speakers examined questions such as: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?

“Training Humans” explores two fundamental issues in particular: how humans are represented, interpreted and codified through training datasets, and how technological systems harvest, label and use this material. As the classifications of humans by AI systems becomes more invasive and complex, their biases and politics become apparent. Within computer vision and AI systems, forms of measurement easily – but surreptitiously – turn into moral judgments.

Of import to Crawford and Paglen are classificatory taxonomies related to human affect and emotions. Based on the heavily criticized theories of psychologist Paul Ekman, who claimed that the breadth of the human feeling could be boiled down to six universal emotions, AI systems are now measuring people’s facial expressions to assess everything from mental health, whether someone should be hired, to whether a person is going to commit a crime. By looking at the images in this collection, and see how people’s personal photographs have been labeled, raises two essential questions: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?
As underlined by Crawford, “There is a stark power asymmetry at the heart of these tools. What we hope is that “Training Humans” gives us at least a moment to start to look back at these systems, and understand, in a more forensic way, how they see and categorize us.”

The exhibition will be accompanied by an illustrated publication in the Quaderni series, published by Fondazione Prada, including a conversation between Kate Crawford and Trevor Paglen on the complex topics addressed in their project.

English below

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20
Nov

Urs Fischer. Leo

An artwork is not about the now.
—Urs Fischer

Gagosian is pleased to present Leo, an exhibition of new work by Urs Fischer.
Across his protean oeuvre, Fischer frequently evokes art historical genres and motifs with wry self-awareness and humor. In Fischer’s work, the processes of material creation and destruction are often explored through the use of impermanent materials, as in Bread House (2004–05), a life-size cabin constructed from loaves of sourdough bread. Embracing transformation and decay while resounding with poetic contradictions, Fischer’s art excavates the potential of its materials and media, producing joyful disorientation and sinister bewilderment.

Fischer’s candle sculptures exemplify the relationship between permanence and impermanence. He began to make them in the early 2000s with a series of crudely rendered female nudes, standing upright or lounging in groups. A series of realistic figurative candle portraits followed, including a full-size replica of Giambologna’s sixteenth-century sculpture The Rape of the Sabine Women, and Marsupiale (Fabrizio) (2017), which amalgamates a portrait of the Florentine antique dealer Fabrizio Moretti with an oversize bust of Saint Leonard, the patron saint of prisoners. In 2018, Fischer created a candle replica of the art patron and collector Dasha Zhukova, which burned for weeks in the shopfront gallery at Gagosian Davies Street in London.

Fischer’s newest candle portrait, Leo (George & Irmelin) (2019), depicts Leonardo DiCaprio with his parents, George DiCaprio and Irmelin Indenbirken. Cast entirely in wax, the family is posed in mid-action: George gestures while conversing with Leo, as Irmelin holds Leo in her loving embrace.

As with all of Fischer’s candle sculptures, Leo (George & Irmelin) will melt slowly over the course of the exhibition, its original composition transmuted into a form dictated by the wayward laws of physics. Captivating in their materiality and haunting in their implications, Fischer’s candles serve as both portraits of—and meditations on—the passing of time. Elaborating on traditions of memento mori, they remind viewers of the transience of life, beauty, and even art itself.

Leo is presented in the ground floor gallery of Gagosian Paris. On view upstairs in the Project Space is Smalls, an exhibition of new works by Spencer Sweeney.

Urs Fischer. Leo
October 14–December 20, 2019

Gagosian
4 rue de Ponthieu
75008 Paris

+33 1 75 00 05 92
paris@gagosian.com

Hours: Tuesday–Saturday 11–7

Contact
collecting@gagosian.com
press@gagosian.com

Image: Urs Fischer Gentle Moon, 2019 Aluminum composite panel, aluminum honeycomb, two-component adhesive, primer, gesso, solvent-based screen printing ink 96 x 72 in 243.8 x 182.9 cm © Urs Fischer. Photo- Ulrich Ghezzi. Courtesy Gagosian
11
Nov

Dadamaino – Dare tempo allo spazio

La galleria A arte Invernizzi inaugura giovedì 28 novembre 2019 alle ore 18.30 una mostra personale di Dadamaino (Milano 1930 – 2004), che ripercorre i diversi momenti della ricerca dell’artista mettendo in luce l’unitarietà e la continuità che ne hanno segnato le scelte estetiche e personali nel corso del tempo.

“Nella feconda stagione di radicali azzeramenti linguistici – scrive Bruno Corà – a cavallo tra la fine degli anni Cinquanta e l’inizio del 1960, accanto alle proposte degli artefici di Azimuth Piero Manzoni ed Enrico Castellani, trova posto l’azione affiancatrice dell’opera di Dadamaino, integra figura tra quelle emerse dalla tensione spazialista avviata da Fontana. Ma, non diversamente da quegli artisti, Dadamaino raggiunge rapidamente un’autonomia linguistica autorevole e autonoma”.

All’ingresso della galleria si trova l’opera Oggetto ottico-dinamico (1962), in cui le diverse tessere in alluminio applicate su tavola dall’artista creano delle “scacchiere” variabili che guidano lo sguardo attraverso percezioni illusorie. Al primo piano della galleria sono esposti tre lavori appartenenti al ciclo de “La Ricerca del colore” (1967) in cui l’artista ha approfondito il rapporto che viene ad instaurarsi fra diverse coppie di colori combinate, in termini quantitativi e qualitativi, utilizzando i sette colori dello spettro (rosso, arancio, giallo, verde, celeste, blu e violetto) associati con bianco, nero e marrone. Nella stessa sala sono presenti anche due tavole del ciclo “Cromorilievi” (1974), in cui l’intenzionalità pittorica emerge, più che dalla variazione dei toni, dalla disposizione degli elementi geometrici utilizzati da Dadamaino per creare molteplici effetti dinamici e luministici che alludono alla profondità visiva. Nella seconda sala del piano superiore si trovano i lavori del ciclo “L’inconscio razionale” (1975-1977), in cui l’intreccio perpendicolare di linee orizzontali e verticali, che affiorano e si nascondono in modo discontinuo sulla superficie, si apre a componenti nuove, più legate a criteri irrazionali e inconsci. Negli ambienti successivi dello stesso piano sono esposte opere appartenenti alla serie dei “Volumi”, che l’artista ha realizzato tra il 1958 e il 1960, e che si differenziano in diverse tipologie, in relazione al numero dei fori realizzati sulla tela, fino a giungere ai “Volumi a moduli sfasati” (1960) in cui la superficie trasparente viene movimentata dalla fitta successione di fori regolari, praticati su fogli di materiale plastico sovrapposti. La riflessione sul segno che Dadamaino avvia con “L’inconscio razionale” viene maggiormente indagata al piano inferiore della galleria, dove nelle opere appartenenti al ciclo “Costellazioni” (1984-1987) – tra cui Ennetto, presentato alla XI Quadriennale di Roma del 1986 – si può notare una maggiore e progressiva apertura nel rapporto con lo spazio, in cui viene meno la dipendenza rispetto alla struttura lineare della scrittura. Il segno diviene via via una traccia, senza un preciso ordine di svolgimento, e si identifica come pura energia senza un inizio e una fine. Così, quasi fossero solchi nella superficie, i tratti che percorrono le opere della serie “Passo dopo passo” (1988-1990), “Il movimento delle cose” (1990-1996) e dei successivi “Sein und Zeit” (1997-2000), attraverso un minuto e costante proliferare di segni sulla superficie trasparente del poliestere, racchiudono il rapporto tra l’infinitamente piccolo del gesto preciso e chiuso nel momento definito dall’accadimento e l’infinitamente grande del tempo nel suo continuo scorrere.

In occasione della mostra verrà pubblicato un volume bilingue che ripercorrerà l’iter creativo di Dadamaino dalla fine degli anni Cinquanta al 2000, con la riproduzione delle opere in mostra, un saggio introduttivo di Bruno Corà, una poesia di Carlo Invernizzi e un aggiornato apparato bio-bibliografico.

DADAMAINO. DARE TEMPO ALLO SPAZIO
VOLUME CON SAGGIO DI: BRUNO CORÀ
PERIODO ESPOSITIVO: 28 NOVEMBRE 2019 – 5 FEBBRAIO 2020
ORARI: DA LUNEDÌ A VENERDÌ 10-13 15-19, SABATO SU APPUNTAMENTO

A ARTE INVERNIZZI
VIA DOMENICO SCARLATTI 12  20124  MILANO  ITALY
TEL. FAX +39 02 29402855  info@aarteinvernizzi.it

Immagine: Costellazioni, 1986

05
Nov

Julie Wolfe. Under Their Gaze, We Become Creatures

We are distressed by the daily cycle of hateful and self-serving rhetoric. It skews us into unful lling reactions. We are out-of-whack. We ght to avoid turning o . Though ill-at-ease, there is hope of something blooming from our better nature. In a small and special part of our society a growing number of artists are speaking of redress and solace. In their work we can find the energy to turn back on. It is at this moment, within these circumstances, that the Hemphill gallery presents the fourth Julie Wolfe exhibition. To quote the artist, “After the election some dark things became more apparent. My awareness has been heightened. Along with many others, I am concerned about the social and cultural impact of this sort of spiritual crisis, about the lack of truth. Through my work I am finding ways to cope and be hopeful. The upcoming show is a response. The show contains works from three series. There is the confrontational character of the ‘Under Their Gaze, We Become Creatures’ series. In the landscapes from the ‘Venus Site Speci c’ series there is an otherworldliness. And in the ‘Magnitude of Equality’ paintings the gravity defying e ects of the color and gray scale studies speak of the power of diversity and equality.”

The artist describes her show as a response to current events, but none of the works in Under Their Gaze, We Become Creatures are didactic. Each piece carefully provokes thoughts of potential catastrophe, present dangers, or feelings of dislocation. Yet the show is colorful, hopeful. We experience a sense of generosity in the artist’s viewpoint. “I hope you find something to respond to, something to contemplate, to remember, something that opens up in you.” Great artworks are machines of perpetual motion. They move us from tradition, responding in the present, pushing us towards the future. The artist reminds us that art is always connected to society.

The limited edition folio, Dream Sequel Series: Under Their Gaze, We Become Creatures, is published in conjunction with the exhibition.

Julie Wolfe (American, born 1963) is a visual and conceptual artist living and working in Washington, DC. Her work is exhibited and collected internationally and has been featured in ARTnews, BBC America and Hyperallergic. She has published numerous limited edition artist books and folios, and has held residencies at AGA Lab, the Netherlands, and Mass MOCA. Wolfe received a BFA in Painting and Art History from The University of Texas, Austin, TX.

H E M P H I L L  opened as a commercial gallery in September of 1993. The exhibition schedule features contemporary art ranging in media from emerging to mid-career and established artists. In addition to these shows the gallery mounts exhibitions of historically significant artwork and socially relevant subjects. The diversity of this schedule is designed to showcase important talent and provide artwork appealing to a broad range of interests.

HEMPHILL Fine Arts
1515 14th Street NW #300
Washington DC, 20005

Phone: 202.234.5601
Fax: 202.234.5607
gallery@hemphillfinearts.com

Gallery hours are Tuesday – Saturday, 10am – 5pm and by appointment.

JULIE WOLFE
Under Their Gaze, We Become Creatures
Until November 16, 2019

Image: JULIE WOLFE. Direct Daylight, 201, ph. amalia di lanno

report gallery by amaliadilanno

28
Ott

Marcel Duchamp: The Barbara and Aaron Levine Collection

The Smithsonian’s Hirshhorn Museum and Sculpture Garden has announced a two-part exhibition on the life and legacy of Marcel Duchamp, commencing with “Marcel Duchamp: The Barbara and Aaron Levine Collection” on view Nov. 9–Oct. 12, 2020. This first part of the exhibition will feature the recent gift of over 50 major historical artworks, including more than 35 seminal works by Duchamp, promised to the museum by Washington, D.C., collectors Barbara and Aaron Levine. The second stage of the exhibition, on view April 18, 2020–Oct. 12, 2020, will examine Duchamp’s lasting impact through the lens of the Hirshhorn’s permanent collection, including significant works by a diverse roster of modern and contemporary artists. Both exhibitions are organized by Evelyn Hankins, the Hirshhorn’s senior curator, and accompanied by a 224-page publication.

“The Levines’ gift is transformative for the Hirshhorn, and because of their generosity we are able to present the works of one of the most significant artists of the 20th century, whose influence is still felt by artists working today,” said Hirshhorn Director Melissa Chiu. “Through this exhibition, museum visitors will observe firsthand the evolution of Duchamp’s creative output alongside examples of artworks by his peers and artists of subsequent generations.”

“Marcel Duchamp: The Barbara and Aaron Levine Collection” comprises an unparalleled selection of artworks, thoughtfully acquired over the course of two decades and offering a rarely seen view of the entire arc of Duchamp’s career. The exhibition will include a number of Duchamp’s most famous readymades, including “Hat Rack,” “Comb,” “Apolinère Enameled,” “With Hidden Noise,” “L.H.O.O.Q.” and “Why Not Sneeze?,” which together embody Duchamp’s then-radical idea that an artist’s ideas are more important than craft or aesthetics. Also prominently featured will be a number of Duchamp’s unique drawings and prints related to his magnum opus, “The Bride Stripped Bare by Her Bachelors, Even (The Large Glass),” including “Pendu Femelle,” “Studies for the Bachelors in the Cemetery of Uniforms and Liveries, No. 2,” “Bride” and “Nine Malic Moulds.” Further insight into his unique working process is revealed by “The Bride Stripped Bare by Her Bachelors, Even (The Green Box)” and “In the Infinitive (The White Box),” which contain more than 150 facsimiles of Duchamp’s working notes for “The Large Glass.” His forward-thinking mindset can be seen in his later kinetic works, such as the “Rotoreliefs (Optical Disks)” and “Cover of S.M.S. (Esquivons les ecchymoses des esquimaux aux mots exquis),” which demonstrate the artist’s interest in creating works that call upon the brain to enhance, instead of merely process, the information received by the eye, deftly anticipating future experiments in film and Op art. The exhibition will also include portraits of Duchamp, as well as works by his contemporaries and those he influenced, including Man Ray, Tristan Tzara, Henri Cartier-Bresson, Diane Arbus and Irving Penn, among others. An educational resource room for visitors of all ages will be included at the end of the exhibition, featuring books about Duchamp and his practice and hands-on making activities inspired by the artist’s work. An interactive chess table will also be included at the end of the exhibition—a nod to one of the artist’s favorite pastimes.

The second exhibition focuses on the extraordinary legacy of Duchamp by examining works from the Hirshhorn’s permanent collection that touch upon a number of broad themes pivotal to the artist’s practice. The exhibition will begin by introducing artwork created by Duchamp’s friends and contemporaries, many of whom explored similar ideas, often challenging traditional artistic mediums to create work that questioned the conventional ideas of fine art. Other issues investigated in the work of artists like Joseph Kosuth and Robert Rauschenberg include optics and light, language, the reuse and reproduction of existing images, the use of everyday objects, the artist’s commitment to self-representation and his belief that an artwork’s meaning is inherently dependent on the viewer.

The promised gift will establish the Hirshhorn as a preeminent Duchamp resource in the mid-Atlantic region, offering one of the most significant public collections in the United States alongside those of the Philadelphia Museum of Art and the Museum of Modern Art. Together the paired exhibitions, which demonstrate not only Duchamp’s incredible impact on art, but also the ways in which his revolutionary practice transformed people’s understanding of what an artwork can be, will give viewers a full awareness of the artist’s inimitable significance.Continue Reading..