News about Hidéo SNES’s work, exhibitions and events. Sign up to the newsletter to receive invitations directly to your inbox. Sometimes there are also small gifts when the AI has created something exciting.
About 2 to 3 times a year you will receive an email with news and updates about my events and exhibitions. Sometimes I also include a small gift when my AI has produced something exciting. I adhere to the following rules: No spam! No sales! No shenanigans! And of course, rest assured, your data is safe with me.
The idea of showing a pavilion of asexual pleasures at a porn film festival can be read as not unironic. It explores the question of whether sexuality is something inherently natural. Whether it should be considered normal to present hyper-sexualised bodies ubiquitously, or whether the distinction between sexual attraction, libido and aesthetic attraction or interest does not conceal several, hedonistic dimensions that may overlap but also exist independently of each other.
By addressing the issue of asexuality through the use of intra-machine correspondence of an artificial intelligence, Hidéo SNES creates an ostensibly emotionless space. A space that invites one to explore one’s own body beyond sexuality and sexual desire while eating cake.
Thea Ehre, Daniel Hill, youpron, Aaron Moth, Hidéo SNES, Anthoniy Val, Iztok Klancar, Ann Antidote, Diana Andrei, Damien Thorn, Leon Chevalier, Natalia Portnoy, Luca Bonamore, Feline Hjermind, Offerus Ablinger, Olivia Scheucher, Benjamin Brommer, Christiane Peschek, Nick Romeo Reimann, Kenneth Constance Lore
Opening: 12. September 2021 – 16:00 at Arenbergpark with an AI-Yoga-Performance
We can now assume that pure and digital reality have merged to such an extent that it seems impossible to imagine one without the other. The mobile phone in your pocket is quickly at hand everywhere. It allows access to location-specific information and data via WIFI and mobile networks over the most diverse channels. As such, Hidéo SNES deals with the transmediality of our urban life in the work “Between these walls, I lay and listened”.
SNES makes use of various digital and analogue production processes, first and foremost artificial intelligence. Furthermore, site-specific, performative interventions expand the spectrum of experiencing digital realities. For this purpose, the exhibition space is understood as an interface that translates user data – analogue and digital – and makes them accessible to visitors.
I was supposed to tell my art it can become more than a glorified calculator
Expanded Painting Installation at Parallel Artfair, Vienna (AT)
My previous works were geared towards the successful creation of an illusion of classical painting. Only machine production capacities limit the size of the paintings. Thus, even in its digital form, the AI would produce an endlessly large painting if there was no limitation or external, human intervention. While my earlier AI paintings were quite manageable in size and I now want to work over length. In my project, I’m exploring two aspects that reflect contemporary developments in art and technical developments in AI:
On the one hand, I have observed a development of language over the years when it comes to describing the “black box” that many AIs represent. Often, anthropocentric metaphors borrowed from medicine and psychology are used to explain dry, technical functions to a wider audience. This includes, for example, the metaphor “an AI became depressed” to describe the process of fatal model deterioration. At this point, I see a fitting parallel to the venue of Parallel 2021.
On the other hand, the impressive formats of the works, several metres in length, allude to precarious production conditions in the art business, which are not only caused by the pandemic, but precede it. The question is how to denote the work of an artist in the context of software-based automation processes, the virtualisation of artistic value through NFT and the devaluation of artistic work through the dictatorship of social media.