Kanikuly / 30° im Schatten, Farbenladen München, August 9th – 30th
“79530 Self-Portraits” at “Gradient Descent”, Nature Morte, New Delhi, August 17th – September 15th “X Degrees of Separation” at Przemiany Festival at Copernicus Science Centre, Poland, September “79530 Self-Portraits” at Ars Electronica Festival, September “Uncanny Mirror” at Seoul Mediacity Biennale 2018, September “Mistaken Identity” at Beyond Festival, Karlsruhe, October “Memories of Passersby I” at Sotheby’s Contemporary Art Day, March 2019 “79530 Self-Portraits” at Bundesministerium für Bildung und Forschung, Berlin, March 2019 “79530 Self-Portraits” at “Gradient Descent”, Galaxy Bengaluru, March 30th – April 13th 2019 “Hyperdimensional Attractions: Sirius A” at CADAF, New York City, May 2019 “Memories of Passersby I”, “Mistaken Identity” and “X Degrees of Separation” at “Artistic Intelligence” show at Kunstverein Hannover, May 2019 “Uncanny Mirror” at “Entangled Realities” show at Haus der elektronischen Künste, Basel, May 2019
“Circuit Training” at the Barbican, London, May 2019 “79530 Self-Portraits”, “The Butcher’s Son” and “Neurographies” at “Automat und Mensch”, Kate Vass Gallery, Zürich, May 2019 “Interstitial Space” at ART-AI Festival Leicester, May 2019 “NeuralGlitch” at “Augmented Humanity”, Circolo del Design, Torino, June 2019 “Memories of Passersby I” at “Artificial Intelligence and Intercultural Dialogue”, at The State Hermitage Museum, St. What specific AI / machine learning technologies does you use? What excites you most about AI as an artist? Klingemann on using artificial intelligence: How has AI impacted your creative practice?ĬOMING SOON: Artist will supply a short quote to insert here. Klingemann received the Artistic Award 2016 by the British Library Labs and won the Lumen Prize Gold 2018. He believes that his future creative agents will require a solid foundation of human knowledge to build upon. He also helps institutions like the British Library, the Cardiff University or the New York Public Library with the processing and classification of their vast digital archives. Klingemann is currently an Artist in Residence at Google Arts & Culture. Klingemann showed several of his “Neurographer” works at Ars Electronica 2017. Style transfer, ppgn, pix2pix and CycleGAN are architectures he has investigated and experimented with in an artistic context. Klingemann’s work Memories of Passersby I generates portraits in real-time using neural networks. It is a computer system hidden inside of an antique-looking piece of furniture, which looks like a cross between a midcentury modern cabinet and an old-fashioned radio.
X DEGREES OF SEPARATION CODE
Mario enjoys sharing his explorations and discoveries on design and technology conferences worldwide, has co-founded the Munich FabLab and is working as a freelance code artist building creative tools, mobile apps and media installations. In 2015 he won the Creative Award of the British Library, currently he is machine learning artist in residence at the Google Cultural Institute in Paris. Pieces like his Neural Network portraits, Lowpoly Bot, Mona Tweeta, ScribblerToo, Flickeur, or Dada Visualization have made their way into uncounted best-of lists and got featured in many articles. His creations have been exhibited in international art shows and won acclaim among critics as exemplary pieces of net art. His work is often inspired by overcoming limitations, and creatively repurposing and recombining objects and systems to reveal their hidden qualities. Klingemann’s interests are constantly evolving, encompassing artificial intelligence, deep learning, generative and evolutionary art, glitch art, data classification and visualization, and robotic installations. In order to surprise himself and his audience, Klingemann explores uncharted territories to discover unseen beauty and unthought ideas.
He also has a deep interest in human perception and aesthetic theory. Klingemann is driven by a deep desire to understand, question and subvert the inner workings of systems. The art of that piece, he explains, is the code and system itself, rather than its continually evolving output on two screens - representing an important historical and conceptual landmark in the history of the art market. He recently made headlines with the sale of his piece Memories of Passersby I, which was one of the first AI artworks bought in a traditional auction house (featured below). Klingemann is an award-winning artist and skeptic with a curious mind, whose preferred tools are neural networks, code and algorithms.