Intelligence artificielle et création artistique

 

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ADAM BASANTA

 

BIOGRAPHIE

 

Photographie : Emily Gan, 2018

ADAM BASANTA (né en 1985) est un artiste pluridisciplinaire (installation, sculpture, vidéo, performance), mais aussi compositeur et interprète de musique expérimentale. Né à Tel-Aviv, il grandit à Vancouver puis choisit de vivre et de travailler à Montréal.

 

Explorant de multiples disciplines et médiums, il interroge les intersections entre les dimensions conceptuelles et sensorielles de l’écoute, la matérialité de l’appareil technologique et les instabilités de l’instrumentation. L’intelligence artificielle et les nouvelles technologies au cœur de sa démarche artistique, Adam Basanta propose une réflexion sur l’art génératif, à l’extrême limite entre l’humain et la machine intelligente.

 

Ses installations audiovisuelles, sculptures et imprimés ont été présentées en Amérique du Nord et en Europe dans des galeries et institutions dont Carroll / Fletcher Gallery (Londres), American Medium Gallery (NYC), The National Art Art Center (Japon), Serralves Museum (Portugal), Edith-Russ-Haus fur Mediakunst (Allemagne), Vitra Design Museum (Allemagne), Laboral (Espagne), la Galerie B-312 (Montréal), la Fonderie Darling (Montréal), Titanik Gallery (Finlande), Fotomuseum Winterthur (Suisse), l’Arsenal Contemporain (Montréal), la Galerie Charlot (France), V Moscow Biennale for Young Art (Russie) et The Center for Contemporary Arts Santa Fe (États-Unis). Son travail a reçu plusieurs prix internationaux, dont le Prix Ars Electronica (2013), le Prix Edith-Russ-Haus (2014) pour les artistes émergents des médias, le Japan Media Arts Prize (2016) et le Aesthetica Art Prize (2017). En 2018, il a été en nomination pour le Sobey Art Award, et en 2019 il a été lauréat du Prix Pierre Ayot. Il est actuellement représenté par la Galerie Ellephant (Montréal).

 

Sa musique de concert expérimentale a été présentée dans le monde entier, y compris des apparitions au MATA Festival (NYC), Gaudeamus Musicweek (NL), CTM Festival (GER), Akousma Festival (CAN) et Mutek Festival (CAN), et a reçu plusieurs prix nationaux et des prix internationaux. Sa musique est sortie sur Kohlenstoff Records (CAN), Farmacia901 (ITA), Important Records / Cassauna (USA) et Kasuga Records (GER).

 

 

 

DÉMARCHE ARTISTIQUE

« Density as a physical property », 2017, sculpture (béton, câbles audio, métal). 

 

« My work explores technological practices as active, participatory, multi-sensory performances which are distributed throughout a variety of human, cultural, material and computational agencies. Through various media and techniques, I try to interrogate points of intersection between sensorial and conceptual manifestations of technology in our everyday life, revealing surprising facets of our daily intertwinement.

 

I employ commercial consumer technologies as my main sculptural vocabulary. By placing these objects in unconventional and absurd relationships to one another, I disrupt their ostensible technical and economic functions, transforming them into sculptural centerpieces. Through this transformation, such objects reveal their material agencies as contemporary prosthetics while simultaneously alluding to their anthropomorphic potentials.

 

I frequently arrange these functional readymades into reconfigured choreographic scenarios. These reconfigurations often involve a seemingly autonomous kinetic, time-based, or performative dimension. Allowing technological artifacts to act in direct relation to one another (rather than a « human user »), I aim to create spaces in which the interplay between viewer and mass produced technologies can be re-imagined, spaces in which technological artifacts function as elements in an self-sustaining ecology. »

 

 – Adam Basanta

 

 

 

 

All We’d Ever Need Is One Another (Trio)

 

« All We’d Ever Need is One Another (Trio) is a mixed-media installation which creates images autonomously through self-generating techniques: a continuously running “art-factory” operating independently of human input.

 

The installation self-generates images using three flatbed scanners laying on their side, with scanning surfaces pointing towards one another. A computer script creates automatic mouse movements, randomizing the settings of the proprietary scanning software interface, and beginning a scanning process.

 

Each newly created image is then analyzed by a series of deep-learning algorithms trained on a database of contemporary artworks in economic and institutional circulation. When an image matches an existing artwork beyond an 80% match, it uploads it to this website and a twitter account.

 

Playing on notions of technological automatisation, the agency of objects, cultural consumption, and the economics of artistic production, the installation acts as a golem-like assemblage, continuously and mindlessly self-producing without regard for human spectators. “These images I describe are created by two desktop scanners directed at each other, reading the way light hits the glass on their counterpart, the way light emanates from one to the other. The two scanners are fixed one in front of the other, but movement is built into them and reflected on them. They mirror the light conditions in the room where they are set: when you see an abstract pictogram, you could be looking at the moon. Or at the strip of light in one of the scanners. They make landscapes that meld the site and the tool. »

– Orit Gat, excerpt from Night Shift, a commissioned exhibition text.

 

Continuing from the original work All We’d Ever Need Is One Another (2018, now part of the Permanent Collection of the Musée d’art contemporain de Montréal), the Trio version expands the scale and scope of the work, creating a larger variety of randomly-generated images and comparing them to an expanded institutional and commercial database. While the original version relates strongly to the practice of Modernist paintings, Trio extends itself in reference to an equally large body of work in the realm of experimental photography. »

 

 – Adam Basanta

 

 

Site de l’artiste : www.adambasanta.com

L’artiste est représenté par la Galerie Ellephant

 

allwedeverneedtrio.com
twitter: @allwedeverneed3
instagram: @allwedeverneed_trio

 

 

 

  • DENSITY AS A PHYSICAL PROPERTY, 2017, SCULPTURE (BÉTON, CÂBLES AUDIO, MÉTAL)
  • CURTAIN (WHITE), 2017, INSTALLATION SONORE (240 PAIRES D'ÉCOUTEURS, ÉLECTRONIQUES, 24 CANAUX SONORES)
  • PIROUETTE, 2015, INSTALLATION SONORE (MICROPHONE, PIED, HAUTS-PARLEURS, BOIS, ÉLECTRONIQUES, LOGICIEL). PHOTO: EMILY GAN
  • THE LOUDEST SOUND IN THE ROOM EXPERIENCED VERY QUIETLY, 2015, SCULPTURE (ACRYLIQUE, MICROPHONE, HAUT-PARLEURS, AMPLI, SONOMÈTRE). PHOTO: EMILY GAN
  • A TRULY MAGICAL MOMENT, 2016, SCULPTURE INTERACTIVE CINÉTIQUE (IPHONES, SELFIE STICKS, ALUMINIUM, ÉLECTRONIQUES)
  • VESSEL, 2015, SCULPTURE SONORE CINÉTIQUE (MICROPHONE, HAUT-PARLEURS, VERRE, PLASTIQUE #D IMPRIMÉ, ÉLECTRONIQUES. PHOTO: EMILY GAN
  • All We'd Ever Need Is One Another (Trio), 2019. Vue de l'installation. 3 flat bed scanners, 4 networked PC computers, large format printer, office supplies, office, light, inkjet prints, website, twitter, instagram.
  • All We'd Ever Need Is One Another (Trio), 2019. Vue de l'installation. 3 flat bed scanners, 4 networked PC computers, large format printer, office supplies, office, light, inkjet prints, website, twitter, instagram.
  • All We'd Ever Need Is One Another (Trio), 2019. Vue de l'installation. 3 flat bed scanners, 4 networked PC computers, large format printer, office supplies, office, light, inkjet prints, website, twitter, instagram.
  • All We'd Ever Need Is One Another (Trio), 2019. Vue de l'installation. 3 flat bed scanners, 4 networked PC computers, large format printer, office supplies, office, light, inkjet prints, website, twitter, instagram.
  • All We'd Ever Need Is One Another (Trio), 2019. Vue de l'installation. 3 flat bed scanners, 4 networked PC computers, large format printer, office supplies, office, light, inkjet prints, website, twitter, instagram.
  • Persistent Teenage Gestures. Mixed-media installation. 2018. ~180cm x 220cm x 160cm. Electric guitar, amplifier, bowling ball, guitar pedals, electronics, pink paint. Photo by Emily Gan.
  • Persistent Teenage Gestures. Mixed-media installation. 2018. ~180cm x 220cm x 160cm. Electric guitar, amplifier, bowling ball, guitar pedals, electronics, pink paint. Photo by Emily Gan.
  • Persistent Teenage Gestures. Mixed-media installation. 2018. ~180cm x 220cm x 160cm. Electric guitar, amplifier, bowling ball, guitar pedals, electronics, pink paint. Photo by Emily Gan.
  • Persistent Teenage Gestures. Mixed-media installation. 2018. ~180cm x 220cm x 160cm. Electric guitar, amplifier, bowling ball, guitar pedals, electronics, pink paint. Photo by Emily Gan.
  • 63%_match: Imi Knoebel “Green in Concert”, 2004 2019. Archival pigment print. 42” x 31”.
  • 92%_match: Franco DeFrancesca “Crystal Modulation”, 2014 2019. Archival pigment print. 35” x 48”.
  • 82%_match: James Turrell “Hologram series, #03 (Blau)”, 2001 2019. Archival pigment print. 42” x 31”.
  • 54%_match: Anda Kubis “Touch of Unreal 2”, 2015 2019. Archival pigment print. 42” x 31”.
  • 84%_match: Luke Harnden “Blue-Green”, 2017 2019. Archival pigment print. 42” x 31”.
  • « 90%_match: Mika Ninagawa “Liquid Dreams”, 2003 », 2019. Impression sur papier d'archive. 35” x 48”.
  • 76%_match: Phillis Ideal “Pink and Green Tussle”, 2016 2019. Archival pigment print. 42” x 31”.
  • Landscape Past Future. Archival pigment prints. 2019. Variable dimensions.
  • Landscape Past Future. Archival pigment prints. 2019. Variable dimensions.
  • Dutch Beach, Windswept 2019. Archival pigment print. 58” x 43”. Computer-generated aggregate of 55 Dutch Landscape Paintings, 17th and 18th centuries, collections of the Metropolitan Museum (USA) and the Rijksmuseum (NL).
  • Important Canadian Landscapes: Winter scene 2019. Archival pigment print. 28” x 21”. Computer-generated aggregate of 12 notable Canadian artworks included in the Sotheby’s auction “Important Canadian Art”.
  • Important Canadian Landscapes: Lakes and Sky 2019. Archival pigment print. 28” x 21”. Computer-generated aggregate of 19 notable Canadian artworks included in the Sotheby’s auction “Important Canadian Art”.
  • Dutch Landscape with Tree in Foreground, 45 x 45 pixel grid 2019. Archival pigment print. 58” x 43”. Computer-generated aggregate of 26 Dutch Landscape Paintings, 17th and 18th centuries, collections of the Metropolitan Museum (USA) and the Rijksmuseum (NL).
  • Dutch Landscape (Cross-hatch) 2019. Archival pigment print. 42” x 28”. Computer-generated aggregate of 19 Dutch Landscape Paintings, 17th and 18th centuries, collections of the Metropolitan Museum (USA) and the Rijksmuseum (NL).