What: Dialogue

Where: HAU, Berlin

When: November 4, 2019 19:00

With: Marcela Vecchione, Franco Berardi Bifo and Antonia Majaca / Statement: Hugo Sir / Moderation: Maximilian Haas und Margarita Tsomou

#1 Facing Extinction

Too little, too late: The catastrophes that are mounting up before us with climate change, species extinction, the pollution and exploitation of the soil, air and water are just as real as they are incomprehensible/ inconceivable. Many scientists argue that the destruction is no longer stoppable. How do we deal with the fact that it’s too late to reverse the disastrous developments? What might it mean to think from the end in order to deal with the coming catastrophe? Fact is that the ways of life and production in the Global North are also ecologically no longer sustainable, and that the problems of racism, colonialism, patriarchy and the class society will only get worse as a result. In his 1989 essay “The Three Ecologies,” psychoanalyst Félix Guattari wrote that the questions of subjectivity, social relations and the environment can only be addressed together. The new discussion series at HAU thematises these connections between concrete environmental struggles and speculative theoretical propositions. In the opening discussion of the series on November 4, “#1 Facing Extinction”, Marcela Vecchione, professor at the Center for Advanced Amazonian Studies in the Brazilian Amazon, Franco Berardi Bifo, the critic of capitalism and theorist of Italian post-operaismo, and the feminist theorist Antonia Majaca (IZK, University of Graz) will discuss the subjective and social confrontation with extinction. We have always identified the future with expansion and growth, according to Franco Berardi Bifo. Now, faced with the exhaustion of natural resources, projections of progress into the future are disappearing. At the horizon of the accelerated world waits mass extinction, says Bifo. What would it mean to consider this death, this stagnation, the exhaustion of the Capitalocene, as an opportunity for the future? The catastrophe has many aspects and speeds depending on the perspective taken. For many individuals and species, this has already had fatal consequences. So whose extinction are we actually talking about here? Marcela Vecchione, whose professorship and research institute are situated in the middle of the Amazon forest, will present indigenous and anticolonial perspectives on an extinction that has long been reality in the Amazon, placing this in context with the western discourse of the Anthropocene and with right-wing authoritarianism in Brazil. Finally, Antonia Majaca will speak about the gender dimension of nature and technology, opening up a planetary perspective on the future: How can we learn to live with extinction, and how can we transform our expectations of growth? How to live and die together? 

Dialogue English / ca. 90 min 

English Podcast of the conversation

What: Conference

Where: Institute of Experimental Design and Media Cultures IXDM, FHNW Academy of Art and Design, Basel (Aula, main building, 1st floor)

When: June 20 & 21, 2019

Organized by Shintaro Miyazaki

With: Anna Ridler, Antonia Majaca, Christine Meinders, Matteo Pasquinelli, Ramon Amaro, Christine Cochior + Guillaume Slizewicz (Algolit), Ursula Damm, Johannes Bruder + Maya Indira Ganesh, Georgina Voss, Eyal Weizman (Forensic Architecture)

The symposium aims at discussing existing works and identifying novel fields of artistic and designerly engagement with a domain of computing that increasingly changes our understandings of human intelligence, transforms our habitats and suggests new ways of living. So far, aesthetic works on AI typically concentrate on revealing, amplifying and playing with machine vision, pattern detection, deep learning, automated sense-making, and advanced techniques of image manipulation in a way that complements, enriches, and disturbs scholarly thinking about the transformations these technologies entail. Utopias and dystopias of artificial intelligences, smart environments and computationally optimized lives as observed, reflected, interpreted, augmented and worked through by artists and designers multiply our often too limited, too situated and ultimately deadlocked ideas of what artificial intelligence could come to involve. At the same time, artistic and designerly ways of approaching developments in computing and artificial intelligence tend to privilege certain issues and specific aesthetics at the expense of others. They are often constrained by traditional artistic formats, forms of exhibition and market dynamics on one hand and by the epistemologies of design research, the practices of Gestaltung, and the economy of project-based design on the other. It is our goal, therefore, to not only discuss artistic and designerly approaches to the domain of artificial intelligence, but to analyze shortcomings, identify blind-spots, and create new openings for aesthetic and practice-based critiques of contemporary computational reason and the cultural, political, social and geological transformations they entail. In pursuit of this goal, the symposium assembles distinguished scholars (media and culture studies, art history, sociology, (feminist) science and technology studies) working theoretically on aspects of artificial intelligence and its artistic or designerly representations alongside designers, artists and artistic researchers’ practice-based explorations of utopian, dystopian and mundane scenarios that AI and its implementation in various domains of daily life provoke. While we are well aware that it is difficult to cover the whole spectrum of what contemporary AI invokes for the near future, we intend to define, through an exchange between scholars and practitioners, the fields and domains where artistic and designerly perspectives and practices can significantly contribute to stimulating discussions about the integration of lifeworlds and automation, planetary-scale computation and emergent social injustices, or the reimagination of the human within the boundaries of computational reason.

What: Seminar

Where: HfG Karlsruhe

When: June 12, 2019 16:00-19:00 & June 13, 2019 10:00-14.30

Organized by Matteo Pasquinelli and Ariana Dongus, KIM (Künstliche Intelligenz und Medienphilosophie).

This seminar will explore the relationship between gender and learning machines. We will start by exploring the modes in which gender is inherently ‘inscribed’ in the technological systems of AI, and ask how gendered binaries are fundamentally implicated in the genealogy of the ‘Entscheidungsproblem’ and how they are continuously reproduced by the AI computational systems. We will think through the crucial implication of the paradigm of incomputablity introduced by Alan Turing in 1936. If incomputability revealed not simply the ‘crisis of reason’, but also demonstrated that reasoning had to include the unknown within the procedure of thinking, what are the ramification of the paradigm of incompatibility on the ‘universal subject of western knowledge’? How does incomputability destabilise not only the axiomatic historical and epistemic schemes and what does it ‘do’ to the political aspects of its ‘truth production’? If the Universal Turing Machine demonstrated not only that truths could become machine-programmable, but, crucially, that computational procedures could lead to conclusions not contained by the premises, it also opened a way of updating ‘rational thinking’ with and through machines. In this seminar, we will consider AI as ‘technological research entities’ modelled upon diverse aspects of human intelligences and consider the notions of randomness, uncertainty and incomputibility in diverse fields to arrive at a sketch for a differentiated and reparative feminist epistemology and aeshetico-political project of AI. With it, by way of theory and examples from contemporary art, we will examine not only the norms and protocols of Western rationality – together with its apparent ’gender blindness’ and its claims of neutrality, but also try to think beyond its contradictory hegemonic (binary) cultural logic of intertwined techno-euphoria and techno-paranoia.

Format: Seminar

Date: 2019–2020

Institution: Dutch Art Institute

Teacher: Antonia Majaca

To call the new geological era “Anthropocene” implies that the Earth has somehow itself been rendered artificial by the impact of humans. The capitalist engineering of this ‘Artificial Earth’ has been accelerated over the last couple of decades, in parallel with the expansion of digital technological systems and the rise of the so-called “Artificial Intelligence.” These two historical processes of accelerated artificialization force us to revisit the old dilemma: if nothing precedes techne and labor, i.e. if it is true that where there is labor there is artificiality, then—what is not artificial? This question alone leads us back to the relation explored throughout the history of white male philosophy of technicity: the metabolic relation between man and techne. However, the dialectic implied in this relation has always retained that imaginary “outside of techne” by preserving the concept of the self-contained human capable of cognizing this separation. If, however, human is not given, but is, as Sylvia Wynter suggests—praxis, then such an understanding of human has something more fundamental in common with that originary techinicity and, in the conditions of our techno-permeated Earth, forces us to think the notion of intelligence anew.

While having in mind the complex artificiality of our “end times,” we will focus on examining the instrumental and extractivist relation of the Human/Anthropos towards both technology and nature. Invoking a radical break with this all-permeating logic requires, in the first instance, a critical engagement with the patriarchal gendering of both technology and nature. Thinking these two intertwined demands calls for a different epistemic ordering of a general intellect radically challenging the indwelling binaries maintained by the master narratives of originary technicity. The new general intellect is the intellect of what we could call “deep intelligence”: a double helix intelligence based on detechnologizing nature and denaturalizing technology—a project to cut across relations of production, the “three ecologies” as well as the discursive and imaginative registers of art and critical intellectual practice.

While keeping this broad epistemic/political project in mind, in our study we will think alongside a number of thinkers and doers critically engaging the notion of planetarity and the production of the “outside” (of labor and techne). Some of our broader questions will be: What is contained within and what is foreclosed by the notion of planetarity (including that of the “planetary computation”)? What is precluded by the image of the technologically contained totality? Some of our more specific questions might be: How is the “cold”/aggregate data divorced from the “warm” data? How does, for example, the visual nominalism of Google Earth influence the image of the “total outside?”

While thinking together the possibility of unalienated planetarity and deep intelligence of a new general intellect we will remain attentive to the simple fact that, as Spivak says: “The globe is on our computers. No one lives there”.

A text by Antonia Majaca and Luciana Parisi: majaca_parisi_incomputable.pdf

Format: Conversation as part of the Curator's Workshop

Location: Akademie der Künste

Date: August 31, 2018, 5–7 pm 

Participants: Denise Ferreira da Silva and Tiziana Terranova in conversation with Antonia Majaca

The conversation will be an attempt to situate Denise Ferreira da Silva's theoretization of "affect ability" and her critique of the "transparency thesis" within contemporary curatorial practice. It will further engage with Ferreira da Silva's approach to aesthetics that moves away from "subjective universality" through an exploration of the "deep implicancy" of matter (or the raw) of the artwork. Tiziana Terranova's contribution will be formulated as a speculation on the "refusal to become human capital". It will foreground the ways in which the social life of what Ferreira da Silva has called "affectable I" has played a role in the constitution of the metricized space of "social capital" and consider how the tools and methods of social network analysis have become computationally embedded in the metrics of social media. Terranova will trace how what later appeared as social capital was initiated with a "fugitive social" – that is a social that metaphorically escaped visibility, and literally fled confinement and discipline.

Format: Seminar

Date: March 26–28, 2018

Institution: Institute of Contemporary Art Miami

If our reality is governed by the aggregate data in which knowledge is always the knowledge of the (short-term) future—a predictive knowledge based on calculable and data—are we indeed facing what Antoinette Rouvroy has called the “end of critique?” “The “real time operationality” of devices functioning on algorithmic logic spares human actors the burden and responsibility of interpreting and evaluating the world. The crisis of the deductive model of reasoning seems to be pointing toward the crisis of the subject that is now drowning in the endless sea of data, incapable of deducing the truth. All the while, the thick verticality of algo-regime is built upon the entrepreneurship of the auto-exploitative reiterative Selves where subjectivity is flattened into data and entirely depleted of possibility of any other becoming (Subject). Is there a way out and, more importantly—back into reason and politics by other means and by other or indeed—othered and alien reasoning and for new ends? Instead of embracing the dystopian prospect of collective subjectivity already drowning within the sticky glue of algorithmic totality, should we not embrace what Isabel Stengers calls “a speculative commitment” to the possible against the inductive probable? The speculative commitment here would mean a belief that the system is not given but neither is the Subject of its truth production. In few words, the question is how to engineer Subjectivity and re-script the functions of a system capable of constructing images, conjuring narratives and truths beyond nervous conspiracies and systemic paranoias.

Format: Symposium

Date: November 25–27, 2017

Convened  by Curatorial Practice, Faculty of Fine Art, Music and Design, University of Bergen (UiB) and Frontier Imaginaries at Veem House for Performance in Amsterdam

Dear Humans of the Institution!

We are addressing you to take part in an international three-day gathering created to look closely at who ‘makes the present’ by foregrounding the freelancer in the arts and within globalising dynamics more broadly. The symposium is organised by curators, based on experience, and encourages the participation of artists, writers, journalists, designers among other 'content producers' and freelance workers. By focusing on the curator, Humans of the Institution will be a nuanced debate important to freelancers and institutions alike. 

Humans of the Institution opens with a weekend programme 25 and 26 November that foregrounds freelance experiences in the arts, taking in to account transforming institutional structures, formations of non/employment at global scales, and emerging regimes of networked governance.

In her talk 'Against Curating as Endorsing' Antonia Majaca will introduce the genealogy of the figure of curator in the production of liberal consensus after the WWII and discuss it further, in the context of the global, multicultural, neoliberal optimism from the 1990 on. She will consider the role that the 'independent curator' - as the emblematic 'confidence man', has played in the slow 'death of the intellectual' and suggest a schizo-analytical spell for both the curator and the art institution which might help us conjure up the image of curator anew.

Format: Symposium

Date: May 11, 2019

Institution: Liechtenstein’s appearance at the 58th Venice Biennale, held at Museo Correr

Participants: 

Sabine Himmelsbach, House of Electronic Arts Basel
Sybille Krämer, Leuphana University of Lüneburg, Germany
Geert Lovink, Institute of Network Cultures, Amsterdam
Antonia Majaca, Graz University of Technology
Lev Manovich, City University of New York
Antoinette Rouvroy, University of Namur, Belgium
Georg Schöllhammer, curator, Editor in Chief springerin, Vienna
Bernard Stiegler, Centre Georges Pompidou, Paris
Ben Vickers, Serpentine Galleries, London
Vladimir Jerić Vlidi, networkfailure.net, Belgrade
Performance by Martina Morger and Wassili Widmer

Digitalization increasingly encroaches on reality and has a more profound impact on art spaces. Whatever the outcome of the current debate between the defenders of the analogue and the apologists of the digital, the fact remains: machines and algorithms are not only taking over the distribution of images and objects, but increasingly their very form. The old games of object and space, artwork and viewer, presence and absence in the exhibition space—even the very act of seeing—are now faced with new challenges.

Some claim that nothing truly special or extraordinary is happening, and that this is the (almost) expected continuation of the various ways in which humanity previously progressed. But these voices are in growing discord with how the majority now feels: the scope, depth and speed of current transformations produce the sense of witnessing a decisive turning point. The reactions vary from enthusiasm to depression, from panic to paralysis; such polarization is (once again) being particularly visible in the art world.

What does digitalization mean for the work of artists and curators? How does it affect the exhibition space, the form of exhibits and performativity of the audience?

If digitized, algorithmic thinking is based upon establishing averages, pursuing the goals of optimization and efficiency—but what does that mean for art? What happens to art thinking, to artistic ability to convey and distribute different forms of knowledge? Will the emergence of computing-driven real-time culture leave any room for criticism and reflection? How can we counter the technological regimes of the digital with a practice that is productive? What new understanding of the museum as a place of active reflection and participation do we need—if any—to address these transformations?

Format: Lecture

Date: July 3–27, 2017

Institution: Saas-Fee Summer Institute of Art at Spike Quarterly

Participants: Elena Agudio, Marie-Luise Angerer, Defne Ayas, Heidi Ballet, Franco “Bifo” Berardi, Nicolas Bourriaud, Yann Moulier-Boutang, Mathieu Copeland, Jodi Dean, Arne De Boever, Nikola Dietrich, Julieta Gonzalez, Krist Gruijthuijsen, Robby Herbst, Helen Hester, Yuk Hui, Isaac Julien, Brandon LaBelle, Dan Levenson, Deborah Ligorio, Isabell Lorey, Jens Maier-Rothe, Antonia Majaca, Lambros Malafouris, Augustin Maurs, Ari Benjamin Meyers, Warren Neidich, Hans Ulrich Obrist, Matteo Pasquinelli, Peter Pelbart, Gerald Raunig, Barry Schwabsky, Ludwig Seyfarth, Jennifer Teets, Tiziana Terranova, Ben Vickers, Anuradha Vikram, Joanna Warsza, Markus Weisbeck and Ming Wong.

The Saas-Fee Summer Institute of Art is a roving art academy that was initiated in Saas-Fee, Switzerland in 2015. This summer it will take place in Berlin, Germany at the Spike Art Quarterly headquarters. It will concern “Art and the Politics of Collectivity.” In a world in which we find ourselves more and more connected as a result of the Internet and social networking websites, what happens to our sense of collectivity? Are these new technologies and the data they generate keys to new forms of subjection and subjugation? And what, if anything, can we do about it? Do artistic practices, especially those concerned with noise and improvisation, provide an exit? The academy will orbit around five important concepts in the hope of addressing these issues: post-operaist ideas of cognitive capitalism, cosmopolitanism, the undercommons, the theory of originary technicity, and extended cognition.

Inquisitive students and professionals hailing from artistic discourses such as painting, drawing, film making, sculpture, performance, sound studies and installation as well as those associated with the aligned fields of poetry, cultural studies, gender and queer studies, architecture, philosophy of mind, neuroscience, sociology and politics, are encouraged to apply. Lectures, discussions and workshops with outstanding artists and thinkers will be accompanied by an exhibition produced by participants in the last days of the course.

Format: Workshop

Date: October 27, 2019

Institution: Max Planck Institute for the History of Science

Participants: Siyaves Azeri (U Nancy), Keti Chukhrov (HSE Moscow / Marie Curie Fellow, Wolverhampton), Sascha Freyberg (Ca‘ Foscari U Venice / MPIWG), Antonia Majaca (IZK, TU Graz), Ana Teixeira Pinto (DAI Arnhem / U Lüneburg), Giulia Rispoli (Anthropocene Project, MPIWG), John Roberts (U Wolverhampton), Giuliano Vivaldi (Brighton/Moscow).

Organised by: Keti Chukhrov and Sascha Freyberg

Under the accelerated conditions of digital cybernetic capitalism once again social and ecological problems are proposed to be solved by technology. The inherent vision is the final victory of reason in the form of automated rationality. Accordingly, a technoscientific mindset attempts to supersede philosophy. If in cognitivism, philosophy was regarded as an obsolete cognitive practice, the recent research on the essence of artificial intelligence (Parisi, Negarestani) calls for reclaiming philosophic thought, but confines it mainly to the realm of computation.
In this context, the critique of cybernetics and technical essentialism by Evald Ilyenkov (1924-1979) seems to be of particular relevance. 40 years after his death Ilyenkov’s apologia of philosophic gnoseology and dialectical logic becomes of utmost importance amidst the contemporary debates to ‘finalise‘ philosophy.

In our workshop we take the lead from two texts by Ilyenkov to discuss the role of philosophy in face of the abovementioned predicaments: The Mystery of the Black Box and Cosmology of the Spirit. We want to understand in how far these texts, as reactions to a similar mindset in another context, might still provide important clues to inform alternative perspectives on thought and consequently for future developments.

Format: Conference

Date: November 7–9, 2019

Institution: tranzit at National Dance Centre (CNDB) Bucharest

Participants: Anna Daučíková, Nicoleta Esinencu, Kitti Gosztola, Márton Gulyás, Minna Henriksson, Oto Hudec, Anna Jermolaewa, Nikita Kadan, Franz Kapfer, Kapital, Antonia Majaca, Ewa Majewska, Vlad Morariu, Bence György Pálinkás, Lia Perjovschi, Alexandra Pirici, Emília Rigová, Elske Rosenfeld, Apolena Rychlíková, Stavros Stavrides, Studio Without Master, Ovidiu Țichindeleanu, Dmitry Vilensky, Vladimir Jerić Vlidi, Martin Zet

We value what we do, not in itself but through continuous reference to our peers, neighbours, friends and enemies; we are grounded in our local histories, operating from within and performing them until they become relevant; we trust each other and choose cooperation and solidarity over competition; we respond to austerity with care for each other and to economic intimidation with sharing the resources. We understood from the past 60 years that there are many modernities possible, some being accomplished at higher costs than others. We were confronted in the past 30 years with ruthless capitalism and individualism, which are alienating and deadly. The present does not offer us much, yet we live it with grit and humour. All prognosis around us are bleak, yet we dare to propose hope. For who if not we should outline a potential future for all of us, having survived several versions of golden, promised futures, having lost not only the gold but the promise itself and yet, still enduring here?!

Format: Presentation

Date: May 20–22, 2018

Institution: Dutch Art Institute at Silent Green, Kulturquartier Berlin

With guest respondent Laura Harris and theory tutors / respondents Anselm Franke, Antonia Majaca, Rachel O'Reilly, Ghalya Saadawi, Ana Teixeira Pinto and Hypatia Vourloumis.

So often, we perceive places as dots spread out in space and our relation to them is one of connecting the dots by drawing a line. The dots remain discrete entities and the lines subordinated to them. A different form of thinking can be posited as follows: the line, the movement itself, takes on the primacy and the dots are but temporary appearances and remain subjected to the lines. How to engender this pure movement seems to be key here.”

Researcher and writer You Mi in her text "Modes of Organization, Caring and Thinking", 2018.

DAI is a radical experiment in learning; by abandoning the Academy as a building and as a set of predetermined and relatively stable protocols, DAI has decided to bring the educational process in the public space navigating between locations, institutions, practices and ideas: mobilizing our bodies, our intelligences. After a year of intensive roaming in Arnhem, St. Erme, Dessau, Cagliari and Epen, we will now be mooring in Berlin. 

Here, we will greet our fleeting community of alumni, students, tutors, allies and friends at silent green’s Cupola on May 20-22:

AEROPONIC ACTS
growing roots in air

Writer, artist (and DAI alumna 2017) Giulia Crispiani assembled this 3-day marathon: 28 live acts by means of performance, talk, performance-lecture, screening, reading, recital, choreography, play, speedy exhibition, concert, demonstration, action, presentation of relevant aspects of research in progress or process, reference sets or, a combination of (some of) these formats or otherwise.

Each presenter begins with a carefully crafted key question. In a conversational mode, the respondents will try to engage with the presentation by means of an improvised, spoken reflection, roughly guided by this question. Other than the limits of the given time and space frame and some basic curatorial rules, there are actually no restrictions to content and format of the performances.

Presenters are DAI graduates 2019: Olivia Abächerli, Clara Amaral, Joannie Baumgärtner, Matthieu Blond, Ciprian Burete, Sara Cattin, Livio Casanova, Bethany Crawford, Teresa Distelberger, Lucie Draai, Vinita Gatne, Lukas Malte Hoffmann, Irati Irulegui Otermin, Samantha McCulloch, Dina Mohamed, Sofia Montenegro, Yen Noh, Edel O'Reilly, Eric Peter, Elien Ronse, Clara Saito, Karina Sarkissova, Jasmin Schädler, Zoe Scoglio, Leeron Tur-Kaspa, Duruo Wang, Ciarán Wood and Polly Wright.

https://www.youtube.com/user/DAILectures

What: COI #6 Lecture & Seminar

Where: Academy of Fine Arts in Prague

When: May 23, 2019 19:00 & May 24, 2019 17:30

Curated by Boris Ondreička (TBA21) and Václav Janoščík (AVU).

Class of Interpretation (COI) is a joint educational project between Thyssen-Bornemisza Art Contemporary, Vienna (TBA21), and the Academy of Fine Arts, Prague (AVU).

The concerns surrounding the two euphemistic notions of the “Anthropocene” and “Planetary Computation” have been deployed as two separate contingents in the context of contemporary art.  From the onset, the function of this split has been a foreclosure of the role contemporary art plays in the fundamentally unsustainable terms of production within (computational) capitalism and its underlying relation to both nature and technology. This symptomatic bifurcation takes place against the wider backdrop which contemporary art rarely addresses explicitly: if economic growth is the primary goal of society, this means that all other spheres must be subordinated to economic logic, including nature, technology, and art.

Professing that art can still have “real” political agency within broken capitalist post-democracy while, at the same time, nurturing an art system that relies on the production of objects cum commodities, is based on an either naive or cynical “belief in art.” The contemporary capitalist church of art rests on a libidinal investment in the idea of art’s redemptive role in the impending planetary cataclysm. In order to (re)gain the prospect of any political and epistemic relevance, art must move toward a radical logic of de-growth and, as a start, must stop its actual material output. This cannot be achieved by what, in the original use of the notion of the “minus object,” the artists of the Italian Arte Povera movement referred to—poor and hard-to-commodify objects, but still objects. Nor should it invoke any one artists dropping out of the art world or the twentieth-century genre of “art strikes.” It must go beyond declarative “anti-art” aesthetic gestures. The proper minus object replaces art, the relic of the capitalist church of art, with artistic intelligence.

An essential operation for devising the minus object of art is similar to debunking what Luciana Parisi refers to as digital naturalism, which necessitates a learning from instead of learning toward.

As much as the relation to nature is not universal, neither is the relation to technology. Instead, as Yuk Hui demonstrates in his work on cosmotechnics, particular cosmologies nurture different relations to technology. Thus, there is no one technology, but rather multiple cosmotechnics. Moving from the production of objects to an objective of becoming an active agent in a fundamental revision of our relationship to nature and technology can than serve the development of a properly abductive artistic intelligence.

The Minus Object 3.0: Artistic Intelligence and the Cosmotechnical Epistemic RevolutionThe proper minus object of art equals circumventing the objective of creating relics while developing artistic intelligence based on the affinity with the incomputable in both nature’s and machines’ intelligence. This is a prerequisite for undoing the patriarchal gendering of technology and nature. In fact, alienating the instrumental relation to both: detechnologizing nature and denaturalizing techne, might be the only way toward non-alienated artistic intelligence. In this talk I will discuss a small number of recent anti-disciplinary, collaborative practices that manage to critically align diverse non-normative intelligences in examining the normalization of instrumentalization, codification, and commodification of Earth’s life worlds.

Format: Exhibition

Location: Kunsthalle am Hamburg Platz, Berlin

Date: September 27 - October 20, 2019

Artists: Carlotta Lücke, Frédéric Duval, Lola Pfeiffer

Curated by: Dierk Höhne

Welt ohne Mensch