The Hellenistic and Renaissance Art land together into 2050, portraying the relationship between Art, Science, and Technology, leading us to ask whether artworks produced by machines may indeed be defined as “fine art pieces”.
Vittorio Bonapace treats the theme of the dystopian future presenting a classical Sculpture Studio environment where an AI Machine is working on Michelangelo’s David, carving it in his own image and likeness.
Michelangelo’s David is considered one of the greatest masterpieces ever created by mankind with no equal to it in such proportion, beauty, and excellence: Having a machine manipulating it defines a clear line.
The act itself aims to raise unresolved questions about machine art, which are – first – what its potential is and – second – whether it can truly be described as “creative” or “imaginative”. These are problems, profound and fascinating, that take us deep into the mysteries of human art-making, machine learning, and their complicity in a Digital Era.
|| Pixels on Screen | 2500x1981 px - Video Loop - Audio.