Exhibition produced by the Canadian Cultural Centre in Paris as part of the official program of Nemo, the Biennial of Electronic Arts Ile-de-France, in collaboration with ELEKTRA (Montreal) and with the support of Région Ile-de-France.
Official opening February 4, starting at 6 pm – Free Access
6 pm: Guided Tour
7 pm: Speeches
8 pm: AV performance ENIGMA by Purform (Yan Breuleux and Alain Thibault)
DJ in Canada Café
The exhibition Human Learning. What Machines Teach Us documents the world using the technologies that shape it. The works presented feature a large variety of approaches: interactive devices that make us grasp their playabilities, generative installations whose processes are entirely autonomous, and creations that explore digital media to comment about these media.
The notion of artificial intelligence emerged in the 1950s. It instigated imaginaries immediately adopted by science-fiction writers who endowed machines with the ability to “think”. In the 1980s, the idea that machines could learn by themselves through operation of deduction appeared. This is today known as “machine learning”. Finally, from the turn of the millennium, the term “deep learning” has been used to refer to the processing of vast quantities of data by computers.
We have taught machines everything, and continue to nurture them to attain the autonomy we would like to grant them. Isn’t it now the time to start thinking what we too, may learn from machines, by observing their specificities or qualities? If there is such a community that observes the world and proposes interpretations of its transformations, it is the artistic community.
Artists have always made use of the tools and materials of their times. Thus, an increasing number of artists are turning to the creative potential of digital technologies, which are also used by researchers in their laboratories. In doing so, they accept what the conditions of machines all the while adding elements of unpredictability to their creations. The machines or robots are sometimes the subjects of photographs or films that other artists produce, to experiment in new forms of empathy.
We have a certain familiarity with the works of art that emerge from the use and/or observation of the technologies that shape our relationships to the world as well as to others and to ourselves. Recognizing the technologies of our daily lives in an artistic context makes us consider them differently. Knowing that it is in contact with others that we build ourselves, it is high time to consider this other "machinery" that we are increasingly encountering without knowing it too well. Devoting an exhibition to machines and the ideas or aesthetics that emerge from them means accepting their teachings.
Works by Matthew Biederman, Emilie Brout & Maxime Marion, Grégory Chatonsky, Douglas Coupland, Chun Hua Catherine Dong, Emilie Gervais, Sabrina Ratté, David Rokeby, Justine Emard, Louis-Philippe Rondeau, Samuel St-Aubin, Skawennati, Xavier Snelgrove & Mattie Tesfaldet, with an outdoor installation by Olivier Ratsi.
Guest curators: Dominique Moulon and Alain Thibault
Associated curator: Catherine Bédard
Exceptionally open on Saturday April 4, from 10am to 6pm for Paris Art Fair.
The Dreaming Machine
& MATTIE TESFALDET
Latent Space Interpolation
EMILIE BROUT & MAXIME MARION
She Gathers the Rain
Satellite of Love
CENTRE CULTUREL CANADIEN
130 Rue du Faubourg Saint-Honoré, 75008 Paris, France
10 am - 6 pm