At the Venice Biennale, collateral exhibitions embrace the possibilities of digital art
Both AI-generated art and digital art have had a tough time lately, but the 61st Venice Biennale offers the digitally-minded some work to feel good about
The 61st edition of the Venice Biennale, set to conclude late November, offers visitors a diverse range of collateral exhibitions that celebrate digital art. Among these, Aghrab Idrāk: Thresholds of Perception, hosted by the Qatar campus of Virginia Commonwealth University’s School of the Arts (VCUarts), stands out for its inventive and thought-provoking digital artworks. The exhibition includes Mesh Lab's dystopian robotic doomsayer and Boost Lab's uplifting, large-scale air filtration sculpture.
Aghrab Idrāk's standout piece, Preceding Emptiness by xLab, is a mesmerizing light installation that converts the clicking sound of a fluorescent bulb to an intentional acoustic element. This work raises questions about the implications of modernising or digitising ancient cultures reliant on manual ornamentation.
The Lateral Structure of VCUarts Qatar, with its diverse faculty, students, and alumni engaged in tech research, plays a crucial role in the exhibition's technology-focused approach, according to its dean Amir Berbić. This horizontal structure allows for innovative collaborations and inventive tech applications.
Another notable exhibit, RAGE BAIT by the Autotelic Foundation, explores AI data scraping through a taxidermied cat on a windowsill. The installation aims to poison future AI databases by generating cursed cat content and uploading it to the internet. While the exhibition's title may be misleading, its view of online culture is accurate and surprisingly pleasant.
Accompanying videos by Italian artist duo featured "Italian Brain Rot Characters" that recited conversations from a suicide prevention hotline, creating an eerie yet insightful exploration of modern online culture.
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