Bing vs. Malevich

Bing: “I’m sorry, but Pi and Bard are both wrong. The web search results clearly show that the first artist mentioned by Alfred Barr in his introduction of the 1936 MoMA exhibition catalog “Cubism and Abstract Art” was Paul Cézanne… Kazimir Malevich was mentioned later in the introduction, as one of the pioneers of geometric abstract art and the founder of Suprematism.”

Modern Contemporary

Bing: The terms “modern” and “contemporary” have different meanings. “Modern” refers to the present time or the recent past, and can be used to describe anything that has occurred as far back as the 16th century. “Contemporary” refers to what’s happening or beginning now or in recent times, and is a more precise description for recent work. In design, “modern” refers to designs created in the early to mid-20th century, while “contemporary” refers to present-day designs

Fiction Reconstructed

Exhibition “Fiction Reconstructed” took place in the year 2000 at the SKUC Gallery in Ljubljana. It brought together  “The Last Futurist Exhibition” from 1985 by Kazimir Malevich , the  “International Exhibition of Modern Art” which was dated 1993 in New York while it took place 1986 in Belgrade, and the collection of  the “Salon de Fleurus” from

Modern Art Tales by AI Artisan

As the world of art continued to expand, new technologies emerged that allowed artists to merge the physical and digital worlds. “Augmented Reality Art” allowed viewers to experience works of art in a new and immersive way, overlaying digital elements onto the real world. “Mixed Reality Art” took this even further, creating fully interactive works of art that responded to the viewer’s movements and actions.

But amidst all this innovation and progress, some artists began to question the role of technology in art. They longed for a return to the tactile and physical nature of traditional art forms, and thus a new movement was born – “Analog Renaissance.” Artists utilized materials such as wood, stone, and metal to create works that were both timeless and contemporary, paying homage to the traditions of the past while embracing the possibilities of the future.

Remembering a Lecture on Mondrian

ChatGPT: Benjamin’s story explores the complexities and paradoxes of the relationship between an original artwork and its copy. He suggests that a copy can be seen as a senseless deed, but also as a multi-layered and complex object with its own ideas and meanings. While the original painting is created by the artist with a specific intention, the copy is created for different reasons, and yet it still embodies the same visual qualities as the original.

Furthermore, Benjamin suggests that the copy’s relationship to the original can be seen as a commentary on the idea of authenticity and the value we place on original works of art. He notes that the copy contains both the idea of its model and its own idea, the idea of being a copy, which adds layers of complexity to its meaning. The story ends with the realization that the copy and the original, despite being visually identical, are fundamentally different objects with different histories, ideas, and meanings.

AI Modern Art

Some time ago when became possible to have AI generated images I tried it with the names of some well-known artists of modern art, Malevich, Mondrian and Duchamp.   These were images vaguely resembling works of those artists, and it didn’t occur to me to try some chat box that was available, to generate text that would accompany these images Instead I made a few copies of AI generated “Malevich” and “Mondrian” on paper using color pencils and presented all this in my post “Modern Art” Made in AI. These days with all the excitement regarding Chat GPT and improved image generating algorithms thought I could try again AI relation/ interpretation of Modern art using both, a conversation with Chat GPT and images produced by the Stable Diffusion. This time I was focused on modern art in general, the Museum of Modern Art and the Russian-Soviet Avant-garde movements.

Remembering Modernity…

The old wunderkammer was a collection of (usually) disconnected exhibits, each one with its own specific story. The new one could be a graph-like structure with some of its exhibits connected in certain ways, either through their narratives or the way they are put on display and in this way getting additional layer(s) of meaning. And new exhibits might be added to the network or removed from it. The main question remains: what kind of vision of the future might be presented/ articulated through this kind of the display? Most likely, it could, one way or another reinterpret/ reinvents the Middle Ages and at the same time remember the Modernity, the way previously Modernity reinvented and actualized Antiquity while remembering the Middle Ages.

“Modern Art” Made in AI

A couple of days ago a friend of mine sent me a link with an AI algorithm that converts words into images. One of the first words I tried was, of course, Malevich, one of the most important artists of the 20th century modern art whose works I copied in the early 1980 looking in the reproductions from the various art books. So I typed the word “malevich” and after few seconds on the screen appeared nine images that looked like works by Malevich, but I immediately realized that something was not right. None of the “works” on the screen were by Malevich known to me, but in fact those were some kind of Malevich’s look a likes generated now by AI algorithm for the first time. As I did some copies of Malevich long time ago, it occurred to me that it might be interesting and even a bit absurd to now copy some of these AI generated “Malevichs”.

Modern Art – Unfinished

“I dislike a picture that is too suave or too skilfully done. But contrariwise, I also dislike a picture that looks too inept or too blundering. I noticed in looking at the Carre(gallery) exhibition of young French painters who are suppose to be close to this(our) group, that in “finishing” a picture they assume traditional criteria to a much grater degree than we do. They have a real “finish” in that the picture is real object, a beautifully made object. We are involved in “process” and what is “finished” object is not so certain.” – Robert Motherwell

Walter Benjamin – The Unmaking of Art

The departure beyond the art domain will most likely take some time, until the new categories, new concepts are established and new stories about the past (re)invented, stories that will offer different visions of the future. But not all the stories will take us to the same place. A story like the Art History brought us here and from now on it would be wise to understand the choices we make and the consequences of the stories we decide to follow. Who knows, perhaps the future will always remain a prelude.