Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Concrete by Nicola Di Giorgio

    Concrete by Nicola Di Giorgio

    Aesthetics of New AI at the Creative AI Lab

    Aesthetics of New AI at the Creative AI Lab

    The Belgian Pavilion at the 59th Venice Art Biennale

    The Belgian Pavilion at the 59th Venice Art Biennale

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    Videocittà 2022 in Rome

    Videocittà 2022 in Rome

    Ars Electronica 2022

    Ars Electronica 2022

    Interview |  Delphine Valli

    Interview | Delphine Valli

    Club Zero. La Turbo Avedon

    Club Zero. La Turbo Avedon

  • FRAME
    FRAME > NEOM

    FRAME > NEOM

    FRAME > Archaeologies of Climate

    FRAME > Cosmic Cliffs

    FRAME > Cosmic Cliffs

    FRAME > SPECTRAL LANDSCAPES

    FRAME > SPECTRAL LANDSCAPES

    FRAME > Sunset in Delft

    FRAME > Sunset in Delft

    FRAME > Ophelia

    FRAME > Ophelia

    FRAME > Botto

    FRAME > Botto

    FRAME > CellF

    FRAME > CellF

    FRAME > Another Moon

  • VIDEO POST
    VIDEO POST > And Between Us, An Ocean

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST >  Perpetual Phases

    VIDEO POST > Perpetual Phases

    VIDEO POST > Fog

    VIDEO POST > Fog

    VIDEO POST > Bi0film.net

    VIDEO POST > Bi0film.net

    VIDEO POST > Lasermice dyad

    VIDEO POST > Lasermice dyad

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Transient

    VIDEO POST > Transient

    VIDEO POST > Echo Chamber

    VIDEO POST > Echo Chamber

    VIDEO POST > CBM 8032 AV

    VIDEO POST > CBM 8032 AV

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Concrete by Nicola Di Giorgio

    Concrete by Nicola Di Giorgio

    Aesthetics of New AI at the Creative AI Lab

    Aesthetics of New AI at the Creative AI Lab

    The Belgian Pavilion at the 59th Venice Art Biennale

    The Belgian Pavilion at the 59th Venice Art Biennale

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    Videocittà 2022 in Rome

    Videocittà 2022 in Rome

    Ars Electronica 2022

    Ars Electronica 2022

    Interview |  Delphine Valli

    Interview | Delphine Valli

    Club Zero. La Turbo Avedon

    Club Zero. La Turbo Avedon

  • FRAME
    FRAME > NEOM

    FRAME > NEOM

    FRAME > Archaeologies of Climate

    FRAME > Cosmic Cliffs

    FRAME > Cosmic Cliffs

    FRAME > SPECTRAL LANDSCAPES

    FRAME > SPECTRAL LANDSCAPES

    FRAME > Sunset in Delft

    FRAME > Sunset in Delft

    FRAME > Ophelia

    FRAME > Ophelia

    FRAME > Botto

    FRAME > Botto

    FRAME > CellF

    FRAME > CellF

    FRAME > Another Moon

  • VIDEO POST
    VIDEO POST > And Between Us, An Ocean

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST >  Perpetual Phases

    VIDEO POST > Perpetual Phases

    VIDEO POST > Fog

    VIDEO POST > Fog

    VIDEO POST > Bi0film.net

    VIDEO POST > Bi0film.net

    VIDEO POST > Lasermice dyad

    VIDEO POST > Lasermice dyad

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Transient

    VIDEO POST > Transient

    VIDEO POST > Echo Chamber

    VIDEO POST > Echo Chamber

    VIDEO POST > CBM 8032 AV

    VIDEO POST > CBM 8032 AV

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
Arshake
No Result
View All Result
Home exhibitions

Donato Piccolo. Imprévisible

Elena Giulia Rossi by Elena Giulia Rossi
26/05/2018
in exhibitions, focus
Donato Piccolo. Imprévisible

Donato Piccolo’s works and vision arrive into the spaces of the Pomodoro’s Foundation in Milan. Piccolo’s Imprévisible inaugurates the Foundation’s new project room curated by Flavio Arensi, fist of a three acts exhibition.

The auto-mobile, a recurring image in Donato Piccolo’s work, particularly during his first years, resurfaces in this exhibition, overturned and ‘re-incarnated’ as a Kafkaesque insect with six robotic arms designing its profile. Two tortoises inside a glass display cabinet provide the input for this monstrous creature’s movement, mediated by an algorithm.  It is these animals, slow-paced and wise, that activate the movement of this gigantic creature.

Artificial Intelligence animates cardboard boxes in Anna non porta rancore (Anna does not hold a grudge) and allows Anna to walk around the room and observe, embarking on the same journey of learning that the protagonist of Kafka’s Metamorphosis, Gregor Samsa, undertakes in his new ‘animal’ life.

Donato Piccolo, who has always been creatively engaged in a learning process, attempts to observe his earthy room by experimenting, activating circuits and reflecting through drawings, as demonstrated by the drawings on paper that accompany the exhibits.

In Piccolo’s research, oscillating between nature and artifice, the enquiry into the consignment of man’s conscience to synthetic intelligence appears to emerge as a matter of urgency. AI represents what is now being added to contemporary society and what is, at the same time, being taken away from man, who is on the way to having his dominant role displaced. Man’s intelligence is being entrusted to a machine that merely observes, that does not take emotions into consideration, that does not ‘hold a grudge’.

“We are standing opposite something that is processing information, explains Flavio Arensi in his critical essay. “Amassing information and modifying it according to precise mathematical calculations, without being distracted by the emotions on which all our human decisions depend. The censorship of feelings means abdicating all our human subjectivity, in other words that which outlines our individuality.”

We then arrive at the learning experience of algorithms, those that provided Norbert Wiener with the idea of introducing, during a meeting at Princeton in 1945, slightly before the establishment of cybernetics, the terms feedback, input and output. These terms have now entered our common language and are increasingly being used in the field of artificial intelligence. At the time Wiener was establishing a science that studied how machines worked using men’s nervous systems and brains as his model. It must be noted that after the end of the war, Wiener distanced himself from this research, anticipating its risks for humanity. In addition, it is important to consider how neuro-functioning today is fundamentally conditioned by machines.

So in re-attributing what is natural and what is not, the human species must be included. Harari recounts how humans will overcome the Age of Sapiens, giving way to Homus Deus, an immortal man who is eternally happy – a man who acquires a role only when he promotes and serves an algorithmic device. The research for what is invisible, which drives Donato Piccolo’s creative curiosity, merges with the unpredictable. This is a contraction that is perfectly reflected in the French term imprévisible, which gives the exhibition its title. Navigating through unknown territory and discovering new emerging realities in the process, language becomes an increasingly important tool.

The life of a used cardboard, further humanised with the name Anna, roams around the room, observes and learns, whereas the insect-machine only acts as a result of hybrid input. If a new conscience were to fill the empty machine and cardboard’s shell, this would be ‘unpredictable’. It would be easier for the word ‘grudge’ to cut itself off from its emotional meaning, leaving space for something else, which is yet to be discovered.


«Donato Piccolo. Imprévisible», curated by Flavio Arensi
Fondazione Pomodoro, Project Room #7, Milano11.04 – 25.05.2018
Donato Piccolo. Imprévisible represents the first of three acts of Proust’s Room, curated by Flavio Arensi. This work is imagined as “a pretext to look at what is happening in society and to men through sounds, through what is absent as well as what is present, through the past as well as the future”.

(Cover 1) Donato Piccolo, «UNNATURALIS», 2018, photo: Carlos Tettamanzi (2) Donato Piccolo, «Anna non porta rancore», 2018, dettaglio, photo: Carlos Tettamanzi (3) Donato Piccolo, «Anna non porta rancore», 2018, dettaglio, photo: Carlos Tettamanzi (4) «Donato Piccolo. Imprévisible», exhibition view, Fondazione Pomodoro, Milan, 2018(5) Donato Piccolo, «Shine», drawing, photo: Carlos Tettamanzi  

 

 

 

 

Tags: arsarshake
ShareTweetShareSend
Previous Post

FRAME > Algorithm

Next Post

Flussi – Licia Galizia

Next Post
Flussi – Licia Galizia

Flussi - Licia Galizia

CALLS

Terna.  Driving Energy Prize
Calls

Terna. Driving Energy Prize

13/06/2022
Call for submissions>  Research grant for Italian Art
Calls

Call for submissions> Research grant for Italian Art

07/04/2022
Call for submissions> ISPA (Italian Sustainability Photo Award)
Calls

Call for submissions> ISPA (Italian Sustainability Photo Award)

17/02/2022
Call for submissions > Residenze Digitali
Calls

Call for submissions > Residenze Digitali

01/02/2022

CRITICAL GROUNDS

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.
Critical Grounds

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.

08/07/2020
Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO
Critical Grounds

Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO

26/11/2019
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2012-2022 – ARSHAKE

No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it

© 2012-2022 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.