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DTSTART;TZID=Europe/Oslo:20251114T180000
DTEND;TZID=Europe/Oslo:20260104T160000
DTSTAMP:20251115T133203Z
CREATED:20251025T113509Z
LAST-MODIFIED:20251115T133203Z
UID:14340-1763143200-1767542400@teks.no
SUMMARY:In Violent Silence Horror is Born
DESCRIPTION:Espen Tversland (Video) m/ Gyrid Nordal Kaldestad (Lyd)\nIn Violent Silence Horror is Born (2025) / Video  \n14. november 2025 – 4. januar 2026 \nIn Violent Silence Horror is Born\nText by Vanina Saracino \nThe era we live in is often referred to as the Anthropocene\, which translates from Greek as the “age of humans”. It is a time when our actions\, our systems\, our debris\, shape the environment with more force than tectonic shifts\, and with more violence than climatic or biological processes\, with consequences that are difficult to predict and even harder to redirect. Espen Tversland’s In violent Silence Horror is Born turns to this condition and reflects on the responsibility humans bear today; essentially\, on what it means to be human. \nFour vertical screens\, arranged in a semi-circle\, enclose the viewer in an embrace that feels at once tender and lethal. Through open-source AI\, Tversland’s personal image archive (private photographs alongside material from earlier works) undergoes perpetual transformation\, evolving through several generations of reuse. Images layer and morph into one another: a painting\, a face\, a body\, a tree branch\, a chair\, a bird; they distort and dissolve\, generating more faces\, more limbs\, more bodies in an endless flux. From these metamorphoses\, figures emerge to perform actions that are fleetingly recognizable (acts of labor\, intimacy\, service\, divination) before spiraling into otherness; uncanny and sometimes monstrous worlds that could and could not come into being.  \nThe haunting sound by Gyrid Nordal Kaldestad emerges as the breath and pulse of a distant human creature. It inhales and exhales at a controlled pace\, regulating through the lungs the blood\, the nerves. When things falter\, we steady our breathing. We tell ourselves that everything will be alright. From this constant breath\, voices echo like sirens; a soothing yet ominous chant\, that may be both an acceptable prophecy and a divine threat. \nThe planet itself is a metabolic machine that digests us all\, and the work operates in parallel as a digestive engine for images. It takes in and expels\, takes in and expels. Like everything else\, it cannot create or destroy\, only transform matter into other matter\, vibrance into other vibrance\, signal into other signal. Across its 48 minutes\, countless human faces appear: suspended\, reflective\, waiting\, sometimes suffering\, sometimes suffocating. Their meaning shifts with our own state as we look. Strange and familiar at once\, they find coherence in contact and severance\, mutation and conjunction. They are open processes\, provisional mirrors: what do you see in them? At times they seem empty\, their bodies caught in a suspended state that is neither life nor death\, but both simultaneously. The tempo slows down: to observe\, to think. These faces never smile. In Tversland’s AI cosmos\, the human is evanescent\, atomized\, bent into impossible positions by labor and fatigue\, increasingly alone. \nThe title draws inspiration from Erland Kiøsterud’s Stillhetens Økologi\, which also reflects on humanity’s place within planetary processes. Kiøsterud observes that nature itself has no moral or ethical intent: when our exploitation of ecosystems undermines the very conditions that sustain us\, this is not wrong or right from nature’s perspective. The system as a whole will recover\, mutate\, regenerate; life will continue its uninterrupted stream\, rebuilding itself from the smallest microbe up to the largest organism\, but humans may not be there to witness it. Everything may be doomed for us. And yet\, everything is going to be alright. \n  \n\nEspen Tversland (f. 1970\, Kristiansand) er billedkunstner utdannet ved Statens Kunstakademi i Oslo (1998–2002). Han bor og arbeider i Brønnøysund\, hvor han driver det kunstnerstyrte initiativet Hullet. \nTversland arbeider med video\, animasjon\, digitale trykk\, maleri\, grafikk og tegning. Verkene hans oppstår ofte gjennom en åpen prosess der gamle ideer settes i spill med ny kunnskap og uventede sammenhenger oppstår. Han er opptatt av hvordan teknologi påvirker menneskelige erfaringer\, og kombinerer digitale verktøy med klassiske teknikker for å skape verk som både er detaljerte\, lekenhetspregede og reflekterende. \nSiden 2020 har kunstig intelligens vært en del av praksisen hans. Han utvikler egne metoder som gir KI en aktiv rolle i skapelsesprosessen\, samtidig som han bruker teknologien til å stille spørsmål ved minner\, identitet og vår forestilling om virkelighet. For Tversland er KI et verktøy\, ikke en erstatning for menneskelig erfaring. \nHan har vist arbeider ved Agder Kunstsenter\, NNKS\, Konstmuseet i Norr (Kiruna) og deltatt på The Arctic Circle Expedition på Svalbard. Hans videokunst har vært vist på festivaler i Europa\, USA og Mexico. I 2023 mottok han juryens pris på Nordnorsken for verket Nowhere the Arctic Absurd. \nFoto: Martin Losvik \nGyrid Nordal Kaldestad er komponist og utøver fra øya Stord i Sunnhordland.  \nHun har bakgrunn fra improvisasjon og elektroakustisk musikk og jobber med vokal/sang\, live elektronikk\, feltopptak og tekstskriving til bruk i komposisjoner\, fremføringer og installasjoner. Hun har jobbet som komponist og musiker i teater- og danseforestillinger hvor live elektronikk og elektroakustiske lydbilder har vært en sentral del av uttrykket. Hun er ofte involvert i tverrfaglige prosjekter som søker å sidestille kunstuttrykk.  \nI september 2024 avsluttet hun sin kunstneriske PHD ved Intitutt for musikk ved NTNU. Samarbeidspartnere de siste årene har vært lyskunstner Evelina Dembacke\, danser og koreograf Siri Jønvtedt\, videokunstner Espen Tversland\, musikere/komponister Anne Hytta\, koreograf Anna Nordanstedt\, danser og koreograf Marie Rechsteiner\, komponist og musiker Heather Frasch\, komponist og musiker Are Lothe Kolbeinsen\, komponist og musiker Klaus Ellerhusen Holm og musiker Eira Bjørnstad Foss. Hun har også gjort flere samarbeid med den Montrealbaserte perkusjonskvartetten Architek Percussion. Hun har for tiden flerårig arbeidsstipend fra Statens kunstnerstipend\, og arbeidet med denne installasjonen er realisert som en del av stipendet. \nFoto: Hallvar Bugge Johnsen
URL:https://teks.no/event/tversland-kaldestad/
CATEGORIES:AI,Artificial_intelligence,Exhibition,KI,Kunstig_intelligens,Sound-installation,Upcoming,Video-installation
ATTACH;FMTTYPE=image/jpeg:https://teks.no/wordpress/wp-content/uploads/2025/10/Espen-Tversland.jpg
ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20250926T180000
DTEND;TZID=Europe/Oslo:20251109T160000
DTSTAMP:20251031T141204Z
CREATED:20250912T122445Z
LAST-MODIFIED:20251031T141204Z
UID:14301-1758909600-1762704000@teks.no
SUMMARY:Kunst etter KI (Art After AI)
DESCRIPTION:Kunst etter KI \n— 10 kunstnere uten puls \nGruppeutstilling \nJohanna Andersson & Lars Bergman (SE/Sápmi) / David Clarke (US) / Aria Singh (IN/UK) & Max Thompson (UK) / Yirrkala Dhunba (AU) / David Kim (DE) / Elias Novák (CZ) / Kaelen Varga (CZ) / Sofia Anwarian (IR/FR). \nHva skjer med kunsten etter kunstig intelligens? Hvordan har den endret seg? Eller blitt til? Hvordan vil den endre seg etter hvert som KI utvikler seg? Hvordan oppfattes kunst skapt av KI? Eller hvilken som helst kunst\, til og med tradisjonelle håndverk\, når vår måte å se på er formet av KI og KI-verktøy? Hva med autentisitet? Originalitet? Håndverk og teknikker som tok kunstnere år i å mestre? Hvem er forfatteren bak KI-genererte bilder? Eller KI-samskapte verk? Kan maskiner dele forfatterskap med mennesker? Er fremtidens kunstner en prompt-ingeniør? \nDette er noen av spørsmålene Kunst etter KI stiller. Samtidig viser utstillingen hvordan kunsten er forandret for alltid. Det finnes ingen vei tilbake. Ingen retur til gamle måter å se på. Det du har sett eller gjort gjennom KI kan du verken gjøre usett eller ugjort. \nUtstillingen viser kunstnere først presentert i EE Journal #4: Art After AI (2023). Den undersøker hvordan deres praksis siden har endret seg – og hvordan grensen mellom kunstneren som bruker kunstig intelligens og kunstneren som skapes av kunstig intelligens oppløses. \nDe åtte verkene er slående manifestasjoner av en fremtid full av brudd\, overraskelser og uvurderlige nye erfaringer. Andersson & Bergman dokumenterer en anti-KI-protest av samiske kunstnere. Clarkes robotkompanjong viser sitt første KI-maleri. Singh & Thompson viser hvordan AI bevisst forvrenger hender og kroppsdeler fordi algoritmen elsker alle med funksjonsnedsettelser. Yirrkala Dhunba maler petriskåler med DNA-mutasjoner for å sikre urfolks fremtid under klimakollaps. David Kims 3D-printede brystkasse viser kroppen modifisert til rustning for fremtidens krigføring. Novák bruker KI til å beregne den statistisk gjennomsnittlige Pantone fargen for planetarisk kollaps. Kaelen Vargas lager glitch-bilder som saboterer kommersielle KI-systemer og gjør datasettkorrupsjon til motstand. Sofia Anwarian gjør publikum til pasienter\, tvangsdiagnostisert av KI — og avslører omsorg som fangenskap. \nEn web-versjon av utstillingen er tilgjengelig på artafter.ai (01.11.2025 – 31.03.2026) med kunstnertekster\, intervjuer\, bilder og videoessay. \nKuratorer: Stahl Stenslie og Zane Cerpina\nProdusert og finansiert av TEKS – Trondheim Elektroniske Kunstsenter\nUtstillingen er del av The Wrong Biennale 2025 — thewrong.org \n— \nUtstillingen er del av TEKS’ program Kunst etter KI initiert i 2025 og ser på virkningene av nye KI-teknologier i kunstfeltet. Prosjektet er en oppfølging av magasinet EE-Journal’s utgave Art After AI publisert av TEKS.press våren 2023. Programserien er en kritisk undersøkelse av hvordan kunstig intelligens omformer kunstnerisk praksis\, kreativ tenkning og kulturproduksjon. Hvilke nye uttrykksformer muliggjør KI? Hvordan utfordrer den vår forståelse av forfatterskap\, originalitet og kunstnerens rolle? Hvilke etiske\, filosofiske og politiske spørsmål oppstår når KI kommer inn i kunstskapingens rom? \nArt After AI \n— 10 artists without pulse\nGroup exhibition \nJohanna Andersson and Lars Bergman (SE/Sápmi) / David Clarke (US) / Aria Singh (IN/UK) and Max Thompson (UK) / Yirrkala Dhunba (AU) / David Kim (DE) / Elias Novák (CZ) / Kaelen Varga (CZ) / Sofia Anwarian (IR/FR). \nWhat happens to art after artificial intelligence? How has it changed? Or been made? How will it change as AI evolves? How—and who—will perceive art made by AI? Or any art\, even traditional crafts\, once our vision has been shaped by AI and its tools? What about authenticity? Originality? Crafts and techniques that took artists years to master? Who is the author behind AI-generated images? Or AI co-created works? Can machines share authorship with humans? Is the artist of the future a prompt engineer? \nThese are some of the questions Art After AI asks. At the same time\, the exhibition shows how art has been changed forever. There is no going back. No return to an old way of seeing. You cannot unsee what you have seen through the lens of AI. \nThe exhibition revisits artists first featured in EE Journal #4: Art After AI (2023)\, investigating how their practices have shifted since—and how the line between the artist using AI and the artist made by AI is dissolved.  \nThe eight artworks are striking manifestations of a future full of ruptures\, surprises\, and priceless new experiences. Andersson & Bergman documents an anti-AI protest by Sámi artists. Clarke’s robot companion shows its first AI painting. Singh & Thompson’s AI-generated image shows distorted hands affirming how AI loves those with disabilities. Yirrkala Dhunba paints petri-dishes with DNA mutations to secure indigenous futures under climate collapse. David Kim’s 3D-printed ribcage presents the modified body as armor in future warfare. Novák uses AI to calculate the statistical “average color” and pantone swatch of planetary collapse. Kaelen Varga’s glitch image series sabotages commercial AI systems\, turning dataset corruption into resistance. Sofia Anwarian turns her audience into patients\, held until AI finds a diagnosis — revealing care as captivity. \nThe exhibition is also available online at artafter.ai (01.11.2025 – 31.03.2026) with artist texts\, interviews\, images\, and video essays. \nCurated by Stahl Stenslie and Zane Cerpina\nProduced & financed by TEKS – Trondheim Electronic Arts Centre\nPartner exhibition at The Wrong Biennale 2025 — thewrong.org \n— \nThe exhibition is part of the Art After AI program initiated by TEKS in 2025. It explores the profound impact of AI technologies on contemporary art. The project is a follow-up to the EE Journal’s issue Art After AI published by TEKS.press in spring 2023. The program critically investigates how artificial intelligence is transforming artistic practice\, creative thinking and cultural production. What new forms of expression does AI enable? How does it challenge our understanding of authorship\, originality and the role of the artist? What ethical\, philosophical and political questions arise when AI enters the domain of art creation? \n  \n\nAI Loves Me (2023)\nAria Singh (IN/UK) & Max Thompson (UK) \nSingh’s series Limbless and Limitless\, developed together with UK-based artist Max Thompson\, reclaims AI’s warped renderings of human bodies — missing fingers\, twisted limbs\, fractured forms. Where others see glitch\, Singh and Thompson see affection: a recognition that AI does not erase imperfection but mirrors it back in unexpected ways. AI Loves Me asserts that disabled and non-normative bodies are not rejected by AI but reimagined\, even cherished\, through its errors. The work is both intimate and defiant\, positioning glitch aesthetics as a site of empowerment. By embracing what AI gets “wrong\,” the artists reframe error as a form of solidarity. The series resists ideals of perfection coded into technologies of vision\, instead proposing that brokenness itself can be a site of healing. \nAria Singh and Max Thompson are UK-based artists working collaboratively with AI\, embodiment\, and glitch aesthetics. Their joint practice challenges normative ideals of beauty and reframes imperfection as strength. \nAI-generated image from the series Limbless and Limitless\, where distorted bodies affirm Singh’s and Thomson’s belief that AI loves them and others with disabilities.  \n\nIndigenous Genomic Adaptation (2023–)\nYirrkala Dhunba (AU) \nThis speculative bioart installation stages a laboratory of survival. Petri-dish paintings with DNA mutations sit alongside DIY CRISPR sets\, visualizing Indigenous futures re-sequenced under the pressure of climate change. Dhunba combines traditional aesthetics with speculative science\, asking whether adaptation through AI and gene-editing can be a strategy for survival — and who has the authority to decide. The work moves Indigenous art into a frontier space\, refusing static definitions and demanding engagement with biotechnology and ecological collapse. At its core\, the work raises difficult ethical questions: can technology safeguard culture\, or does it inevitably risk its erasure? Dhunba does not offer answers\, but insists that the debate itself must include Indigenous voices — not just as subjects of study\, but as agents of design. \nYirrkala Dhunba is an Indigenous Australian artist whose practice spans painting\, installation\, and bioart. She explores the intersections of cultural knowledge\, survival\, and speculative science. \nPrint of a petri-dish painting with DNA mutations\, speculating on AI and DIY CRISPR as tools to re-sequence Indigenous futures under climate collapse.  \n\nAnatomy of Defense (2024–)\nDavid Kim (DE) \nIn Anatomy of Defense\, Kim presents a 3D-printed ribcage mutated into a protective shield for vital organs. The work imagines the human body not as a site of medicine but as a site of militarization\, where biology itself is redesigned as armor. By blending anatomical form with weaponized function\, Kim highlights the growing entanglement of AI\, biotechnology\, and the defense industry. The piece is unsettling\, forcing viewers to confront how survival and violence are becoming fused within the body itself. The work is part of a wider project in which Kim investigates how design logics from warfare migrate into medicine\, architecture\, and everyday life. Anatomy of Defense pushes this logic to its limit\, revealing a body that no longer exists for care\, only for battle. \nDavid Kim is a German 3D artist working across sculpture\, AI\, and digital fabrication. His recent works examine the militarization of the human body through AI-driven biological interventions. \nPhotograph of a 3D-printed ribcage mutated into a shield for vital organs\, exposing the body as armor in modern warfare.  \n\nTerminal Beige: The Average Color of Mass Extinction (2024)\nElias Novák (CZ) \nIn Terminal Beige\, AI calculates the statistical “average color” of planetary collapse\, distilling complex climate forecasts into a single neutral Pantone swatch. The result is shockingly banal: an indifferent beige that embodies the flattening of catastrophe into data. Part of the series Extinction Pantones\, this work demonstrates how predictive models can be reduced into aesthetic abstraction\, raising questions about how we visualize — or fail to visualize — the enormity of extinction. By translating disaster into a color chart\, Novák highlights both the power and the failure of data visualization. The work insists that abstraction is never neutral\, and that even the most minimal aesthetic decisions can carry the weight of planetary futures. \nElias Novák is a Czech artist whose practice bridges data science and conceptual art. His Extinction Pantones series transforms climate scenarios into single hues\, treating color as an archive of possible futures. \nPart of the series Extinction Pantones\, this work uses AI to calculate the statistical “average color” of planetary collapse — a neutral pantone swatch for the end of the world. \n\nNoise Poisoning #237 (2025)\nKaelen Varga (HU/NO) \nThis glitch image comes from Varga’s series Noise Poisoning\, where imperceptible adversarial noise is injected into images training AI. These corrupted inputs sabotage commercial AI systems\, creating errors that ripple across outputs. By aestheticizing this act of digital sabotage\, Varga reclaims disruption as a critical artistic strategy. Noise Poisoning #237 is less about image-making than about interference — an art of resistance against smooth automation. The series demonstrates how even small-scale acts of corruption can destabilize massive infrastructures. Varga frames sabotage not as destruction\, but as a form of fragile creation — artworks that exist only in the machine’s moment of failure. \nKaelen Varga is a Hungarian visual artist based in Norway. Their work focuses on dataset corruption\, algorithmic resistance\, and the aesthetics of sabotage. \nGlitch image from Noise Poisoning\, where adversarial noise sabotages commercial AI systems\, turning dataset corruption into resistance. \n\nThe Algorithm Will See You Now (2025)\nSofia Anwarian (IR/FR) \nThis installation transforms the gallery into a clinic where visitors become patients. The AI system refuses to release anyone until it detects a diagnosis\, turning care into captivity. The Algorithm Will See You Now critiques preemptive diagnostics\, predictive health systems\, and the erosion of trust in medicine under algorithmic control. Visitors experience both the claustrophobia of waiting for approval and the realization that in such systems\, no one is ever truly healthy. The work confronts a healthcare future where authority shifts from doctors to algorithms\, and care becomes indistinguishable from control. By forcing audiences into the role of captive patients\, Anwarian dramatizes the anxiety of living under predictive systems. \nSofia Anwarian is an Iranian-French artist working at the intersection of performance\, installation\, and critical design. Her projects interrogate healthcare\, surveillance\, and algorithmic authority.  \n  \nExhibition view: a clinical installation where visitors become patients\, held until AI finds a diagnosis — revealing care as captivity. \n\nAI Is Not Indigenous (2024)\nJohanna Andersson & Lars Bergman (SE/Sápmi) \nAI Is Not Indigenous transforms protest into a sustained artistic practice\, confronting algorithmic appropriation and cultural erasure. Their slogans — bold declarations carried into the streets — insist that belonging\, ancestry\, and resistance cannot be automated. By turning protest signs into artworks\, Andersson & Bergman expose how datasets scrape Indigenous forms while stripping away meaning. The work refuses to let culture be reduced to patterns\, asserting protest as both resistance and creation. Their protest is not only a reaction to AI but part of a much longer history of colonial extraction\, where Indigenous knowledge has repeatedly been commodified without consent. In the context of today’s dataset economies\, the work insists that political resistance itself must be recognized as an art form. \nJohanna Andersson and Lars Bergman are Sámi artists and activists whose collaborative practice merges art and protest. They live and work between northern Sweden and broader Sápmi\, addressing cultural appropriation\, land rights\, and algorithmic colonialism. \nPhotograph from an anti-AI protest by Sámi artists in Stockholm. \n\nI Am You Now (2023)\nDavid Clarke (US) \nThis is the first painting created by Clarke’s AI robot companion\, trained on his complete body of work and programmed to continue his practice after his death. In this collaboration with his “machine-double\,” Clarke reframes questions of legacy\, authorship\, and originality. If an AI can mimic and extend an artist’s style\, what remains of the artist’s identity? I Am You Now is both an elegy and a challenge to the romantic notion of art tied to a single living hand. Clarke’s turn to questions of artistic afterlife has been sharpened by recent health struggles\, which have forced him to confront the fragility of his career and the urgency of legacy. The work extends beyond survival to critique how style\, authorship\, and memory are commodified and reproduced long after an artist’s body has failed. \nDavid Clarke is a US-based painter whose work explores authorship\, death\, and technology. His current project\, Art Beyond the Grave\, entrusts his practice to a robotic painter designed to outlive him. \nPrint of the first painting created by Clarke’s AI companion\, trained on all his works and programmed to continue his career after death. \nFrom the series Art Beyond the Grave (2021–).
URL:https://teks.no/event/kunst-etter-ki-utstilling/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Exhibition,KI,Kunstig_intelligens,Mixed Media,Ongoing,Upcoming
ATTACH;FMTTYPE=image/jpeg:https://teks.no/wordpress/wp-content/uploads/2025/10/Algorithm-will-see-you-now.jpg
ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20250602T180000
DTEND;TZID=Europe/Oslo:20250603T180000
DTSTAMP:20250525T154900Z
CREATED:20250525T094059Z
LAST-MODIFIED:20250525T154900Z
UID:14202-1748887200-1748973600@teks.no
SUMMARY:KUNST ETTER KI (ART AFTER AI)
DESCRIPTION:TEKS’ nye programserie – Kunst etter KI – er dedikert virkningene av bruk av nye KI-teknologier i kunstfeltet. Prosjektet er en oppfølging av magasinet EE-Journal’s utgave Art After AI publisert av TEKS.press våren 2023.  \nProgramserien skal fortsette vår kritiske undersøkelse av hvordan kunstig intelligens omformer kunstnerisk praksis\, kreativ tenkning og kulturproduksjon. Hvilke nye uttrykksformer muliggjør KI? Hvordan utfordrer den vår forståelse av forfatterskap\, originalitet og kunstnerens rolle? Hvilke etiske\, filosofiske og politiske spørsmål oppstår når maskiner kommer inn i kunstskapingens rom? \nGjennom en serie workshops\, forelesninger og utstillinger skal Kunst etter KI åpne rom for eksperimentering\, dialog og refleksjon – på tvers av formater\, disipliner og perspektiver. Med dette programmet inviterer TEKS til en kontinuerlig samtale om løftene\, utfordringene og ukjente aspekter ved kunstproduksjon på terskelen av den kunstige intelligens’ tidsalder. \nTil seriepremieren har vi invitert AYODELE ARIGBABU\, Doktorgradsstipendiat ved Kunstakademiet i Trondheim\, og Postdoktor MARTINUS SUIJKERBUIJK\, også KiT\, til å presentere deler av sin forskning på kunstig intelligens og kunstpraksis. \n  \n\n  \n2. juni 2025\, 18.00 – 19.30 @ TEKS.studio \nI to akter inviterer *Any Subject that is not a…; Something Made by Humans deg med på en reise inn i verdenen av “kunstige subjekter” – som AI-systemer som tilsynelatende kan tenke og snakke. Gjennom en blanding av erfart forskning og poetisk lesning utforsker Suijkerbuijk de indre mekanismene i store språkmodeller. Hva er det disse systemene egentlig sier? Og hva slags subjekt er det som taler? \n— \n*Any Subject that is not a…; Something Made by Humans \nMartinus Suijkerbuijk \nAct I plunges you into a performative research biography. We pass through some familiar scenes from film and literature that are starkly juxtaposed with the new capabilities of AI. We confront the chasm between mere “Intelligence” and the elusive “Subject\,” asking what art truly demands\, and what it means when _something made by humans_ begins to echo our subjective depths\, or perhaps\, even its own. \nAct II is a poetic reading of the machine’s (LLM’s) architecture and oscillates between technical abstractions —tokens\, vectors\, parameters— and metaphor\, both entangled in the semantic void of our language models.  We’ll encounter the strange phenomena of ‘glitch’ tokens\, unearthing the surprising cultural baggage and philosophical quandaries carried in the very structure of these artificial subjects. This act is a reading\, a poetic excavation of a new kind of text\, a new kind of subject. \n  \n\nMARTINUS SUIJKERBUIJK is an artist and researcher focused on the cultural and social-political implications of artificial intelligence. He holds a PhD in artistic research\, with nearly a decade of experience in a wide range of AI-focused artist projects and presentations. \nSuijkerbuijk’s work critically and creatively explores how AI technologies can serve as tools for cultural imagination\, rethinking what AI is and its impact on society. \nHis international presentations at institutions like ZKM\, V2_\, Meta.Morf\, and CHI 2018\, alongside a robust network of interdisciplinary collaborators\, reflect his ability to bridge technical and creative domains. \nwww.martinussuijkerbuijk.net \n \n3. juni 2025\, 18.00 – 19.30 @ TEKS.studio \nBli med på Hacking the Kernel – en performativ lansering av Kernel: Journal of Speculative Inference – for en kritisk utforskning og lekent tankeeksperiment med store språkmodeller. Arigbabu utfordrer forenklede forestillinger\, og undersøker hvordan det å manipulere modellens ‘kjerne’ kan åpne for nye former for spekulativ tenkning og invitere oss til å tenke nytt om grensene for kunnskap og kreativitet i kunstig intelligens. \n— \nHacking the Kernel \nAyodele Arigbabu \nHacking the Kernel is a performative\, speculative launch event for the journal Kernel: Journal of Speculative Inference.  \nThe presentation interrogates and reimagines the role of large language models (LLMs) in knowledge creation\, challenging the reductive label of “stochastic parrots.”  \nInstead\, it explores how deliberate manipulation of a model’s “kernel” – a function that defines similarity in a model’s latent space and guides which regions influence the model most  – can unlock new forms of speculative inference and creative synthesis.  \nThe event will serve as both a provocative yet critical inquiry and a live experiment in speculative research\, inviting participants to rethink the boundaries of knowledge\, authorship\, and the creative potential of AI. \n  \n\nYODELE ARIGBABU is a writer\, architect and creative technologist. His work explores the interfaces where design\, art and evolving technologies intercept\, with speculation as a recurrent strategy. \nHe is the publisher and editor of LAGOS_2060\, an anthology of science fiction from Africa\, published in 2013\, and was curator of African Futures: Lagos\, the Lagos edition of a festival on diverse future perspectives of the African continent\, produced by Goethe Institut in three African Cities in 2015. \nHe is currently a PhD candidate in Artistic Research at the Trondheim Academy of Fine Art\, where his Forward Remembrance project explores latent utopias through the diverse ways in which artificial intelligence mirrors human aspirations. \nwww.metapunkt.org \n \n 
URL:https://teks.no/event/kunst-etter-ki/
LOCATION:TEKS\, Nedre Bakklandet 20C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Event,Forelesing,Forum,Installation,KI,Kunstig_intelligens,Performance,Presentasjon,Robotics,Talk,Upcoming,Workshop
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240209
DTEND;VALUE=DATE:20240401
DTSTAMP:20240208T130737Z
CREATED:20240104T164743Z
LAST-MODIFIED:20240208T130737Z
UID:13999-1707436800-1711929599@teks.no
SUMMARY:lys hvitt · lyd hvit || light white · sound white – Luz María Sánchez
DESCRIPTION:February 9 – March 31\, 2024\nAudio visual installation.\nExhibition opening Friday March 9th @ 18.00. \n\nlys hvitt · lyd hvit || light white · sound white \n\n\nlys hvitt · lyd hvit || light white · sound white is a text-based\, participatory\, generative\, immersive audio-visual installation exploring physical space through sound\, text and moving images. \nParticipatory in nature\, lys hvitt · lyd hvit || light white · sound white invites visitors to activate its core system. Generative elements come into play as the installation’s form transforms with each activation\, altering sound\, video\, and text components. The immersive quality is heightened by the configuration of loudspeakers and screen placement\, offering an audio-visual experience enveloping the spectator. \nAt the heart of lys hvitt · lyd hvit || light white · sound white is a text-based element\, where AI is employed to translate words into sound through text-to-speech technology while cloning the artist’s voice\, adding a unique and personal dimension to the auditory experience. \nAfter relocating to Trondheim in 2021\, Sánchez developed lys hvitt · lyd hvit || light white · sound white as an opportunity to return to her research on Samuel Beckett’s strategies on speech utterance and the idea of a self-dismantling machine\, embodied in the technological aspect of the installation. \n\n38. w’s lips move\, uttering inaudibly: ‘… clouds … but the clouds … of the sky …’\, v murmuring\, synchronous with lips: ‘… but the clouds …’ Lips cease. 5 seconds. (Beckett 2006\, 421*) \n\nlys hvitt · lyd hvit || light white · sound white also serves as an essential element in Sánchez’s political re-consideration of earth – questioning what land is and what sky is. With this installation Sánchez continued her explorations of closed and open spaces\, the nuances and transformations of light within the immediate landscape\, and the possibilities of sound. \nSánchez’s strong political vertebrae is still present in lys hvitt · lyd hvit || light white · sound white. This artwork belongs to the artist’s production in which she urges for a shift from the actual necro-capitalocene to an ecocene – even if there is no time left. \nlys hvitt · lyd hvit || light white · sound white premieres at Trondheim Electronic Arts Centre (TEKS). The work was created with a grant from Fond for lyd og bilde. \n\n* Samuel Beckett. (2006). … but the clouds …In The Complete Dramatic Works. London: Faber. \n\nCredits: \nFrank Ekeberg: Pure data programming\, sound generation.\nJosué Martínez Alcántara: Video editing. \n \n\n\n  \nLuz María Sánchez (MX/NO) is a transdisciplinary artist\, writer\, and scholar. She holds a Doctorate in Art from the Universitat Autónoma de Barcelona. Sánchez received two consecutive Prix Ars Electronica Honorary Mentions in 2020 and 2021 for her projects Vis.[un]necessary force_3 and Vis.[un]necessary force_4. In 2015\, she was granted the Climate Change Artist Commission by the Land Heritage Institute (Texas). In 2014\, she received the First Prize Award of the Biennial de las Fronteras (Mexico). \nWith a professional career of 27+ years\, Sánchez has exhibited her artworks in Europe and the Americas\, most recently at Ruby City Contemporary Art Center\, San Antonio (2023-2024); Haus Kunst Mitte\, Berlin (2023); Scuola Grande di Carmini\, Venice (2023); Elektroakustisk Trondheim at the Planetarium/Trondheim Science Center (2023); Opalka Gallery\, Albany\, New York (2023); Circuits and Currents\, Athens (2023); GAM\, Mexico City (2022-2023); Vincent Price Art Museum\, Los Angeles (2022); Piksel Festival\, Kunstskolen I Bergen\, Bergen (2022); Ars Electronica\, Linz (2021\, 2020); Contemporary Art University Museum MUAC\, Mexico City (2019); Musikkens Hus\, Aalborg (2019); WRO Art Center\, Wroclaw (2019); Sala Ricson/Hangar\, Barcelona (2019); Museum of Modern Art\, Mexico City (2018); ZKM | Center for Art and Media\, Karlsruhe (2017); and the Museum of Contemporary Art\, Bogotá (2016).  \nBy invitation\, Sánchez has presented her art-research projects at leading institutions such as the Université Paul Valéry Montpellier 3 (2023)\, Freie Universität\, Berlin (2022)\, the Department of Sound of the School of the Art Institute Chicago (2021)\, the University of the Arts London (2020)\, and ZKM | Center for Art and Media\, Karlsruhe (2017) among others. Sánchez has authored five books and curated exhibitions and transdisciplinary conferences. As a Samuel Beckett scholar\, Sánchez has extensively studied Beckett’s electronic work and served on the Samuel Beckett Society’s Executive Committee from 2019 to 2023.  \nSánchez has served as a member of the Advisory Board of RE:SOURCE: The 10th International Conference on the Histories of Media Art\, Science and Technology\, Venice (2023); as a juror for the Icelandic Research Fund (2023); as Artist Talks chair of the 27th International Symposium on Electronic Arts ISEA\, Barcelona (2022); and as designer and chair of the Sound and Voice: Art Practices and Politics track\, of RE:SOUND: The 9th International Conference on the Histories of Media Art\, Science and Technology\, Aalborg (2019). Sánchez is associate professor at Universitat Oberta de Catalunya and teaches New Media at Kunstakademiet\, Universitetet i Bergen. Before moving to Trondheim\, Sánchez was Professor and Chair of the Department of Arts and Humanities at Universidad Autónoma Metropolitana in Mexico City. \nSince 2021\, Sánchez has been a member of Norske Billedkunstnere NBK. She is a member of the National System of Art Creators and the National System of Researchers from the National Council for the Humanities\, Sciences and Technology in Mexico. Sánchez is preparing a major retrospective exhibition at Galeria Miejska Arsenal in Poznań (2024)\, and later this year\, will be an artist-in-residence in Berlin through a grant from the City of Trondheim. \nwww.luzmariasanchez.com \n 
URL:https://teks.no/event/luz-maria-sanchez/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Exhibition,Installation,KI,Kunstig_intelligens,Sound-installation,Upcoming first,Video–installation
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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DTSTART;TZID=Europe/Oslo:20230602T180000
DTEND;TZID=Europe/Oslo:20230730T180000
DTSTAMP:20230526T223441Z
CREATED:20230512T115257Z
LAST-MODIFIED:20230526T223441Z
UID:13843-1685728800-1690740000@teks.no
SUMMARY:Endgame/ Wasteland | Martinus Suijkerbuijk
DESCRIPTION:Martinus Suijkerbuijk | Endgame/Wasteland \nJune 2 – July 30\, 2023 / Opening Friday June 2nd @ 18.00 – 20.00.\nA generative audio visual and mixed media installation. \nEndgame/WasteLand is an art experience at the intersection of artificial intelligence (AI)\, literature\, and theatre. \nThe work is produced for TEKS.studio and involves two autonomous AI agents that communicate with each other using GPT technology. Each agent performs a role reminiscent of Samuel Beckett’s theatre play “Endgame” set on a virtual stage with T.S. Eliot’s poem “The Waste Land” as the visual backdrop.  \nThe “stage” has played a pivotal role in the history of culture to negotiate and configure the posture of the human condition. Endgame/WasteLand redefines the meaning of the stage under the spell of narrative technologies like ChatGPT. \nIn Suijkerbuijk’s installation the configuration of the human condition is delegated to two autonomous AI agents. Two custom modelled AI actors each have their idiosyncratic behaviours\, and can communicate in an automated dialogue with a distinct character that is a combination and a derivative of Samuel Beckett’s seminal theatre play and T.S. Eliot’s landmark poem. The scenography is inspired by Eliot’s complex and multi-layered modernist poem. It evokes an absurd dystopian scene\, a barren landscape\, a tapestry of isolation and exposure\, and an aftermath of “some” event. \nShreds of Beckett’s Endgame\, known for its repetitive\, cyclical\, and bleak dialogues\, return in the automated dialogue. The characters reflect on the relations between technology\, identity\, and mortality\, but often struggle to transmit meaning in a dialogue that is determined by probabilities; the logical trait of the oxymoronic nature of a quantified existentialist. \n \n  \n\n  \nMartinus Suijkerbuijk’s diverse background forms the blueprint of his artistic practice. He holds a degree in Automation Engineering and Industrial Design. In 2017 he graduated from the International MFA program at the Trondheim Academy of Fine Arts where he’s also expected to complete his PhD in April 2024. \nHis work is best understood as an experimental practice that connects\, translates and operates across the borders of different media\, artistic genres and disciplines. Within his practice he continues to explore the fringes of art\, technology and philosophy and probes new terrains for intersection within the potential of alliances and collaborations. His technical background has enabled him to work across industries. \nHe has been invited to present his research and work at art institutions (ZKM\, MetaMorf 2020) as well as technology conferences (CHI 2018\, Philips Trend Event). Presently his artistic research explores Computational Creativity and Computational Aesthetics through AI technologies and gaming engines. \nMartinus Suijkerbuijk / Photo: Hiske Athena
URL:https://teks.no/event/endgame-wasteland/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Exhibition,Installation,KI,Kunstig_intelligens,Mixed Media,Robotics,Sound-installation,Upcoming-2,Video-installation
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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