Curated by Carolyn Christov-Bakargiev and Marianna Vecellio
Hito Steyerl (Munich, 1966) is one of the most active artists and theorists of our time and her reflections on the possibility of critical thinking in the digital age have influenced the work of numerous artists. He represented Germany at the 56th Venice Biennale in 2015. His work focuses on the role of media, technology and the circulation of images in the era of globalization. Bordering from cinema to visual art and vice versa, the artist creates installations in which film production is associated with the construction of immersive and alienating environments.
On the occasion of the Castello di Rivoli exhibition in the Manica Lunga, Steyerl creates a new multimedia installation based on sound, video and architectural intervention. Steyerl premieres The City of Broken Windows, born from his research on AI (artificial intelligence) industries, on surveillance technologies and on the role that contemporary art museums play in society today. The artist investigates how artificial intelligence affects our urban environment and how alternative pictorial acts can emerge in public spaces. Screens, windows, liquid and non-liquid crystals all bind together in this new installation, the first created by the artist after Hell Yeah We Fuck Die (Oh yeah, fuck we die, 2016), in which Steyerl examined the performativity and precariousness of robots . Created for the San Paolo Biennale, the Hell Yeah We Fuck Die installation was acquired for the Castello di Rivoli Collections.
he City of Broken Windows revolves around altered sound recordings; as in an atonal and disturbing symphony, they document the learning process of artificial intelligence which is taught how to recognize the sound of breaking windows, a practice common to industry and security technology in our society.