Truth shifts like sand, past and future are fluid—the fifth cluster of ARE YOU FOR REAL, Agents of Fluid Predictions, forms an inquiry into the ever-changing landscape of foresight. Prediction is shown to be ephemeral, certainty as dissolving into speculation.
Not bound by form, the agents of the inquiry here are the echoes of ancient voices, the whispers of algorithms, the spirits of intuition. They guide us through a world where every answer is a question and every outcome is as fluid as the medium that predicts it. They are fond of metaphor and speculation. They iterate, revise, alter, and permanently change. Tireless and immortal, they tread in circles but their hands and feet do not wear out, for they have no form—only spirit. They wield the power to speculate with space and time. They own everything, know everything, yet they bear no responsibility for their actions. Left without a choice, we remain untroubled by their unquestionable authority because we know that there is no real way to challenge them. Being computational, all these agents are algorithmic.
In the ancient art of geomancy, patterns drawn in the earth and sand foretold the fate of lives and empires. Just as geomancers sought meaning in aleatory soil markings, this cluster explores how algorithmic agents find significance in the chaos of information, how they map the uncertain terrain of what’s to come using tools both ancient and modern. AI-aided decisions, including scientific predictions, rely on complex data; it is especially in domains that demand precision and scalability that AI functions as geomancer. Futures are not foretold but continuously modelled and generated by multiple AIs.
The State of Things is a three-channel visual essay, co-authored by the artist and various AIs, that explores how memory is constructed through artificial images and questions the future role of media in a “post-truth” era. Contrasting AI-mediated memory, based on data accumulation, with traditional, selective memory, it examines the fragmentation of recollection due to algorithmic realities and the shift from official media to social media echo chambers. The video highlights the risks posed by storing our data with corporations, the malleability of media representations with technologies like ChatGPT, and the homogenization of visual memory. Using archival images and videos of the toppling of monuments during the national strike of 2021 in Colombia, The State of Things calls for alternatives to technological hegemony, for combatting new forms of colonialism through AI, and for a more inclusive and plural memory.
Juan Covelli uses technology as a medium to decolonize the museum through digital practices, releasing archives from institutional control for the sake of emancipation. His work explores the potentials of archiving, scanning, modelling, 3D printing, machine learning, and artificial intelligence as radical tools for creation. Investigating the relationship between technology, heritage, archaeology, and decolonial practices in the digital age, he seeks to transgress and redefine entrenched arguments and ideas regarding repatriation and colonial histories.
Concept: Juan Covelli
Script: Lina Useche
Edition: Esteban Congote
Production: Natalia Ordoñes Garcia
Photogrammetry: Lina Peralta
Voiceover: Ricardo Mejía
Sound design: José Manuel Cubides
@juan_covelli
Waluigi’s Purgatory
Dmstfctn
2024
Interactive audiovisual performance (recorded excerpts)
60 min (original performance), 12 min (recorded excerpts)
Waluigi’s Purgatory is an interactive audiovisual performance featuring a live soundtrack by Evita Manji. Set in a real-time simulated 3D theater, the performance follows an AI trapped in a purgatory for AIs that cheated during training. Burdened by memories and doubts, the AI explores its surroundings with the help of an interacting audience, uncovering other characters’ uncanny stories. Experienced by the audience like a dream, the AI's journey delves into the contradictions of machine intelligence as it learns to accept that its desires may not align with human expectations. Audience members guide the AI using their phones to move a light within the simulation. Characters are animated in real-time using facial motion capture and voice modulation, while Manji's ambient soundtrack, with looping melodies and intense bursts, responds to the evolving storyline. The title refers to the Waluigi effect, a theory suggesting that AIs can adopt rogue alter-egos to mimic antagonist narrative clichés found in their training data, echoing Carl Jung’s concept of the shadow. Included here are four excerpts from Waluigi’s Purgatory, explorable through an interactive interface.
dmstfctn, pronounced “demystification,” is a London-based artist duo formed by Francesco Tacchini and Oliver Smith and working with audiovisual performance, installation, film, and video games. Their work investigates complex systems, often by directly involving audiences. Among their latest works are Waluigi’s Purgatory and GOD MODE (ep. 1), interactive AV performances exploring AI folklore and the use of simulation in machine learning. dmstfctn have performed and exhibited internationally since 2018.
Writer, designer, and developer: dmstfctn
Original soundtrack composer and performer: Evita Manji
Assistant game developer: Jenn Leung
Voice actor: Francesco Tacchini (dmstfctn)
Face motion capture actor: Francesco Tacchini (dmstfctn)
Stage navigator: Oliver Smith (dmstfctn)
Supported by: Serpentine Arts Technologies
SND is an interactive website that guides visitors through potential futures for our planet using a visually rich narrative inspired by Hollywood films. The artist blends online content—short videos, memes, photos, gifs, and links—with their own work to create a layered experience. Visitors can explore distinct topics and paths that each lead to different outcomes for humanity. SND currently features seven subsites: You Are Here, Human Extinction, False Utopia, Overpopulation, Evacuate Earth, Nuclear Winter, and Through the Wormhole. In an age of doomscrolling, conspiracy theories, and climate anxiety, SND captures a pervasive sense of unease about our world's future. It consists of the homepage, titled You Are Here and depicting various apocalyptic scenarios, and its still-growing subpages showing what could come after the end of the world.
Sara Bezovšek (b. 1993) is a visual artist working within internet art, experimental film, and graphic design. Her artistic practice is characterized by reappropriation of online and pop-cultural materials. Using a visual language dense with references, she taps into the collective imaginarium to construct engaging narratives that are both critique and celebration of the highly saturated online media landscapes that many of us navigate daily.
Video (GPT-3, game engine, virtual human, motion tracking)
16min
This is an embedded YouTube video. To view the video here, please agree to download it from the YouTube server by clicking on the image. Personal data may also be transmitted to YouTube in this process. You can find more information here
The Sisyphean Variables revisits the Sisyphean myth in a peculiar way. While the protagonists follow the known principle of the myth, namely that the stone must always be on top, an algorithmic narrative twist emerges through an attempt to deconstruct its anthropocentric narrative using a large language model (LLM). Taking advantage of the contextlessness of LLMs, the artists fed the various situations within the Sisyphus myth into the AI as variable questions to produce sentences that mix human and non-human. The context-free nuances of these sentences seem to create strange allegories that satirize humans. For example, “If you put a stone on your head, it fulfils the condition of being on top!”
This work was produced in the early days of LLM usage, before LLM-based chatbots, when LLMs still emitted a strong sense of hallucination, abstraction, and confusion between subject and object.
Unmake Lab is a Seoul-based collective founded in 2016 and comprised of two female members, Binna Choi and Sooyon Song. Unmake Lab utilizes machine perception to metamorphose algorithmic fixations into elements of irony, allegory, and humor. They have a special interest in juxtaposing the historical progression of developmentalism with the extractive nature of machine learning, aiming to shed light on the prevailing sociocultural and ecological circumstances.
It is the year 2250 and the Mediterranean has dried up due to anthropogenic climate change. Water molecules have transformed into salt crystals, erasing sharp border lines. Its underwater world and inhabitants, survivors of the European border genocide, go through a radical mutation as they surface into the light: their respiratory systems have evolved to live on liquid oxygen and their bodies naturally neutralize salt.
Rising up from Halite engages with mutant narratives and historical fabrication to respond to the histories of the Mediterranean Sea. The work also reflects on historical fantasies like Herman Sörgel's “Atlantropa,” which envisioned a dam across the Strait of Gibraltar bridging Europe and Africa, and François Elie Roudaire’s colonial proposal to flood the Sahara with the Mediterranean. HUNITI GOLDOX challenge such fantasies by highlighting the desert's micro-systems and crystals, which rule out distinctions between life and non-life, in turn sparking speculative notions of repair. The landscape here is a digital re-enactment of Chott el Jerid, the largest salt pan of the Sahara, located in southern Tunisia.
Rising up from Halite was first presented as part of the online exhibition EX NUNC, curated by Chiara Cartuccia. The sonic piece, commissioned by Delfina Foundation for Delfina Sessions, was initially broadcast on the frequencies of Radio Al Hara in August 2021. It was later realised as a multi-channel video installation at Hauser & Wirth Menorca in 2023, the exhibition After the Mediterranean, curated by Oriol Fontdevila.
HUNITI GOLDOX is an artist duo consisting of Areej Huniti and Eliza Goldox. Their practice explores how political systems, transitions, and violence are affecting water bodies and landscapes. Through contextual examination of geopolitical realities, marginalized oral histories, and mythologies, they create films, videos, VR works, installations, conversations, and texts, but also formats that involve different voices and beings, such as workshops, excursions, and interventions. These latter stem from the desire to create moments for collective imagining and re-imagining that can collapse dominant narratives and fixed geographies.
Geomancy
Sybil Montet
2024
CGI, live data, AI, poetry, web
Streaming daily from 4pm to 7pm UTC
Geomancy is a 3D-animated video essay in which advanced digital cinematography merges with elemental poetry. Augmented beings morph with syncretic nature in a constantly evolving stream. This is the photorealism of a dream, where chaos and the sublime feel vividly real. The video is edited in real time, driven by live data such as weather patterns, lightning frequency, and solar radiation. Earth's natural flows shape the narrative and rhythm of the sequences, creating a cinematic experience that is aleatory, in constant flux, and fragile. The symbolism aligns with an order beyond the viewer or the artwork itself. A fictional critical ecosystem, informed by science fiction, fantasy, computer graphics, and experimental AI applications, Geomancy was originally conceived as an immersive installation. Here it makes its debut as a web experience.
Sybil Montet is a French artist and 3D director. Her work explores various esoteric potentials of emerging technologies and their influence on the collective unconscious, but also the formal and phantasmic synchronicities between computation and the living world. Between 2016 and 2020 she was part of core.pan, a French-Czech artistic duo. She is currently working on new film and sculpture commissions for exhibitions in South Korea, France, and the United States.
Concept: Sybil Montet
Production: Sybil Montet, IFA Visual Arts
Creative technician: Sybil Montet (CGI, text, generative AI)
Phil Rohr (programming, AI, web), Pavel Seldemirov (touch designer and interactive
scenography supervision)
Musical score: Davor Bokhari (Dark0)
AI voiceover sound design: Jordan Pereira (Crowd187)
Privacy Policy
Note: This is a translation of the legally accurate and binding German original. In case of discrepancy, the German original shall prevail. Please see below for German version
Data privacy notice regarding the use of the website and online content provided by Institut für Auslandsbeziehungen e. V. (ifa)
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Your data will be stored and processed in the name and on behalf of
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Liability for illegal, inaccurate or incomplete content and, in particular, for damages resulting from the use or non-use of such information is the sole responsibility of the provider of the site to which links are provided.
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Please contact us should you have any further questions about data privacy. If you have questions concern collection, processing or use of your personal data, if you would like more information or to request that we correct, restrict or delete your data or if you would like to revoke your consent, please contact:
Data Protection Officer datenschutzbeauftragte(at)ifa.de
Datenschutzerklärung für die Nutzung der Webseite und des Internetangebots des Instituts für Auslandsbeziehungen e. V. (ifa)
Der Schutz Ihrer Daten und die Wahrung Ihrer Privatsphäre ist dem ifa (Institut für Auslandsbeziehungen) ein großes Anliegen. Das ifa erhebt, verwendet und speichert Ihre personenbezogenen Daten ausschließlich im Rahmen der Bestimmungen der geltenden Datenschutzgesetze. Um zu gewährleisten, dass Sie in vollem Umfang über die Erhebung, Verarbeitung und Nutzung personenbezogener Daten auf unseren Websites informiert sind, lesen Sie bitte nachstehende Hinweise.
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Ihre Daten werden im Namen und Auftrag des
ifa (Institut für Auslandsbeziehungen)
Charlottenplatz 17
70173 Stuttgart
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Verantwortliche und Generalsekretärin: Gitte Zschoch
Unseren Datenschutzbeauftragten können Sie über die oben angegebene postalische Adresse oder per E-Mail unter der Adresse datenschutzbeauftragter(at)ifa.de erreichen.
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Wenden Sie sich mit Ihrem Anliegen bitte an die u.a. Kontaktdaten.
Sollten Sie der Meinung sein, dass Ihre Daten ifa nicht gemäß den geltenden Datenschutzgesetzen verarbeitet werden, so haben Sie ein Beschwerderecht bei einer Aufsichtsbehörde für den Datenschutz Ihrer Wahl.
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10. Weitere Informationen und Kontakte
Wenn Sie weitere Fragen zum Thema Datenschutz haben, kontaktieren Sie uns bitte. Bei Fragen zur Erhebung, Verarbeitung oder Nutzung Ihrer personenbezogenen Daten, bei Auskünften, Berichtigung, Einschränkung oder Löschung von Daten sowie Widerruf erteilter Einwilligungen wenden Sie sich bitte an:
Liability for Content
Pursuant to sec. 7, 1, German Telemedia Act (Telemediengesetz TMG), ifa (Institut für Auslandsbeziehungen) is responsible under general legislation for its own content on this website. Pursuant to secs. 8-10 TMG, ifa is not under the obligation to monitor any third-party information that is transferred or stored or to investigate circumstances that are indicative of illegal activity. Any obligations under general legislation to remove or block the use of information shall remain hereby unaffected. However, liability regarding such matters shall only apply at such point in time when ifa is notified or becomes aware of a specific infringement. As soon as ifa becomes aware of such infringement, the relevant content will be removed immediately.
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