As we lose confidence in assessing representational images, we become trackers and detectives, seeking out clues in visual artifacts for the intentions and outlines of systems just beyond. These ephemeral images, continually becoming, move beyond representation.īIM’24 invites viewers to gaze deeply into the world of invisible, operational moving images that are changing visual culture and, in turn, to look at the ways they are changing us. Trying to apprehend these new invisible images with critical paradigms used in the twentieth century-methods of reading traditional forms of cinema and moving image production-leads to an impasse. They move they are quite alive they produce their own context and worlds, hooked and processed by algorithms. Further, once harnessed by machine learning (ML) and artificial intelligence (AI), they actively create our reality. They are hardly made with us in mind or for us at all. We negotiate space alongside and in relation to these images meant for machines alone. These images, essential to algorithmic practice, have a life of their own. As these systems learn, they in turn generate countless unseen images, images made and refined through algorithmic and neural networks, in process. The last ten years have seen a flourishing of artistic creation addressing the political and social impacts of machine learning and algorithmic surveillance: images channeled into material, then captured within vast extractive and predictive systems of sorting, classing, and identification. The Biennale de l’Image en Mouvement 2024 (BIM’24) will explore how technocratic values can inform our appreciation of creativity and investigate methods of resisting the spectacular nature of digital futures. This new chapter will investigate and explore how new technologies-and their embedded ideologies-shape contemporary artistic production of moving images, often doing so in unseen, illegible ways. Together, they will select the artists and commission them to produce a new body of works to be premiered in Geneva in January 2024.Įach edition of the Biennale de l’Image en Mouvement adds to the curatorial and conceptual meta-discourse around the moving image, a ubiquitous medium that is ever in flux. Khan joins Andrea Bellini, director of the Centre d’Art Contemporain Genève, as co-curator of the upcoming Biennale de l’Image en Mouvement 2024 (BIM’24). The originality of the new BIM resides in the fact that it consists exclusively of works commissioned and produced for the occasion. The Centre launched in 2014 a new event format, which considers its history, whilst looking to the future with a commitment to a young generation of artists. Comprising a wide array of multimedia installations, films and documentaries usually shown in cinemas, as well as performances, the Biennale de l’Image en Mouvement is a one of a kind hybrid situated somewhere between a cinema festival, a constellation of solo exhibitions and a site for research and production. The Centre d’Art Contemporain Genève then became one of the few institutions worldwide to organize a large-scale international contemporary art exhibition such as a biennial. In 2009, the Centre inherited the former Biennale de l’Image en Mouvement founded and run by the Centre for Contemporary Image from 1985 until 2007. Over a period of 30 years the BIM has brought together the very best in video art, showing works by artists such as Bill Viola, Gary Hill, Steina and Woody Vasulka, Robert Filliou, Chris Marker, Guy Debord, Vito Acconci, William Wegman, Bruce Nauman, Chantal Akerman, Rebecca Horn, Jean-Luc Godard, Andy Warhol, Philippe Garrel, Nam June Paik, Laurie Anderson, Artavazd Pelechian, Harun Farocki, Matt Mullican, Anri Sala and the Straub/Huillet duo. It has provided a platform for art and ideas by surveying the ever-shifting territories of moving images while aiming to make sense of this extraordinary profusion of images that has progressively invaded all aspects of contemporary art. Founded in 1985 by André Iten, the Biennale de l’Image en Mouvement (BIM) was initially called the “International Video Week” and was one of the first events of its kind in Europe.
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