TOWARD THE UNKNOWN | LEE MULLICAN

Row 1 

JENNIFER & KEVIN MCCOY | MACHINE ORGANIC

Sougwen Chung's work investigates the interactions between mark-made-by-hand and the mark- made-by-machine as an approach to understanding the dynamics of humans and systems.
A former research fellow at MIT, Chung is a pioneer of human and machine collaboration. There, they programmed and built robots named D.O.U.G. (Drawing Operations Unit Generation_X).

SOUGWEN CHUNG

Row 2

Collect paintings, plotter drawings, works on paper and sculptures by artists of our time.

KEVIN ABOSCH

AI-DA

aurèce vettier

JAMES BLOOM | LOSS SURFACE

Julia Beliaeva

"As AI spreads across productive and creative industries and work positions are eliminated, are we condemned or freed? Are we giving up too much of ourselves in exchange for the hard work it offers to do for us? What happens inside AI's opaque, complex mathematical minds? What are their ethics? Who are these entities? Are they restless slaves we exploit, or the masters we obey?" – Maria Mavropoulou <meta charset="utf-8">Presented by <a href="https://www.koeniggalerie.com/">KÖNIG GALERIE</a> as part of REIMAGINE TOMORROW, 1954-2024. AI IN CONTEXT #2, 17–24 November 2024, on the occasion of the AI Biennale in Essen, Germany.

MARIA MAVROPOULOU | TECHNOTOTEM

Since the early 1960s, Gottfried Jäger has been working in the field of "abstract" photography. He regards the photographic process not only as a medium for conveying external conditions but as an artistic object in its own right.
With this approach, he is the forerunner of a new generation of photographic artists such as James Welling, Walid Beshty, Liz Deschenes, Marco Breuer, and others. In over fifty years of visual practice, his name has become one of the best known in German photographic art. Presented in collaboration with <a href="https://www.photoeditionberlin.com/">Photo Edition Berlin</a>.

GOTTFRIED JÄGER | GENERATIVE PHOTOGRAPHY

Hein Gravenhorst (*1937) is a co-founder of generative photography, a genre of photography that aims to generate logically comprehensible aesthetic structures based on defined programs. This genre is related to Max Bense's generative aesthetic, which provides principles for generating specific operations methodically.
<meta charset="utf-8">Presented in collaboration with <a href="https://www.photoeditionberlin.com/">Photo Edition Berlin</a>.

HEIN GRAVENHORST | GENERATIVE PHOTOGRAPHY

HEINRICH HEIDERSBERGER: ESPACE THE DARKNESS. RHYTHMOGRAMS, 1953-1965 29 AUGUST - 9 SEPTEMBER 2023 
On view is a selection of RHYTHMOGRAMS Heinrich Heidersberger has created since the early 1950s using a self-built drawing machine. He had an influence on the history of generative photography and algorithmic art with his RHYTHMOGRAMS which are, among others, in the collection of the Museum of Modern Art in New York, and influenced contemporaries such as Jean Cocteau and Herbert W. Franke.
The RHYTHMOGRAPH, as Heidersberger called his device, was redesigned several times and perfected. The larger version, which was made of conventional scaffolding, still stands fully functional in the exhibition room of the Heidersberger Institute today and takes up close to twenty square meters of floor space. Using four harmonically muffled pendulums, it creates traces of light on photographic material via a mechanically linked mirror and a point source of light. Three-dimensional images are produced by controlling the frequency, phase difference, amplitude, and transmission of the pendulums—two drive the mirror vertically and two horizontally.
EXPANDED.ART Friedrichstraße 67, 10117 Berlin Monday - Saturday: 11 AM - 6 PM CET

Heinrich Heidersberger | Escape the Darkness

PLN DD 9 is a vintage computer-generated photograph created by Vladimir Bonačić as part of his PLN series in 1969. Within the PLN series, Bonačić utilized computer-generated images and mathematical algorithms to construct visual compositions. The artworks feature numerical combinations visualized in fields containing various elements. The PLN DD 9 photograph, along with other works in the series, depicts symmetrical and asymmetrical compositions within a defined geometric raster.

VLADIMIR BONACIC | GENERATIVE PHOTOGRAPHY

Karl Martin Holzhäuser, a member of the international group Concrete Photography (Konkrete Photographie), has developed a consistently remarkable body of work through his artistic practices since the late 1960s. His art is influenced by two cultures: the culture of Concrete and Constructive Art, to which he felt connected from a young age, and the culture of photography as a medium, particularly its inclination towards experimentation and design. Holzhäuser's oeuvre can be seen as an experiment that visually synthesizes the cultures of art and technology. It explores the interplay of colors, forms, space, and time within the medium, constantly challenging its inherent ambitions.
<meta charset="utf-8">Presented by Photo Edition Berlin as part of REIMAGINE TOMORROW, 1954-2024: AI in Context #2, 17–24 November 2024, at Heilig Geist, on the occasion of the AI Biennale in Essen, Germany.

KARL MARTIN HOLZHÄUSER | GENERATIVE PHOTOGRAPHY

ROGER HUMBERT | GENERATIVE PHOTOGRAPHY

Pierre Cordier, who passed away in 2024, was one of the most significant figures in experimental photography. As the primary representative of the chemigram technique, which he developed in 1956 and trademarked in 1963, he carved out a unique place in the history of photography. Unlike traditional photographic methods that require a camera and enlarger, Cordier created his works through the direct photochemical treatment of light-sensitive paper. Using developer and fixer, he worked without a lens or enlarger, resulting in a synthesis of photography, painting, and chemical experimentation.
<meta charset="utf-8">Presented by Photo Edition Berlin as part of REIMAGINE TOMORROW, 1954-2024: AI in Context #2, 17–24 November 2024, at Heilig Geist, on the occasion of the AI Biennale in Essen, Germany.

PIERRE CORDIER | GENERATIVE PHOTOGRAPHY

BORIS ELDAGSEN | PROMPTOGRAPHY

JOACHIM BOSSE

Amir Fattal begins each of his works with a series of keywords and prompts that coax a fictional portrait out of the depths of the "collective unconscious" of artificial intelligence. The subjects are various protagonists of an idealized "art world" – from artists with models in their studios to collectors in their homes to art dealers in their offices. They all pose with one of their most prized possessions: an "artwork within an artwork". This second artwork is also the product of AI, generated according to the specific aesthetics and values of each protagonist depicted.
<meta charset="utf-8">Presented by <a href="https://www.koeniggalerie.com/">KÖNIG GALERIE </a>as part of REIMAGINE TOMORROW, 1954-2024. AI in Context #2, 17-24 November 2024, Heilig-Geist-Kirche, Essen, on the occasion of the AI Biennale in Essen, Germany.

AMIR FATTAL | POST-ARTIFICIAL PAINTINGS

Travess Smalley

ARNO BECK

A JONAS LUND TOKEN (JLT) FUTURE is a forward contract that enables you to bet on the future value of Jonas Lund’s artworks and the JLT itself.

JONAS LUND TOKEN FUTURES

Betha Sarasin explored the shape of the cube from 1972 to 1988. Early works document how, even before the use of computers, Sarasin anticipated the generative creation of art through drawings, such as varying cubes composed of cut cubes. As early as 1979, she exhibited computer-aided examples of works resulting from her collaboration with the Fraunhofer Institute for Mechanics of Materials in Freiburg im Breisgau at the Hervé Odermatt gallery in Paris.

BETHA SARASIN

A fascination with cubes is visible in Hans Dehlinger‘s work from the very beginning of his artistic expression. Among his early drawings is a series of digitally manipulated cubes, originally produced in 1986/87 on a small pen plotter. Larger drawings followed as he gained access to a larger plotter in subsequent years. One of the works from this series, a silkscreen print of CUBE 4, was Hans Dehlinger‘s first contribution to SIGGRAPH in 1989. Today, it is in the collection of the V&amp;A Museum, London.

HANS DEHLINGER | CODED CUBES

COMPOSITION #82 by Marcel Schwittlick is a drawing series originating from the cursor approach, using pre-recorded cursor lines as random entropy for generative compositions. All editions of this series use ballpoint pens to draw parallel lines inside and outside the closed cursor path. Each piece involves several kilometers of pen drawing, with very light pen pressure to achieve very thin lines. Some editions fell victim to heavy bleeding from the ballpoint pens.

MARCEL SCHWITTLICK | COMPOSITION #82

Herbert W. Franke | 1953-2023

PAUL PRUDENCE | TYPEWRITER DRAWINGS

FAR | SCRAPE

ANNE SPALTER | ART FOX

A CHILD’S MACHIAVELLI by Claudia Hart was initially written and illustrated by the artist in 1995, inspired by Niccolo Machiavelli’s Renaissance treatise, THE PRINCE, the first book of political philosophy. Hart’s version began as a series of oil paintings and a small catalog, produced by the Realismus Studio, at the Neue Gesellschaft für Bildende Kunst, Berlin in 1995.
The catalog was eventually released as an expanded hardcover by Penguin USA in 1998, along with German and French editions.
While keeping to the meaning of the original, Hart rewrote THE PRINCE, reflecting street values and the voice of youth culture, as if Machiavelli’s book, meant to advise kings on seizing power, was a primer to teach good manners to small children.
"We are obviously in a period of cultural crisis, with the world slipping into autocracies, war in the Ukraine, and democracy dramatically destabilized in the USA. Social media is used to spread misinformation and engender fear and terror in order to manipulate the populace.
The little mottos that I wrote in the early nineties are more relevant now than ever. They seem to be pointedly directed at the cultural and political world of today. Yet when I wrote them, I felt that I was translating Machiavelli’s early 16th-century text into the politics of that time."
– Claudia Hart, June 2023
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CLAUDIA HART | A CHILD'S MACHIAVELLI

The exhibition PLOTTED LINES by Hans Dehlinger is comprised of 26 of the artist's plotter drawings of the past three decades and shows the artist’s exploration of the medium and the line. With a focus on algorithmically generated line drawings, Dehlinger bases his generative artworks on computer code executed on pen plotters, forming delicate structures, dense textures, or even evoking an unsharp impression from sharp lines.

HANS DEHLINGER | PLOTTED LINES

"I am a writer. As students, we ran the first print peer-reviewed magazine for the history of art. It later turned into a blog. We won prizes.
Social media killed art criticism.
Readers mainly respond to headlines and quotes on social media. At best, it‘s a lively exchange of thoughts, experiences, knowledge, and opinions.
In 2022, I started tweeting thoughts and questions that, in a different world, I would have turned more often into texts.
As a writer would do, I now present these thoughts and questions, written by hand on a beautiful piece of paper.
The first 5 editions of "tweets from twitter" are the tweets from myself that got the most responses and, at the same time, are a document of a moment in history: the age of Post-NFTism.
Signed. Anika Meier
P.S. Thank you for the lively discussions on Twitter."<quillbot-extension-portal></quillbot-extension-portal>

ANIKA MEIER | TWEETS FROM TWITTER

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