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SUMMARY:Deep Fakes: Art and Its Double - EXHIBITION at EPFL Pavilions
DTSTART:20210917T110000
DTEND:20220501T180000
DTSTAMP:20260427T233121Z
UID:06f84e616d65e55eb86ced1249e3b53741ba8fa48fee4f9d172b9f0b
CATEGORIES:Exhibitions
DESCRIPTION:Deep Fakes: Art and Its Double poses crucial questions about 
 the potency of digital replicas to absorb audiences in enduring emotional 
 encounters with universal art treasures. This exhibition opposes the use o
 f ‘deepfakes’ for manipulation and misinformation\, to explore very di
 fferent perspectives\, reimagining objects through advanced computational 
 techniques.\n\nDecades of computer science and engineering at EPFL have re
 volutionized the tenets of verisimilitude and representation. Today’s 
 ‘perfect pixels’ coalesce in imaging techniques designed to replicate 
 cultural artifacts with ultimate fidelity. As artificial intelligence re-p
 erforms and reprocesses the visible\, it is exposing the optical unconscio
 us of art\, questioning objecthood itself. With its propensity for periphe
 ral vision\, machine learning has amplified the possible futures for curat
 orial and artistic practices\, antagonizing outdated notions of authority\
 , authenticity and access. Harnessing artificial intelligence approaches f
 or art reproduction\, cultural deep fakes are generating perpetually new a
 rchival artifacts\, concurrently formed and formless.\n\nCultural deep fak
 es have manifold significance. They are technologically empowered to offer
  forensic insights into invisible dimensions\, generating unforeseen hypot
 heses and connections. These panaesthetic art-science phenomena also propa
 gate powerful auras that rise to the surface entangled with the sensory an
 d affective qualities of their originating sources. As cybernated doppelga
 ngers\, cultural deep fakes are able to draw us into unparalleled tactilit
 y with the textures\, patinas\, forms and 3D geometries of their counterpa
 rts. Digital facsimiles also decolonize objects\, defying hegemonic narrat
 ives to liberate them from their untroubled entrapments\, confronting owne
 rship\, historical sedimentation\, and contested social relations. Through
  21 installations at EPFL Pavilions\, the exhibition grapples with the app
 lied and critical implications of the digital materialities of objects in 
 their post-original form.\n\nDeep Fakes: Art and Its Double is conceived 
 in two parts. Part I in Pavilion B comprises 19 installations that engages
  with these cross-cutting themes\, traversing the simulacrum\, mirrorworld
 s\, digital twins\, cryptocurrency and machine intelligence while engaging
  the issues of mimesis\, reenactment\, memory and decolonization. The exhi
 bition’s installations cycle us through some of the antitheses of the re
 al and the fake around which the history of art has been circumscribed. Ju
 st as postmodernism challenged the assumed meaning of things\, cultural de
 ep fakes have become a central pivot for a new significance of objects. Re
 cognizing their importance opens the way to redefine the dominant techno-c
 ultural logic of our contemporary era.\n\nPart II in Pavilion A examines i
 ssues of heritage at risk alongside archival and digital memory and its re
 construction. One installation\, Recreated Reality\, is focused on the UN
 ESCO world heritage site of Palmyra\, Syria\, along with related archives 
 of Swiss archaeologist Paul Collart from the collections of the University
  of Lausanne\, who excavated the Sanctuary of Baalshamin in the mid-1950s.
  After the temple of the ‘Lord of Heavens’ was totally destroyed in 20
 15\, the UNIL Collart-Palmyre Project was conceived. Today\, the Collart-P
 almyre archive remains the best source in the world for the preservation o
 f this heritage. The other installation in Pavilion A takes us into the fa
 mous cathedral of Notre-Dame de Paris to experience the new modes of knowl
 edge-making being opened up through its historically-informed digital reco
 nstruction by the computer game company Ubisoft.\n\nThe 21 installations i
 n Deep Fakes: Art and Its Double re-present seminal objects of pan-Asian
  art and architecture from China\, Cambodia\, India\, Malaysia\, Japan\, S
 ri Lanka\, and Thailand. The Middle East and North Africa is represented b
 y important sites in Egypt\, Syria\, Libya and Sudan. The United States of
  America and significant European heritage sites in Armenia\, Germany and 
 Italy complete an encyclopedic offering made tangible through state-of-the
 -art imaging and interactive immersion.\n\n\n\nContributors\nAdvanced Imag
 ing Technology Research Center (AITReC)\, ArcTron 3D\, Art Gallery of New 
 South Wales\, ARTMYN\, Bauhaus-Universität Weimar\, Collart-Palmyre Proje
 ct of Université de Lausanne\, Consensive\, CultLab3D at Fraunhofer Insti
 tute\, Digital Projection\, EPFL Laboratory for Experimental Museology\, I
 conem\, Sarah Kenderdine\, Terry Kilby\, Oliver Laric\, Bernd Lintermann a
 nd Florian Hertweck\, Christian Mio Loclair\, Pablo Picasso\, QoQa\, Remak
 ing Confucian Rites Project and Centre for Chinese Ritual Studies of Tsing
 hua University\, Samurai Art Museum\, ScanLAB Projects\, Jeffrey Shaw\, Ev
 e Sussman | Rufus Corporation and Snark.art\, Ubisoft\, Victoria and Alber
 t Museum\, Wunderman Thompson\, Andrew Yip.\n\nOrganizers\nÉcole Polytech
 nique Fédérale de Lausanne and University of Lausanne\n\nMajor Partners\
 nLoterie Romande\nOffice Fédéral de la Culture\nFondation pour l’Unive
 rsité de Lausanne\n\nPartners\nSociété Académique Vaudoise\nFoundation
  Leenaards\nUBS Culture Foundation\nSICPA
LOCATION:ART B0 100 https://plan.epfl.ch/?room==ART%20B0%20100
STATUS:CONFIRMED
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