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The Centre d’Art Contemporain Genève is pleased to announce the artists selected to participate in the upcoming edition of the Biennale de l’Image en Mouvement (BIM’24), which will open in January 2024.
Curators Nora N. Khan and Andrea Bellini have chosen the following artists: Basel Abbas & Ruanne Abou-Rahme, Alfatih, American Artist, Danielle Brathwaite-Shirley, Sheila Chukwulozie, Formafantasma, Aziz Hazara, Interspecifics, Lawrence Lek, Shuang Li, Diego Marcon, Lauren Lee McCarthy, Sahej Rahal, Jenna Sutela, and Emmanuel Van der Auwera.
BIM’24 will invite viewers to look deeply at the world of invisible, operational moving images that are changing visual culture—and changing us. The last ten years have seen many artists slowly turn their attention to the algorithm as both a constant presence and as a driving force in contemporary life. From artificial intelligence (AI), neural networks, and machine learning (ML) working at vast scale to the low-lying hum of everyday phone surveillance in our pockets: we’re in thrall to ever newer and more dazzling ways that algorithms label, sort, and classify.
As predictive systems learn, they generate a long stream of unseen images that take on lives of their own. These images are essential to the algorithmic process. Once they are harnessed by ML and AI, they actively create our reality. They interpret our private stories to then make the world. As many have theorized, these images are operational; they are fuel and material, and they can produce their own context. Unperceived and unseen, these images are a visual blank that haunts the seen. How, far in the future, will we negotiate living in relation to these images meant for machines alone?
The artists of BIM’24 take the existence of this invisible, in-process image world as their point of departure. Refusing. They may suggest new ways of envisioning the unseen, using “tools” like simulation technologies, machine learning models, game engines, simple handmade computers, statistical speculative research, and more. Critical, poetic, and rooted in historical, cultural, and social research, they give us methods for refusal: of spectacular digital futures, of emerging technocratic forms of creativity, of the gospel of the innovative and new.
The invited artists will work closely with the Centre d’Art Contemporain Genève to develop and produce original works. These will be shared with the public in January 2024 in an exhibition consisting of immersive installations, film screenings, built environments, and virtual projects.
