{"id":11809,"date":"2023-10-25T06:00:00","date_gmt":"2023-10-25T04:00:00","guid":{"rendered":"https:\/\/kingkong-mag.com\/?p=11809"},"modified":"2023-10-25T06:01:12","modified_gmt":"2023-10-25T04:01:12","slug":"capture2","status":"publish","type":"post","link":"https:\/\/kingkong-mag.com\/en\/capture2\/","title":{"rendered":"Capture#2: porosity between arts and sciences"},"content":{"rendered":"

\r\nSous l\u2019\u00e9gide du KIKK, l\u2019exposition Capture#2 fait la part belle aux artistes num\u00e9riques belges. Leurs installations questionnent l\u2019impact des machines et de l\u2019intelligence artificielle sur notre soci\u00e9t\u00e9, et explorent le lien entre num\u00e9rique et nature. \r\n<\/p>\n

Souriez, vous \u00eates capt\u00e9\u2e31es\u00a0! C\u2019est le mot d\u2019ordre \u00e0 peine franchit-on la porte vitr\u00e9e de l\u2019exposition Capture#2<\/a>, qui se tient au Pavillon, sur les hauteurs de la citadelle de Namur. “En anglais, \u2018capture\u2019 fait r\u00e9f\u00e9rence \u00e0 la captation de donn\u00e9es, d\u2019informations. C\u2019est ainsi que la premi\u00e8re partie de l\u2019exposition est travers\u00e9e par la mani\u00e8re dont les machines, d\u00e9sormais omnipr\u00e9sentes, et les algorithmes d\u2019IA captent le r\u00e9el, le transcrivent et influencent notre propre perception du r\u00e9el”, explique Charlotte Benedetti, directrice du Pavillon.\u00a0<\/p>\n\n

L\u2019absence et le pr\u00e9sence comptabilis\u00e9es<\/h3>\n\n

Un bruit froid et m\u00e9tallique remplit l\u2019espace. Le menton relev\u00e9, on observe deux \u00e9tranges et gigantesques compteurs de temps. Celui du haut mentionne le nombre d\u2019heures, de minutes et de secondes durant lesquelles aucun\u2e31e humain\u2e31e ne s\u2019est plac\u00e9\u2e31e devant lui. Le second, au contraire, r\u00e9v\u00e8le la dur\u00e9e totale pendant laquelle la cam\u00e9ra a capt\u00e9 un visage.\u00a0<\/p>\n\n

\"\"
\u00a9<\/strong>\u00a0Antonin Weber<\/figcaption><\/figure>\n


“Cette installation, d\u00e9nomm\u00e9e As we continue<\/em>, mesure le temps et l\u2019absence. Le principe est tout simple\u00a0: un algorithme d\u00e9di\u00e9 \u00e0 la reconnaissance faciale est associ\u00e9 \u00e0 une cam\u00e9ra. Quand celle-ci capte un visage, la machine adapte son temps. Ce qui int\u00e9resse l\u2019artiste Pierre Coric, bas\u00e9 en Flandre, c\u2019est de faire le lien avec la machine, et de voir comment celle-ci est capable de nous d\u00e9tecter et de nous compter de mani\u00e8re froide. Il n\u2019y a pas d\u2019\u00e9motion, pas de sensibilit\u00e9. Il a d\u2019ailleurs utilis\u00e9 un compteur m\u00e9canique tels que ceux qu\u2019on retrouve dans les gares, implacables et froids.”<\/p>\n\n

Paparazzi et tricot<\/h3>\n\n

L\u2019installation, cr\u00e9\u00e9e durant le confinement, devait \u00eatre montr\u00e9e lors d\u2019une exposition au Qu\u00e9bec. Les fronti\u00e8res \u00e9tant alors ferm\u00e9es, l\u2019artiste n\u2019a pas pu accompagner son \u0153uvre et participer \u00e0 son montage. Quand il la r\u00e9cup\u00e8re 4 mois plus tard, c\u2019est la stup\u00e9faction. En allumant l\u2019ordinateur de l\u2019installation, il se rend compte qu\u2019une ligne de code avait \u00e9t\u00e9 oubli\u00e9e dans sa programmation\u00a0: les visages des spectateurices qu\u00e9becois\u2e31es , en plus d\u2019avoir \u00e9t\u00e9 capt\u00e9s via une cam\u00e9ra, ont \u00e9t\u00e9 enregistr\u00e9s sur le disque dur. Voil\u00e0 Pierre Coric d\u00e9tenteur d\u2019une base de donn\u00e9es ill\u00e9gale de 8242 portraits.<\/p>\n\n

\"\"<\/figure>\n

Que faire avec cela\u00a0? “Il \u00e9tait effar\u00e9 par la facilit\u00e9 avec laquelle on peut capter des informations \u00e0 l\u2019insu des visiteur\u2e31ses. Ses questionnements sur les d\u00e9rives possibles de ces captures de donn\u00e9es l\u2019ont amen\u00e9 \u00e0 cr\u00e9er une autre installation, qui est l\u2019incarnation physique de la base de donn\u00e9es, d\u00e9sormais d\u00e9truite.” Comme souvent en art num\u00e9rique, l\u2019artiste a une approche multidisciplinaire\u00a0: ces plus de 8000 visages, il les a tricot\u00e9s, via un processus num\u00e9rique, en fils bleus, noirs et blancs. L\u2019usage du textile permet de perdre beaucoup d’informations, rendant les visages m\u00e9connaissables.<\/p>\n\n

Soutenir la production d\u2019oeuvres originales<\/h3>\n\n

“C\u2019est la premi\u00e8re fois que cette installation est pr\u00e9sent\u00e9e au public”, pr\u00e9cise Charlotte Benedetti. Comme cinq autres \u0153uvres mises en avant lors de l\u2019exposition Capture#2, celle-ci est une production du KIKK, gr\u00e2ce au soutien de la F\u00e9d\u00e9ration Wallonie-Bruxelles pour les arts num\u00e9riques. “En les exposant, on aide ces artistes \u00e0 diffuser leur travail. En effet, l\u2019exposition fait partie du KIKK festival<\/a>, qui se tiendra du 26 au 29 octobre \u00e0 Namur. Et cet \u00e9v\u00e9nement brasse une diversit\u00e9 internationale de programmateurices et curateurices.”<\/p>\n\n

\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n

A c\u00f4t\u00e9 de ces nouvelles productions commissionn\u00e9es par le KIKK, d\u2019autres installations ont \u00e9t\u00e9 s\u00e9lectionn\u00e9es par Marie du Chastel, directrice artistique du KIKK et curatrice de l\u2019expo. Elles sont \u00e0 l\u2019image de la diversit\u00e9 belge et \u00e9manent toutes d\u2019artistes wallon\u2e31nes, bruxellois\u2e31es ou flamand\u2e31es.<\/p>\n\n

Un aller sans retour<\/h3>\n\n

Derri\u00e8re un rideau noir, au centre d\u2019une pi\u00e8ce blanche plong\u00e9e dans l\u2019obscurit\u00e9, se tiennent des lentilles acryliques carr\u00e9es, incolores et transparentes, support\u00e9es par un pied m\u00e9tallique. Lorsque le faisceau d\u2019une lampe de poche les rencontre, des images se r\u00e9v\u00e8lent sur les murs. On y distingue, en d\u00e9grad\u00e9s de gris, sans trop de d\u00e9tails, des humains, un tatouage en gros plan. Bienvenue dans le monde sensible de St\u00e9phanie Roland, artiste bas\u00e9e \u00e0 Bruxelles. Son travail parle de l\u2019absence et du deuil.\u00a0<\/p>\n\n

\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n

“\u00c0 l\u2019origine de ces portraits flous, il y a une indignation de l\u2019artiste face aux r\u00e9gimes militaires et dictatoriaux de Pinochet au Chili ou de Videla en Argentine. Ceux-ci avait l\u2019habitude de faire dispara\u00eetre leurs opposant\u2e31es en \u00e9liminant leur d\u00e9pouille, laissant leur famille dans une attente interminable et les emp\u00eachant de faire le deuil de leur disparu\u2e31e.”<\/p>\n\n

Les images projet\u00e9es sur le mur de l\u2019exposition ne sont pas r\u00e9elles, mais ont \u00e9t\u00e9 cr\u00e9\u00e9es par une IA au d\u00e9part de la base de donn\u00e9es d\u2019Interpol concernant la recherche des disparu\u2e31es. Elles sont la somme de diff\u00e9rentes histoires personnelles. “Les lentilles transparentes et incolores sont grav\u00e9es sur plusieurs niveaux. Cela engendre une sorte d\u2019anamorphose. Cette image d\u00e9form\u00e9e et d\u00e9compos\u00e9e en plusieurs plans raconte la diversit\u00e9 des identit\u00e9s qui se cachent dans l\u2019image projet\u00e9e sous le faisceau de la lampe de poche”, commente Charlotte Benedetti.<\/p>\n\n

Quand la technologie rencontre la nature<\/h3>\n\n

Si la premi\u00e8re partie de l\u2019exposition Capture#2 nous immerge dans le monde des algorithmes et nous met face aux limites de la perception du r\u00e9el par les machines, la seconde moiti\u00e9 explore le lien entre l\u2019homme et la nature, mais aussi entre la technologie et la nature.<\/p>\n\n

Sur un pr\u00e9sentoir sombre, des centaines de cartes postales noires et d\u00e9nu\u00e9es de motifs ont \u00e9t\u00e9 d\u00e9pos\u00e9es par St\u00e9phanie Roland. Ironiquement, c\u2019est lorsqu\u2019elles sont mises au contact d\u2019une plaque chauffante que leur image se r\u00e9v\u00e8le\u00a0: une \u00eele d\u2019ores et d\u00e9j\u00e0 disparue ou promise \u00e0 boire la tasse dans les ann\u00e9es ou si\u00e8cles \u00e0 venir suite \u00e0 la mont\u00e9e du niveau des mers caus\u00e9e par le r\u00e9chauffement climatique. Au verso, ses coordonn\u00e9es GPS et l\u2019ann\u00e9e de sa disparition.\u00a0<\/p>\n\n

\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n\n\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n\n\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n\n\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n\n\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n\n\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n\n\n
\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure><\/figure>\n\n

“La carte n\u2019est pas le territoire.” Cette r\u00e9flexion est le point de d\u00e9part de l\u2019impressionnant travail de recherche de Laura Colmenares Guerra, artiste bas\u00e9e \u00e0 Bruxelles. Elle r\u00e9fl\u00e9chit \u00e0 la mani\u00e8re dont on cartographie un espace, en prenant comme exemple l\u2019Amazonie. Ce vaste territoire couvrant 44\u00a0% de l\u2019Am\u00e9rique du Sud cristallise les tensions autours des \u00e9normes enjeux climatiques. “\u00c0 la couche topographique, elle superpose une couche mettant en exergue les menaces environnementales pesant sur chacune des r\u00e9gions. \u00c0 cela, elle ajoute une couche \u00e9manant de la twittosph\u00e8re, apr\u00e8s avoir relev\u00e9 le nombre de fois qu\u2019ont \u00e9t\u00e9 utilis\u00e9s diff\u00e9rents hashtags li\u00e9s aux probl\u00e9matiques sociales, climatiques et environnementales locales.”<\/p>\n\n

\"\"
\u00a9 Antonin Weber<\/figcaption><\/figure>\n

“Cet \u00e9norme travail de recherche s\u2019est \u00e9tal\u00e9 sur 5 ann\u00e9es. Il se situe \u00e0 l\u2019intersection entre arts, sciences et technologies. Et c\u2019est aussi dans cette intersection que s\u2019inscrit l\u2019ADN du KIKK”, conclut Charlotte Benedetti.<\/p>\n","protected":false},"excerpt":{"rendered":"

Souriez, vous \u00eates capt\u00e9\u2e31es\u00a0! C\u2019est le mot d\u2019ordre \u00e0 peine franchit-on la porte vitr\u00e9e de l\u2019exposition Capture#2, qui se tient au Pavillon, sur les hauteurs de la citadelle de Namur. “En anglais, \u2018capture\u2019 fait r\u00e9f\u00e9rence \u00e0 la captation de donn\u00e9es, d\u2019informations. C\u2019est ainsi que la premi\u00e8re partie de l\u2019exposition est travers\u00e9e par la mani\u00e8re dont […]<\/p>\n","protected":false},"author":23,"featured_media":11682,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"wds_primary_category":0,"wds_primary_type_article":0,"footnotes":""},"categories":[99,108,112],"tags":[],"type_article":[56],"class_list":["post-11809","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-culture-en","category-sciences-en","type_article-article-en"],"acf":[],"yoast_head":"\nCapture#2: porosity between arts and sciences - kingkong<\/title>\n<meta name=\"description\" content=\"Under the aegis of KIKK, the Capture#2 exhibition places Belgian digital artists firmly in the spotlight. 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