Friday, March 9, 2007

Moura: Session One - A Pragmatic Curator's Point of View (response)

From:Leonel Moura
Date: Fri, 09 Mar 2007 15:30:11 +0000

I agree with Jens Hauser as many art-sci works are too complex and need some kind of explanatory complement, loosing in the process the ability to communicate with large audiences. But this happens also with many contemporary art not science based. I would even say that some art broadcasts incomprehension as a way to gain importance. As less the viewer understands the better the artwork must be. And this was never a problem, on the contrary, for the art scene.

I would consider another point. The fact that art-sci emerged from media art schools, labs and universities and not so much from conventional art schools, bohemia and art communities. The tough communication between the two worlds is not so much a question of code but more of object.

Finally I also agree with Jens on the question of presence, which I consider very important. That is why from the beginning and even more today I am interested in bringing algorithms to the real world and not just to stare at the computer monitor. I have chosen conventional painting as a strategy. But the fact that autonomous and smart robots create these true paintings, in the sense that they exist physically and we can witness its construction generates a critical questioning about art, intelligence and the human.

Here, the question of the audiences pop up. Leonel Moura and Andrew Carnieargued that the fact that "sci-art" is often shown in science museums andsuffering from the predominance of commercial art structures is due to the lackof science litterary of curators and critics that cannot comprehend it yet.Another way to see it would be that work in this area often is reduced to its inherent signs and may not oscillate between meaning effects and presenceeffects.


Painting by the robot ISU, with its signature
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