Incorrectly, no artificial intelligence was used in making “post-mortem #16”, a wandering … [+]
As visitors enter a new photo exhibition in Berlin, they will be greeted by hitting side images, both have made international titles.
One is Boris Eldagsen’s “The Electric” of Image generated by the one who won A high-profile Sony competition in 2023, only for the artist to refuse the price, saying the images and photos created by him should not compete with each other. Next is the “flamingone” of Miles Astray true photo that was disqualified From a photo competition last year after scoring two awards in the category. Both artists say they seized their work in quarrel to provoke discussions about the intersection of him and photography.
Mixing two of their shooting includes the topic of the exhibition. With the title “Rivals: VS Promptography Photography“, Piton cameras against algorithms in an effort to highlight the possibilities and limitations of everyone into a world where artificial intelligence is rapidly making its way into the boxes of more artists.
Miles Astray calls “Flamingone”, a real photo “, a surrealistic and almost unthinkable shot, and yet … [+]
Eldagsen cured the exhibition with the collection of photos Berlin and the Guelman Und Unbekannt Gallery, which exhibits and promotes the art created by people with the help of artificial intelligence.
“I think the festivals and photo institutions have an obligation to their audience to clarify the relationships between photography and quickly,” Eldagsen said in a statement. “The curators are not fulfilling this task. That is why I joined an exhibition that answers these important questions: what is the force of photography that he cannot replace? Can what the picture can not do? “
Eldagsen has been a photographer for 35 years, and has spent the last three experimenting with him. “As an artist I love both,” he said by email. “Because of this I think it is necessary to clarify their nature. Otherwise, it would be like calling the photo of the photorealist paintings. “
“I find it very difficult to describe the symptoms orally in a way that my listeners can … [+]
The exhibition – which opened Monday at the Guelman Und Unbekannt Gallery and goes until March 31 – does not seek to crown photography or “promptography” as your favorite technique. Instead, it invites reflection on the role of each in making contemporary image.
The questions they ask stand in the heart of the divisive debate over art and he. As it permeates the creative fieldsSome creative artists celebrate its potential to run their work in new exciting directions, while others are afraid of replacing them, even Changing the creative process. Adding complexity is the difficulty of the public to determine what it is and is not it. A Discovered the latest Iproov study discovered That many people cannot notice a deep depth, with 20% of consumers surveyed saying they don’t even know what it is. To highlight the issue, the company issued a quiz along with the study that allows anyone to test their Deepfake’s spotment skills.
“Rivals: VS Promptography photo” goes as part of the European month of the Photography Festival in 2025 and includes work by 17 photographers, plus 18 artists involving it in their images. The latest category includes Sabine von Bassewitz’s “multiple sclerosis”, in which the artist tries to visually convey the experience of an MS relapse marked by spasmodicity and difficulties of movement. Work describes an artist sitting on the floor by drawing with a disodified hand while wearing a shoe on one side, and she appeared in The first edition of Magazine he artA new polished edition printed fully dedicated to him and art.
At first glance, Klaus Elle’s “Enlumments #6” has a ghost texture it suggests but … [+]
Viewers will encounter photographic images, such as portraits of the 20th century. But a number of images in the photo category especially have a surreal quality that can initially make viewers assume that he had a hand.
For example, Klaus Elle’s “enlightments #6” presents a ghost wall of the artist’s repeated faces – an image that at first glance looks like something that midjourney spits. But Elle created it in a basement by singing the photograph with long exposure in 1995, long before the generation tools made it possible for someone to immediately create images using texts or image stimulation. Similarly, Astray’s “flamingone”, a wild photo of a faceless flamingo on the toes, appears changed, but it is not. Images such as these underline how difficult it can be between what is and is not artificial intelligence. Which, of course, is one of the highlights of the exhibition.
“Art is what you see in it,” said Astray, “and there is much to see here.”
The exhibition dedicates a section of images created by him like this, entitled “Blue Grid”.
The image generated by that of Boris Eldagsen “Electric” waves to win a Sony photo competition.