Anadol said that every artist wanted to see “what is beyond reality” and “perceive worlds that do not exist.” ai was a vehicle for imagination that, he said, could represent “hallucinations, dreams, fantasies.”
The technology we are faced with today is no longer “just a pen or a printing press”, nor “not just a car or a wheel”. Instead, “it's intelligence,” he said. “It is mimicking our reasoning right now and will evolve. It will become something else.” And that “has never happened before in our history.”
Currently, he explained, ai is “50 percent human, 50 percent machine.” In the future, he said, ai will be “designed from the ground up: to see, hear, feel” and produce “a living form of art” that will be “a synthetic being.” taking “archives of humanity and what we are leaving behind” (not just an image, text or sound, but “smell, taste, touch”) and turning them into data and memory with which art can be created.
He described ai as “a thinking brush that doesn't forget, that can remember anything” and said he would “invite that ai into my studio, host it and co-create” with it. “I will accept that ai as a human being,” she said.
Anadol's “Echoes of the Earth” exhibition arose from an invitation to exhibit at the Serpentine Galleries by its artistic director Hans Ulrich Obrist.
In an interview at his Serpentine office, Obrist recalled that in October 2011, after giving a talk in Marrakech, Morocco, he was approached by an artist and technologist from London and told that he didn't understand why museums weren't engaging with technology nowhere except on your website. Obrist said he brought the artist and a group of others together for a roundtable breakfast a few days later, and in 2013, he established the Serpentine's technology division, which today has five curators.
