PUBLIC INSTALL
This series of public postings, including the statements "NFTs are dead" and "AI will save the world," serve as provocations designed to stimulate contemplation on the rapid pace at which we embrace trends in the realms of digital art and artificial intelligence. Fully immersed in the present, these declarations address current tensions through their inherent contradictions.
Discussing the 'death' of something as new as NFTs is puzzling. It’s like witnessing the birth of a star and then declaring it immediately extinct. In our world, where even our digital identities have a life of their own in bits and bytes, asserting that something is dead transcends mere words—it’s a complex riddle. Despite appearances, this initiative is not intended to disparage NFTs; instead, it invites us to look beyond the current perspective.
Simultaneously, the statement "AI will save the world" introduces another layer of reflection. These phrases reflect a certain optimism and reliance on artificial intelligence, prompting us to consider the implications and potential outcomes of such technology in the future. Both declarations, in their stark contrast, encapsulate the dichotomy of our digital era, urging us to evaluate the present and future, and our interactions with it, in the context of an open dialogue.
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PROMPT
Public intervention in multiple locations, 2024
The work is structured on a plurality of interpretative levels, manifesting as a process of stratification that unfolds from the surface into the speculative depths of conceptual thought. The first hermeneutic level addresses the theme of artificial intelligence and its unsettling influence on our relationship with reality. The relentless technological progress of our era has reached such a degree of complexity and sophistication that it prompts us, through an almost pre-reflective process, to question the very essence of the surrounding world. It is as though we are immersed in a hyperreal simulation, a construct in which our perception is incessantly manipulated and rewritten. The obsessive repetition of the term "prompt" across various urban and non-urban surfaces thus functions as a semiotic device intended to evoke the possibility of a collective hallucination, a phenomenon in which the distinction between the real and the virtual gradually dissolves, bringing to mind the theories of Gustave Le Bon on crowd psychology and Leon Festinger's insights on cognitive dissonance.
The second interpretative layer, delving beyond the surface dialogue with artificial intelligence, can be understood as a reflection on the ontology of perception and the construction of reality.
The repetition of the word "prompt" not only evokes interaction with machines capable of generating responses but also emerges as a symbol of an incessant call to meaning. Each "prompt" is not merely a command but becomes an ontological imperative: an invitation to construct meaning within the semantic void that characterizes the contemporary world.
In this context, the work recalls Heidegger's concept of "Gestell," the technological framing that not only reveals but also conceals the essence of things. Each "prompt" can be seen as a framing structure, an enclosure that attempts to capture being while simultaneously distorting it, reducing it to a function, a mere input-output within the vast system of technological operations.
This layer of interpretation unveils the tension between being as openness and being as technological closure.
Moreover, the installation can be interpreted as an exploration of post-structuralist theories, particularly those of Jean Baudrillard. The use of the word "prompt" scattered throughout reality can be seen as the manifestation of the simulacrum: a copy without an original that ultimately replaces reality itself. In this sense, the work becomes a commentary on contemporary hyperreality, where the sign and the signifier become untethered from their connection to the original meaning, floating in a sea of infinite interpretative and generative possibilities.
Finally, the choice of the urban context as the stage for these words is not coincidental: it suggests a tension between coded language and the spontaneity of everyday life. The mechanical repetition of "prompt" on seemingly banal surfaces, such as the walls of buildings or industrial structures, introduces a dichotomy between the cold technological control and human experience, creating a friction that stimulates critical reflection on the future of our cities and social interactions.”
AI WILL SAVE THE WORLD
The series "AI Will Save the World" presents a bold and seemingly contradictory statement, sparking deep reflections on the role of artificial intelligence in humanity's future. Its minimalist, almost clinical presentation enhances the impact of the message, suggesting an unwavering belief in AI's ability to solve global crises. However, the word "save" implies a potentially dangerous dependence: can we truly entrust the fate of the world to technologies that, no matter how powerful, remain human-made and programmed?
This contradiction raises complex ethical and philosophical questions. AI is portrayed as a new redemptive force, but at what cost and with what consequences? The series urges us to reflect not only on the immense potential of artificial intelligence but also on the risks of handing over control of existential issues to non-human entities, prompting a critical reconsideration of our relationship with technology.
NFTS ARE DEAD
The statement "NFTs are dead," printed in large font, connects all the posted works belonging to this series. The declaration seems to create a contradiction, both linguistically and perceptually. While it suggests the end of a phenomenon that has only recently emerged, it also critiques the transient nature of digital trends, particularly in the realm of art. This contrast invites the viewer to engage in deeper reflection on the public’s perception of digital innovations, raising questions and issues related to the subject of the phrase. Rather than serving as a simple rejection, as it might initially appear, the statement encourages us to reconsider the meaning of the NFT phenomenon in a context where the boundaries between what is considered "alive" or "dead" are constantly being redefined. The statement plays on this tension, prompting viewers to reflect on the ongoing evolution of the medium in relation to its digital nature and its cultural impact.
The concept of this work was first introduced by Skygolpe during his solo show at FOUNDRY in Dubai, 15.11.23 / 07.01.24.
*all images: Installation view, public intervention and documentation, size, medium and locations, variable, 2024
