Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
Centre for Contemporary Art Laznia | Polity Press, ISBN-13: 9788361646730, English, Polish, 205 pages, 2016, Poland
Patrick Tresset’s drawing robots (all named “Paul”) have travelled through plenty of exhibitions in the last few years, intriguing the audience (and their egos) with their very personal attitude of drawing robotic portraits yet with very human qualities. With the good excuse of an exhibition at the Laznia Centre for Contemporary Art in Gdansk (Poland), Ryszard W. Kluszczyński has edited this volume about Tresset’s work extending it in every connected direction. His own personal contribution starts with an essay on the art of autonomous creation going through early automata to Tinguely and the latest bio-art based systems, while in a second essay he analyses the quality and processes of post-imagery. Tresset himself contributes to a paper with Oliver Deussen explaining the whole context behind “Paul’s memories” paintings realised by Deussen’s e-DAVID robot based on Paul’s stored images of people of whom he made portraits. A parallel detailed comparison between Paul and AARON systems follows (by Marcin Składanek), before a compelling historical, informing treatise about drawing in art (Beata Purc-Stępniak). Finally, Tresset’s text for the exhibition precedes a prolonged interview with Özden Şahin. The rich emerging cluster of interconnected topics describes a wholly different artistic environment, with machines’ deep role, and their gestures now endorsed as performative acts. The provided historical context helps to frame this environment, although its subtle psychological qualities remain fascinatingly elusive.