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← The Future of Art

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Showing Revision 1 created 02/22/2011 by Gabriel Shalom.

  1. Now what we're seeing is people have more free time

  2. they have more access to resources
  3. and they have kind of infinite knowledge
  4. at their fingertips which means
  5. they can tap into
  6. any form of creation almost
  7. and I think to some extent that
  8. trumps the Renaissance by orders of magnitude
  9. The Future of Art
  10. We don't know what happens when we get
  11. more and more layers of infrastructure right
  12. I think if we look back and see the boom
  13. that happened since the web
  14. and since the technical stacks that
  15. became standardized and enabled
  16. layers of innovation
  17. to happen on top of them
  18. We couldn't even predict 10 years ago
  19. the kinds of things we're seeing nowadays.
  20. I think I'm mostly interested in the ways
  21. especially recently
  22. that people can work together through the Internet
  23. to create things that would otherwise
  24. be impossible
  25. I think now that we have kind of
  26. more computer resources than we've ever had
  27. both on the processing side
  28. and also on the storage and organization
  29. and communication side
  30. you know what we're seeing is
  31. richer and more full content
  32. that more contextually, that's more human.
  33. With the democratization that's come with a lot of the
  34. social networking tools
  35. and with the web being so democratically available
  36. I think more people are trying to
  37. take on the role of curator
  38. even if it's in very very small parts of their life.
  39. We will always and still have those "experts" but
  40. I think that we will start to see more sort of
  41. more democratic roles of curation.
  42. There was this discussion at the beginning
  43. when I was blogging
  44. and they said,
  45. "Oh bloggers are curators, you think you're curators"
  46. No I'm not!
  47. Sometimes I work as a curator
  48. but it's something different from my blog.
  49. The term is being expanded to say select or highlight
  50. I work a lot with intuition.
  51. That is the role that we play
  52. making connections between things
  53. that might not otherwise be obvious connections.
  54. Well I think the switch was like a long time ago
  55. when basically the amount of information
  56. available and the amount of books available
  57. suddenly became
  58. more than the abilities of human beings
  59. to read for all his life, to even understand.
  60. And nowadays we're just surrounded
  61. by so many informations
  62. so how do we deal with this?
  63. basically we deal with it on a daily basis one by one
  64. by sort of like digging our own histories with that
  65. It's really a very interesting subjective process
  66. that I'm going to apply myself on a daily basis
  67. Like grabbing informations here or there
  68. and putting them in contact and see what happens.
  69. Each time that I make films now I'm like,
  70. "oh yeah let's do this film by getting inspired
  71. by the images of that guy
  72. and the ideas of that dude,
  73. And okay I'm going to make a film today like this
  74. and see what happens."
  75. It's really exciting and just like
  76. constantly remixing history.
  77. Telling our whole history through that.
  78. It's very exciting.
  79. The idea of originality and proprietariness
  80. also contributes to the whole "great man theory"
  81. which is slowly sort of disintegrating.
  82. The idea of the genius, you know, the Freud,
  83. the Marx, the Leonardo
  84. the Einstein that come up with an idea
  85. that is completely related to
  86. the man that came up with it
  87. whereas today
  88. ideas just get thrown out there and used
  89. and it's that use that that in a way is the art
  90. rather than the person
  91. who comes up with the idea
  92. [Take Away Show #41 The Arcade Fire "Neon Bible" by Vincent Moon]
  93. I think we'll probably see more and more
  94. non-linear, interactive experiences.
  95. Lev Manovich says that the twenty-first century
  96. will be defined by the database.
  97. And I think there's some truth to that
  98. but maybe even going beyond the database
  99. into the interface
  100. because I think that's really the intersection between
  101. kind of all the rich data and rich stories
  102. that we're wrapping our heads around
  103. and the ability to say something about them.
  104. Every single experimental film is about time
  105. because film only captures time and space.
  106. I think we will
  107. in some strange way
  108. enter into new types of film
  109. probably starting with an idea of three-dimensional
  110. and probably somehow interactive at the same time.
  111. It's not something that particularly interests me.
  112. I like certain limitations.
  113. I think already film has almost
  114. not enough limitations to be able to focus
  115. and so I wouldn't be one to jump in
  116. and start making 3D interactive
  117. but I'm sure that people will start to do that
  118. and you'll start dealing with spaces that are deeper.
  119. I don't just mean 3D like James Cameron or whatever,
  120. I mean more dimensions where when you move
  121. through the space something else is changing
  122. and you're getting a greater understanding.
  123. And I think the visual capacity of people to think
  124. is tremendous, it's really huge
  125. but it has to be trained a bit
  126. but I'm always impressed how quickly either
  127. children or adults can pick up on visual analogy
  128. and then move more or less through spaces
  129. that are abstract
  130. and when they become more dynamic I think
  131. that will be kind of the front edge of art
  132. because it will be at the front edge of expanding
  133. how we understand reality
  134. and how we can process information.
  135. The funny thing about video mapping I think
  136. is that it's getting part of the environment
  137. so there's no border between you
  138. and the content and the light.
  139. So you think about it more naturally
  140. and everything that happens
  141. you adapt to it like it's real.
  142. You don't make the shift
  143. between the virtual layer
  144. and the real layer anymore.
  145. Where is art going?
  146. I think it will more part of our natural environment.
  147. and we don't see it as an "add-to" anymore.
  148. So we react on it more naturally.
  149. If these shifts were simply documented in a
  150. holographic medium through mono-channelled P.O.V.
  151. directionality similar to contemporary cinematic 3D
  152. technology, the shifts would indeed resemble
  153. traditional theater complete with the fourth wall
  154. that maintains the tradition of theatrical realism
  155. via an audience/performative vision.
  156. If the holographic medium instead attempted to break
  157. this fourth wall, such as augmented reality integrated
  158. with artificial intelligence is progressing towards
  159. the shifts could become an integral part of future
  160. genre, creation, knowledge formation/codification.
  161. [Spatial Sound Sculpture by Daniel Franke & Christopher Warnow]
  162. I think mostly we're just seeing
  163. what happens when you reach a point where
  164. computational resources are no longer
  165. the most significant factor in thinking.
  166. We're really able to you know basically waste
  167. cycles and memory and transfer speeds.
  168. It lends itself to a completely
  169. different type of creative process
  170. where you can really kind of explore and experiment
  171. a lot more freely than one could before.
  172. We don't have to necessarily know
  173. where we're going with a piece of software
  174. when we start writing it.
  175. We can actually explore and iterate
  176. and potentially even throw away something
  177. that would have taken days or weeks to make
  178. without feeling any sense of investment
  179. just start anew.
  180. That's really powerful I think.
  181. Perhaps most significantly
  182. it lets us create our own limitations
  183. and I think those generally
  184. can be a lot more meaningful than
  185. the ones that are arbitrarily put on by the media.
  186. If you have an artwork for example
  187. that basically just creates a set of data
  188. which could be interpreted many different ways
  189. like you could take the data
  190. and you could make it into a photograph
  191. that would be three dimensional
  192. or have a relief
  193. or instead of making lots of photographs
  194. it would be a film or whatever
  195. that means that the only original thing
  196. is that set of data.
  197. So where is the artwork?
  198. Is the artwork the data?
  199. Or is the artwork the output?
  200. There's something really magic and beautiful about
  201. being able to take something that was created for one
  202. purpose and then put it towards your art practice and
  203. make something really new and beautiful
  204. and meaningful with that.
  205. On the other hand
  206. I'm not necessarily excited by
  207. a technology that comes out just because it's new
  208. or just because it's available all of a sudden.
  209. There has to be a reason underlying why
  210. it's being used to in some way support or enhance
  211. the meaning or the beauty of what you're making.
  212. I identified myself as a painter.
  213. I was pushing away ideas and concepts
  214. and things that I wanted to work with because
  215. I didn't feel that I could really paint them.
  216. The best way to approach a project or a problem is
  217. to use the best tool for the job.
  218. And sometimes it is painting
  219. and sometimes that's programming.
  220. Often time when I have picked up new technologies
  221. and incorporated them into my work
  222. it hasn't been because I saw the technology
  223. and I thought, "okay I want to do something with this."
  224. It's because there was another project
  225. that sort of called for a technological solution.
  226. Every once in a while you see something and think,
  227. "Oh that's cool, I want to do something with it."
  228. For myself, when I've approached things that way
  229. it's really difficult to make the work
  230. not about the technology.
  231. People get sidetracked so easily
  232. and fall into this like,
  233. "What can the computer do?" versus
  234. "How is it a tool helping me?"
  235. The simpler works
  236. are finally the more precise works
  237. and have clear thought
  238. and I think that will continue
  239. and be even more poignant when get
  240. noisier and noisier.
  241. For example a concept which has been explored by
  242. Transmediale and many other festivals was
  243. surveillance!
  244. And then I would go to the biennale of Lyon
  245. which is a traditional biennale of contemporary art
  246. and I would see a very simple artwork
  247. without any technology
  248. and it would investigate surveillance
  249. and comment on it without any technology
  250. and it would be stronger.
  251. Performance art is making a big comeback now.
  252. It's getting a newfound footing
  253. especially in the major institutions.
  254. And it seems to me that that's a reaction against
  255. the computer space and the technology
  256. so we have this extreme high-tech
  257. and then it's balanced out by this complete
  258. appreciation now where
  259. it's only a person on a stage with no props
  260. and no help
  261. and it's the human doing something.
  262. I'm really interested in going back to objects
  263. and things that are tangible
  264. and also on the other side of that
  265. experiences that are maybe intangible
  266. but that you have with other people around you
  267. in their physical presence
  268. and all the messiness that that entails.
  269. In a lot of ways I feel like I have a sort of
  270. split practice
  271. where on the one hand there's the Internet work
  272. because it's cheap, ubiquitous, it's available to me
  273. I can put stuff up there
  274. it does not take a lot of time
  275. and you've got potentially this unknown audience
  276. that you have no idea who they are
  277. and can get very, very interesting things happening
  278. when you relate with people.
  279. But then on the other hand I have this live practice
  280. sometimes more theatrical
  281. sometimes more relational where
  282. it's about actually staring someone in the face
  283. or being in the same room with them
  284. and imposing your physical presence on them.
  285. Our specific desire is basically to create social links.
  286. And the results are only the pretext to that.
  287. the films, the music, the albums
  288. or the pieces on the walls.
  289. Basically we live in a world where
  290. so many people create.
  291. You have people talking about the decay
  292. of the creative industry.
  293. How the music industry can survive to adapt.
  294. This is not the point.
  295. I think the point is what's really exciting nowadays is
  296. how do people create?
  297. and how that way that they create
  298. changes something in this world.
  299. I was kind of taken by this
  300. Bruce Nauman quote that like,
  301. "Anything I do in the studio, I'm an artist
  302. I'm in my artist's studio, if I do it here, it's art."
  303. And I thought like, that seems really freeing and great
  304. but then he actually limited it to his studio;
  305. he can only feel secure in his studio
  306. and I thought well, I'm going to try to shoot stuff
  307. out of the studio
  308. I was always shooting in the studio
  309. now I want to do it in front of an art audience
  310. call the whole process art
  311. and not do it in my studio
  312. and see if there's any barrier
  313. and of course there's no barrier.
  314. Anywhere you go and anything you do
  315. you can call it art if you want to
  316. if you're an artist
  317. if you're brave enough to call yourself an artist
  318. then you can say, "This is my art."
  319. of course people can laugh at it, but it is art.
  320. There is no obvious relation between the quality
  321. of a piece of work for example
  322. and the value.
  323. The market is very much disconnected from
  324. the actual object or the content
  325. Artists got fascinated with exactly that fact
  326. a hundred years ago.
  327. When Duchamp introduced the readymade
  328. that was exactly his point.
  329. You can put anything in there and then it will
  330. eventually become a commodity in that market.
  331. We are beginning to see new ways of funding
  332. happening and dissemination and artists participating
  333. more directly in their own market
  334. and not necessarily
  335. being cloistered off in their studios
  336. where you have the dealer acting
  337. as the sole middleman between
  338. the artist and the rest of the world.
  339. I was in New York with my friend Yancey
  340. who is one of the guys behind Kickstarter
  341. and he mentioned something really interesting
  342. He was like, "Oh yeah, you know
  343. the way you live your life
  344. you could probably live your life by having two
  345. or three Kickstarter projects a year.
  346. and that's it, you know?"
  347. And it's kind of true.
  348. I'm totally into this way of doing things
  349. of crowdfunding
  350. which is not a very nice word
  351. but I really believe in it so much.
  352. I just really think about it
  353. from different positions in the world
  354. and this is really amazing this Kickstarter thing
  355. to a lot of cultures.
  356. I think we're going to see
  357. really fantastic things coming
  358. especially in the next five years.
  359. The word is going to be spread out
  360. all around the world.
  361. [Braun Tube Jazz Band by Ei Wada]
  362. Well there has been a long tradition
  363. of the national artist.
  364. There are a number of names that you all know
  365. nations are a really proud about that they are
  366. British or Indian or U.S. artists.
  367. I'm a nomad myself.
  368. For us being in a tribe that moves around
  369. is not a problem at all
  370. because we don't care about places at all.
  371. No matter if you are in Toronto, Berlin or Amsterdam
  372. what matters for us is which kind of value
  373. do you embrace for your work.
  374. This doesn't matter whether you are based in Asia
  375. Europe or in America.
  376. Certain values are all over the planet
  377. and you'll find them anywhere
  378. and it doesn't matter if you're nomadic
  379. or a resident of a city.
  380. We've been seeing a rising of nomad artists
  381. in the past ten years a lot
  382. And basically it corresponds
  383. to a real need in our society
  384. of movement, of bodies in motion
  385. who go from one place to another by basically
  386. taking the pretext of making films or music
  387. to move around, to travel
  388. It's a very interesting idea of modern nomadism.
  389. And I guess, I don't know, but well
  390. that's what I'm doing and it's quite fantastic!
  391. I think a lot of people are doing this nowadays
  392. more and more, and it's not going to stop
  393. that's for sure.
  394. There's a real tendency towards that
  395. in our generation.
  396. And the Internet and all the digital tools
  397. or small cameras
  398. are an incredible way to work, to do this now.
  399. What I appreciate in my life is
  400. no matter where I go
  401. there are at least seven to ten people
  402. that I really know profoundly well
  403. I can trust them, they trust me
  404. and it goes far beyond a Facebook relationship.
  405. And I think that's really crucially important.
  406. You need to trust people, they need to know you
  407. they need to be here for you in good and bad times
  408. and not just only when you are in the "show mode"
  409. when you present and you are the cool artist.
  410. I couldn't imagine being an artist without that.
  411. For these types of creatives
  412. identity becomes a series of fragmented reality
  413. sets that need to be constantly channeled
  414. monitored and updated.
  415. This fragmentation does alter
  416. how we process the world via associated
  417. emotional and psychological effects.
  418. These identities, established through the use of
  419. avatars or profile creation
  420. alter according to the foibles of specific
  421. platforms and interfaces.
  422. A subject may a have a multitude of profiles
  423. created across a wide distribution base.
  424. These staggered profiles create a type of
  425. socialphrenic functioning that eclipses
  426. solo persona extensions.
  427. Users may reference a fellow synthetic
  428. by their character or avatar name
  429. even when interacting in
  430. phenomenologically-defined reality.
  431. According to traditional psychological theory
  432. these type of identity ecologies would represent
  433. a subtle splintering of a primary identity
  434. akin to schizophrenia.
  435. The base categories denoting emotion
  436. and psychological states need overhauling
  437. in line with contemporary/synthetic conceptions.
  438. I was kind of working with a lot of different voices
  439. in my head and different little people on my shoulder.
  440. I had an opportunity to do a program
  441. at Yale University, and while I was there
  442. I painted this big very somber black painting
  443. and as a way to sort of break myself
  444. of that cycle and kind of push myself
  445. into a completely new direction
  446. I painted a tiny little turtle down in the corner
  447. of this very somber black on black painting
  448. and that single little defacement
  449. allowed a whole new part of me into the work.
  450. I went from thinking of art as a strictly serious thing
  451. and if you're going to make serious art
  452. it has to be serious
  453. but that you can make serious art
  454. and have a very large amount of humor in it
  455. and sometimes that's the best way
  456. because you can use humor as a tool
  457. to attach things in people's brains
  458. and to kind of sneak things in the back door
  459. and allow concepts and ideas and things
  460. to move into the viewer's consciousness
  461. without them necessarily knowing it.
  462. One way that artists can strengthen their ability to
  463. make these unusual connections is
  464. through the power of the subconscious mind
  465. that we normally experience as dreaming.
  466. I would be very curious to get
  467. to a level of experience
  468. that would be dreamlike.
  469. Where you could be walking through a space
  470. in someone else's dream
  471. and have more of a sense because
  472. it's very hard for me to know if I dream
  473. similar to the way you dream
  474. or even to remember my dream so precisely
  475. that I think it would be quite interesting
  476. if somebody could make a piece
  477. that's as real as a dream
  478. and that you could actually make choices
  479. maybe but you're not in control
  480. and things like that.
  481. And I think in a way that must be
  482. the future of where art is about
  483. I have an experience and I'm trying to
  484. share it with other people
  485. and I'm limited if I'm painting on a canvas
  486. and it's square and it's this big.
  487. For all you cared you could draw the universe
  488. you could draw little martians
  489. running all over the place
  490. you could draw things you imagined
  491. you could draw real life scenes
  492. you could draw what you think about
  493. you could draw dreams
  494. you could draw people, in fact
  495. lots of people say they can't draw people but
  496. when you put your mind to it
  497. you can really draw anything.
  498. You know, maybe decorate the street
  499. because the street's a very nice thing
  500. but it's not the greatest to look at, you know?
  501. but what I might do is
  502. leave the arrows and all the little dots
  503. and slashes and lines
  504. but everywhere there wasn't that
  505. you could make the most beautiful designs
  506. you could ...
  507. I'd make it a law that your car would have to have
  508. wet paint on it every day on its tires
  509. and when you rode around it would make
  510. any colored track all over the road
  511. but it couldn't be on the lines
  512. and that
  513. that would make
  514. I guess the world a better place.
  515. The Future of Art
  516. Conceived & Edited by Gabriel Shalom
  517. Produced by KS12 / Emergence Collective
  518. Executive Producer: Patrizia Kommerell
  519. Assistant Editor: Clare Molloy
  520. Production Assistant: Annika Bauer
  521. This video was shot, edited and screened at the Transmediale Festival 2011 in Berlin, Germany
  522. CC 2011 BY-NC-SA KS12 / Emergence Collective
  523. Join the conversation! #futureofart