Don't Be Evil
Digital Deception and Creative Disruption
1 november 2023 – 14 januari 2024
woensdag – zondag, 12:00 – 18:00
€7,50 (€6 met korting)
Tickets geven toegang tot beide tentoonstellingen
De hoofdtentoonstelling van het IMPAKT Festival 2023 presenteert werk van gerenommeerde en opkomende internationale kunstenaars. De tentoonstelling omvat ook werken en projecten die geproduceerd zijn in residency’s die werden ondersteund door het European Media Art Platform, een programma waar IMPAKT aan deelneemt.
De speelse, speculatieve en subversieve werken in deze tentoonstelling gaan over wat wij zien als de belangrijkste kwesties die invloed hebben op onze digitale rechten en agency: surveillance, data-extractie, Big Tech-strategieën, de uitvergroting van menselijke vooroordelen en onze toekomst met kunstmatige intelligentie (AI). We hebben deze werken geselecteerd vanwege hun inspirerende of provocerende inhoud en de manier waarop ze humor en verrassing gebruiken. Ze zorgen ook voor bewustwording en informeren ons over wat er op het spel staat in een steeds sneller digitaliserende wereld.
NB: alle werken van Don’t Be Evil staan tentoongesteld in de expositieruimte op de begane grond.
Nicolas Gourault― Kunstenaar
Nicolas Gourault is an artist and filmmaker based in Paris (FR) with a background in visual arts and visual studies. He has worked with Forensic Architecture before graduating from Le Fresnoy, Studio national des arts.
His work is imbued with this double training, navigating between online open-source investigations and the critical use of new media as documentary tools. His films and video installations explore the power relationships embedded in technologies and tries to build counter-narratives through the use of situated testimony and experimental image-making.
His artworks have been exhibited in contemporary art venues such as Centre Pompidou (FR), the ZKM | Zentrum für Kunst und Medien (DE), Hartware MedienKunstVerein (HMKV) (DE), Ars Electronica (AT), la Cité internationale des arts (FR), LOOP Barcelona video art fair (ES) and le musée de la Chasse et de la Nature (FR), but also in film festivals such as Cinéma du Réel (FR), Hot Docs (CA), Sheffield Doc|Fest (UK), Festival Nouveaux Cinéma (CA), Festival dei Popoli (IT), IndieLisboa (PT), E Tudo Verdade (BR), Punto de Vista (ESP).
Roel Heremans― Kunstenaar
Roel Heremans is een transdisciplinair kunstenaar die werkt met geluid, visualisatie en neurofeedback. In de meeste van zijn werken componeert hij audiofragmenten die de verbeelding van bezoekers prikkelen om meeslepende groepservaringen te creëren.Hierdoor worden de bezoekers tegelijkertijd acteurs, getuigen, performers en re-enactors van mentale en fysieke denk- en bewegingsprocessen, waar collectieve performances individuele reacties ontmoeten en vice versa. Eerdere tentoonstellingen van zijn werk vonden plaats in Muzeul Național al Literaturii Române, Boekarest (RO), Siemens Sanat Gallery, Istanbul (TR), Next festival, Lille (FR), Arti et Amicitiae, Amsterdam (NL) en op de Biënnale van Venetië (IT).
Dasha Ilina― Kunstenaar
Dasha Ilina is a Russian artist based in Paris. Through the employment of low-tech and DIY approaches, her work questions the desire to incorporate modern technology into our daily lives by highlighting the implications of actually doing so. Her practice engages the public in order to facilitate a space for the development of critical thought regarding social imperatives for care of oneself and others, privacy in the digital age, and the reflexive contemporary desire to turn to technology for answers. She is the founder of the Center for Technological Pain, a project that proposes DIY solutions to health problems caused by digital technologies for which she has received an Honorary Mention at Ars Electronica. Ilina’s work has been exhibited at institutions such as Centre Pompidou (FR), MU Artspace (NL), Gaîté Lyrique (FR), Hartware Medienkunstverein Dortmund (DE), NeMe (CY), as well as various talks, workshops, and performances held internationally. She is also the co-director of NØ SCHOOL, a summer school that focuses on critical research around the social and environmental impacts of information and communication technologies.
Photo: Erica Jewell
Vladan Joler― Kunstenaar
Vladan Joler is an academic, researcher and artist whose work blends data investigations, counter-cartography, investigative journalism, writing, data visualisation, critical design and numerous other disciplines.
He explores and visualises different technical and social aspects of algorithmic transparency, digital labour exploitation, invisible infrastructures and many other contemporary phenomena in the intersection between technology and society.
He has curated and organized numerous events and gatherings of Internet activists, artists and investigators, including SHARE events in Belgrade and Beirut. His artistic pre-history is rooted in media activism and game hacking. He has received numerous awards, including the 2019 Design of the Year Award by the Design Museum in London and the S+T+ARTS Prize ’19 Honorary Mention by the European Commission and Ars Electronica.
Joler’s work has been profiled and covered in many international media such as BBC, CNN, WIRED, The Independent, The Times, Wallpaper*, Le Figaro, The Verge, Fast Company, +ARCH, ArtForum, Neural, LesJours, WeMakeMoneyNotArt and many others.
Tomo Kihara― Kunstenaar
Tomo Kihara is an artist who designs and codes "toys for thought"— experimental games and interventions that draw out unexplored questions from people through play. He holds an MSc in interaction design from TU Delft (NL) and has collaborated with organizations like Waag Futurelab and Mozilla Foundation on various projects. His recent projects have been nominated for the Ars Electronica STARTS PRIZE (Linz, 2021) and exhibited at the Victoria & Albert Museum (London, 2022).
Jeroen van Loon― Kunstenaar
Jeroen van Loon embeds himself in subjects such as the production of identities through social media (Kill Your Darlings, 2012), pre-Internet societies (Life Needs Internet, 2014–2016), and the evolving market in human genetic data (Cellout.me, 2016). Van Loon makes a significant contribution to our understanding of and relationship to contemporary digital culture and the new realities produced by technological advancement. This contribution is a necessary and timely one, pulling our attention away from the direct, everyday consequences of technology to cast light on its broader impact and structural effects. In an age in which the short-term benefits of new technologies are generously celebrated in the media, promoted through government innovation policies and highlighted in product campaigns, there is a critical need for the efforts of artists like Van Loon to counter this techno-euphoria with an unbiased exploration of technology’s effects on our lives, climate and culture. Van Loon’s work has been displayed in solo exhibitions and international group shows and has earned him a European Youth Award and a KF Hein art grant. He regularly gives presentations on his artistic explorations of technology, both in the art world and through institutions that promote innovation, such as TEDx. Van Loon holds a bachelor’s degree in digital media design and a master’s in European media. He is currently based in Utrecht, the Netherlands. (text by Michel van Dartel)
Martin Nadal― Kunstenaar
Martin Nadal (BSc) is an artist/creative coder based in Linz and studying the Interface Cultures program at KunstUni. In the past years he has collaborated in a variety of projects and taught some workshops related to art and technology. He is also interested in illustration and cinematography. His works have been shown at Visualizar 11 (Medialab Prado), Ars Electronica, AMRO Festival y Settimana della Scienza (Genova). IAMAS (jp). ZKM (de).
Simone C. Niquille― Kunstenaar
Simone C. Niquille is a Swiss graphic designer and researcher. Her practice investigates the representation of identity without a body, the digitisation of biomass and the increasingly omnipresent optic gaze of everyday objects. She has written a column on technology, body modification and privacy for Sang Bleu, is part of design research collective Space Caviar in Genova Italy and is Tutor at the Architectural Association London.
JULIAN OLIVER― Kunstenaar
Julian Oliver is a New Zealander, Critical Engineer and artist based in Berlin. His work and lectures have been presented at many museums, galleries, international electronic-art events and conferences, including the Tate Modern, Transmediale, the Chaos Computer Congress, Ars Electronica, FILE and the Japan Media Arts Festival. Julian has received several awards, most notably the distinguished Golden Nica at Prix Ars Electronica 2011 for the project Newstweek (with Daniil Vasiliev).
Caroline Sinders― Kunstenaar
Caroline Sinders is a machine-learning-design researcher and artist. For the past few years, she has been examining the intersections of technology’s impact on society, interface design, artificial intelligence, abuse, and politics in digital, conversational spaces. Sinders is the founder of Convocation Design + Research, an agency focusing on the intersections of machine learning, user research, designing for the public good, and solving difficult communication problems. As a designer and researcher, she has worked with Amnesty International, Intel, IBM Watson, the Wikimedia Foundation, and others. Sinders has held fellowships with the Harvard Kennedy School, the Mozilla Foundation, Yerba Buena Center for the Arts, Eyebeam, STUDIO for Creative Inquiry, and the International Center of Photography. Her work has been supported by the Ford Foundation, Omidyar Network, the Open Technology Fund and the Knight Foundation. Her work has been featured in the Tate Exchange in Tate Modern, Victoria and Albert Museum, MoMA PS1, LABoral, Ars Electronica, the Houston Center for Contemporary Craft, Slate, Quartz, Wired, as well as others. Sinders holds a Master from New York University’s Interactive Telecommunications Program.
Guillaume Slizewicz― Kunstenaar
Guillaume Slizewicz speaks in the language of technology but tells an emotional story. He translates complex social issues, from local air quality to online surveillance, into objects and installations that combine digital and physical (im)materials. Glass, algorithms, wood, social sciences, ceramics, circuit boards, literature, photography, code, a botanical garden, robots, computer voices, and light – in Guillaume’s mind and hands they are all materials to be shaped into engaging experiences for all audiences, from the interested amateur to a demanding specialist. Right now Guillaume focuses on the notion of vernacular electronics, or how to give new technologies a local shape, form, and content. After graduating in politics, philosophy, and economics in 2012, Guillaume worked as a strategist and consultant for different agencies and clients who were looking to innovate how they relate to their audiences. During these years he gravitated towards design thinking, product design and finally data visualisation and machine learning, leading him to complete a BA in Production Technology at Copenhagen School of Design and Technology (KEA) and an internship with interactive design studio Superbe in Namur. Landing in Brussels, he started to work as a design researcher for the Urban Species research group by LUCA School of Arts and ULB in Brussels. In parallel, he set up his own studio in 2020 to create, produce and exhibit more artistic design projects that reflect on the plural relationships between technology, nature and society. Often working in collectives such as Algolit, Anaïs Berck or Tropozone, Guillaume Slizewicz’s work has been presented by institutions like Design Museum (Ghent), Kikk (Namur) and BioArt Labs (Eindhoven), by universities in Brussels, Basel and Hong Kong, as well as in grassroots venues deep in the local urban fabric such as Biestebroekbis, La Maison du Livre St Gilles and Constant in Brussels.