NORMA JEANE
THE SOFT MACHINE
OCTOBER 26TH . DECEMBER 15TH 2017
OPENING 25TH | H 7 – 9 PM
NEXT >> DISCUSSION DECEMBER 12TH | H 6 – 8 PM
VIA PAULLO, 12/A MILANO
PHOTOGALLERYThe Soft Machine
Human, all too human or inhuman?
Are we soft enough to accept the technological challenge without yielding?
DECEMBER 12TH | H 7 – 9 pm
Informal public discussion about the in-transition identity of a humanity which is less and less at the center of the universe. Post humanism, anti-specism, anthropocene, technological singularity are only some of the points of view confronting in the international debate on the near future which is waiting for us.
The participants:
Carlo Antonelli is a journalist, actor, cinema producer and art director. He has long worked inside music field and then dedicated his time to publishing industry, undertaking the direction of Rolling Stone and Wired magazines. He currently is the curator of Museo d’arte contemporanea Villa Croce, Genova.
Leonardo Caffo is a philosopher and essayist, he collaborates with numerous magazines and is the author of different publications focused on anti-specism and post-humanism. He currently teaches Ontology at the Architecture Department of Politecnico di Torino. He is founder of Waiting Posthuman Studio.
Mariuccia Casadio is an art curator and critic, collaborates with Vogue Italia and is author of numerous books about fashion. She lives since many years with the company of small electronic creatures.
Barbara Casavecchia is an independent art critic and curator. She is contributing editor of Frieze, collaborates with Art Agenda, Art Review, Mousse and Spike, she teaches at Accademia di Belle Arti di Brera and will moderate the discussion.
Norma Jeane is the artist who created the exhibition The Soft Machine. Her works have been shown in different international institutions and contemporary art biennials.
EXHIBITION
Machines are the icon of the hardware concept, progressively taking on a new aura. The researches commonly gathering around the definition of Artificial Intelligence are transforming these objects, historically considered as mere instruments to service useful objectives of our species, into subjects presenting new unpredictability fringes.
This mutation is to be found on the side of the representation which we (humans) develop in our emotive scope. Unavoidably, this extends the boundary of what we define as “artificial” to objects which main feature is not only utilitarian, but also aesthetic, symbolic, sensual, communicative and spiritual.
The “artifacts” do have the power to change our representation of the world, and with this also of ourselves. Does it then make sense to persist with the dualism of natural/artificial? Technology isn’t maybe an essential part of our humanity? And doesn’t it significantly contribute to the way we see ourselves?
This soft contemporary seduction is the material for The Soft Machine, an exhibition where two works by Norma Jeane, ShyBot (2017) and Black Sheep Orgone Blanket (2017) intertwine in an embrace among technology, culture and identity.
Norma Jeane is an alias inspired by the most private and dark side of the shiniest of the pop icons. The contradictory complexity of daily life is the investigation field of her works which have been displayed at different international public and private institutions such as MoMA, P.S.1 and Swiss Institute, New York; Palais de Tokyo, Paris; Helmhaus, Zurich; Frieze Project, London; Schirn Kunsthalle, Frankfurt; Martin Gropius Bau, Berlin; Culture Station 284, Seul; Galleria Continua, Beijing and Les Moulins; Palazzo delle Esposizioni, Rome; Lion Biennial, Biennale di Venezia, Liverpool Biennial, Socle du Monde Biennial, Herning/DK and Desert X Biennial, Palm Springs.
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La macchina, icona del concetto di hardware, assume una nuova aura. Le ricerche comunemente riunite nella definizione di Intelligenza Artificiale stanno trasformando questi oggetti, storicamente considerati come meri strumenti al servizio della nostra specie, in soggetti con nuovi margini di imprevedibilità.
Questa mutazione si colloca sul versante della rappresentazione che noi (umani) elaboriamo nella sfera emotiva e, inevitabilmente, estende il perimetro di ciò che definiamo “artificiale” a oggetti la cui peculiarità non è solo utilitaristica ma anche estetica, simbolica, sensuale, comunicativa e spirituale.
Gli “artefatti” hanno quindi il potere di modificare la nostra rappresentazione del mondo e di noi stessi. Ha dunque senso perseverare nel dualismo naturale/artificiale? La tecnologia non è forse parte integrante della nostra umanità? E non contribuisce in modo sostanziale al modo con cui ci vediamo?
Questa morbida seduzione contemporanea è la materia di The Soft Machine, una mostra che vede intrecciarsi due opere di Norma Jeane, ShyBot (2017) e Black Sheep Orgone Blanket (2017), in un abbraccio tra tecnologia, cultura e identità.
Norma Jeane è un alias ispirato al lato privato e oscuro della più luminosa tra le icone pop.
La complessità contraddittoria della quotidianità è il campo di indagine delle sue opere che sono state mostrate in numerose istituzioni pubbliche e private internazionali tra le quali MoMA, P.S.1 e Swiss Institute, New York; Palais de Tokyo, Parigi; Helmhaus, Zurigo; Frieze Project, Londra; Schirn Kunsthalle, Francoforte; Martin Gropius Bau, Berlino; Culture Station 284, Seul; Galleria Continua, Pechino e Les Moulins; Palazzo delle Esposizioni, Roma; Biennale di Lione, Biennale di Venezia, Biennale di Liverpool, Biennale Socle du Monde, Herning/DK e Desert X Biennial, Palm Springs.
Leonardo Caffo™ 