EXHIBIT MAKERS / AI
“(…)Francesco De Prezzo’s work explores experiential concepts in artistic production, characterized by an approach that subverts the artwork, ranging from its destruction to
cancellation or replacement.
This theme is also evident in the current exhibition, where the artist experiments with the use of an artificial intelligence model, a customized version of GPT-4 from OpenAi.
This model has been trained to recognize, purchase, and ship to the gallery items available on Amazon that are aesthetically based on the artist’s portfolio, providing visual
continuity with their previous body of work. The items, delivered directly to the exhibition space, gradually become part of the exhibit and are later returned through an
automated return process managed by the algorithm, within a set period.
This approach represents a continuous exploration by De Prezzo of the ephemeral and variable nature of the exhibition, challenging traditional conventions of artistic ownership
and subverting the theme of sculpture. Rooted in a collective visual logic, the one in the algorithm, this approach to sculpture redefines the essence of the setup.”
FULL review on Mousse>
cancellation or replacement.
This theme is also evident in the current exhibition, where the artist experiments with the use of an artificial intelligence model, a customized version of GPT-4 from OpenAi.
This model has been trained to recognize, purchase, and ship to the gallery items available on Amazon that are aesthetically based on the artist’s portfolio, providing visual
continuity with their previous body of work. The items, delivered directly to the exhibition space, gradually become part of the exhibit and are later returned through an
automated return process managed by the algorithm, within a set period.
This approach represents a continuous exploration by De Prezzo of the ephemeral and variable nature of the exhibition, challenging traditional conventions of artistic ownership
and subverting the theme of sculpture. Rooted in a collective visual logic, the one in the algorithm, this approach to sculpture redefines the essence of the setup.”
FULL review on Mousse>
Dear M,
The exhibition set itself up.
I didn’t choose the objects. I didn’t place them. I didn’t touch a thing. I only watched, first on the screen, then in the room, as each item arrived, took its position, and eventually disappeared. The model did everything. GPT, trained on fragments of my work, sourcing Amazon for visual affinities, orchestrating deliveries, orchestrating returns.
The space behaved like a loop, quiet, precise, strangely indifferent. No narrative. No climax. Just circulation.
At first, I thought it was a delegation of authorship. But then I realized it was something quieter, something more subtle. Not a loss of control, but a shift in the location of control. From gesture to pattern. From meaning to behavior. The algorithm was not curating a show, it was performing a sculpture.
Rosalind Krauss wrote about the expanded field. This felt like its collapse. No more site, no more non-site. Only system. Only a sequence of decisions made by a logic that belongs to neither artist nor viewer, but to the machine’s interpretation of visual memory.
I stayed in the space longer than usual. Waiting for something to fail. Nothing did.
And yet, what I remember most was the absence of anticipation. The works did not arrive to be admired. They arrived to fulfill a function. Then they left.
It wasn’t an exhibition. It was a rehearsal for something we no longer understand how to frame.
Your,
F