Art museums; Semiotics of space; Contemporary art; Museum visitors; Art installations; Artificial Intelligence
Abstract :
[en] The entry of Artificial Intelligence (AI) into the field of art raises several questions regarding its economic and symbolic value, as well as ethical, ontological, and categorical. The latter issue is fundamental to studying and understanding the production and reception of artworks co-produced with AI. Although the intervention or use of these technologies gives rise to a recurrent debate about the authorship of works, a more complex question is their categorization, both in terms of generic and stylistic terms, as well as their classification according to traditional artistic languages, a problem already reflected upon by The Historical Avant-gardes. However, the problem of classifying these co-productions (by art-
ists and machines) seems to be an essential issue for analyzing their inclusion in
museums, galleries, and auctions since institutional classification implies specific
modes of exhibition and mediation that establish certain horizons of expectation
for the public's experience with the objects exhibited. This question is a central
consideration in times of art focused on the processes and experiences it produces.
This presentation focuses on the three points that seem central: (1) The 'status' of
images. The inscription of these productions within the debates on the (in)defini-
tion of contemporary art; (2) The processes of institutionalization: The generic
and stylistic categories applied to classify these artworks in the museums, such as
those referring to artistic languages (installation, performance, painting, sculp-
ture); ( 3) The process of creating and exhibiting these artworks: The overlapping
enunciations concern the roles of curators, artists, and machines.
