When advanced technologies bring about radical changes in society, there is always a collision of utopian and dystopian views. The heated debate last year over generative AI is one example. If you want to learn how to have your own point of view, why not turn to artists of our time, to their “anthropologically” attentive exploration of the contemporary conditions of the world?
A group of young, free-spirited Korean artists stands out in this respect. Born digitally and technologically adept, they are pushing ahead into the unprecedented territory of moving images that defy conventional categories of art.
You may have come across the name TZUSOO in the music video of Korean pop legend Cho Yong-pil. Born in Korea in 1992, the Berlin-based artist runs Studio Princess Computer, which produces animation-style music videos based on 3-D game engines and AI systems. Her pleasurable and somewhat hallucinatory video aesthetics are fundamentally derived from her ontological concerns with virtual beings.
...
Different in formal terms but consistent in conceptual pursuits, her latest Agarmon series (2023) consists of a sculptural agar-and-moss installation and spray paintings on canvas. Agarmon is a species of monster-like creature alluding to the baby, "aga" in Korean, that was born at the visceral moment of an orgasm, or when “entropy” is high, according to the artist. To put it cybernetically, the driving force behind Agarmon’s birth is akin to the state of highest impurity and indeterminacy in the digital realm of information technology.
A group of young, free-spirited Korean artists stands out in this respect. Born digitally and technologically adept, they are pushing ahead into the unprecedented territory of moving images that defy conventional categories of art.
You may have come across the name TZUSOO in the music video of Korean pop legend Cho Yong-pil. Born in Korea in 1992, the Berlin-based artist runs Studio Princess Computer, which produces animation-style music videos based on 3-D game engines and AI systems. Her pleasurable and somewhat hallucinatory video aesthetics are fundamentally derived from her ontological concerns with virtual beings.
...
Different in formal terms but consistent in conceptual pursuits, her latest Agarmon series (2023) consists of a sculptural agar-and-moss installation and spray paintings on canvas. Agarmon is a species of monster-like creature alluding to the baby, "aga" in Korean, that was born at the visceral moment of an orgasm, or when “entropy” is high, according to the artist. To put it cybernetically, the driving force behind Agarmon’s birth is akin to the state of highest impurity and indeterminacy in the digital realm of information technology.