When Claire Jones stepped into the apartment of her husband’s late uncle for the first time, she discovered what looked like the trappings of a carnival.
Art
Four-Day International Digital Art, NFT Fest Takes On Jerusalem – NoCamels – Israeli Innovation News
Companies have been tapping into artificial intelligence to drive innovation for a number of years now, using it as a tool across a broad range of industries. Startups have used AI to save lives and increase traffic safety. It is powering robots to assist in surgery, strengthening the IVF process, and has become a writing companion that understands context and meaning.
Artificial intelligence is also disrupting the art world in a big way, with researchers creating machine learning tools that can generate music and paintings. Artificial intelligence can also create artwork that uses algorithms to replicate and mimic previous art styles. This intersection of art and technology which has created a cultural revolution is the reason why Yair Moss and Danielle Zjni have curated this year’s hybrid Digital Arts Festival – ZERO1NE under the theme of the impact of artificial intelligence in digital art.
“Artists have the ability to work with different tools to create something special,” Moss, an artistic co-director of the festival, tells NoCamels, “We’re focusing on AI because this is one of the main tools in our society that impact our daily lives.”
“Examination of these new technologies while taking inspiration from past cultures and ideas, enables formulation of contemporary creative expressions. I think this idea is synchronous with the core concept of the Tower of David Museum, looking at the past and thinking about the future,” adds Zini.
The art festival, which will hold a hybrid of physical and virtual events from December 27 through the 30th, will give viewers the chance to take in 30 works of art, six original site-specific pieces, nine lectures, 10 live performances, 12 international artists, and 28 Israeli artists. Many of these events will be livestreamed on the Tower of David website. You can watch it here.
The festival is called ZERO1NE in reference to the two numerals that serve as the basis for all computerized activity.
It “delves directly and indirectly into the enigmatic phenomenon of machine learning and looks at the place of AI in the world of digital art,” according to an announcement. Events will move between different locations around the city of Jerusalem from the Tower of David Museum to Hansen House, a cultural center in a historic leprosy asylum to Mazkeka pub, a home for the independent and alternative art and music scene in Jerusalem. The festival will include audiovisual performances (many of which will also be livestreamed), media installations, lectures, conferences, workshops, and more.
Although much of the festival is in Hebrew, including an opening discussion called “On the brink of a Cultural Revolution” on Monday, December 27 at 18:00 (Israeli time) between Dr. Milly Perry, chair of the ABC Art Blockchain and Community, and Artistic Director Moss on “the next of everything” (Web3, Blockchain, NFTs, DAOs, AI and the metaverse), there are a number of lectures in English throughout the week by prestigious tech experts, multimedia artists, and researchers.
On Tuesday, the first of two hybrid sessions called Interspecies Communication Hybrid Session No. 1 will include installations by artists like 0rphan Drift, Entangled Others Studio, Tom Love, Jordan Colsey + Deborah Fischer + Ofer Kantor, Erez Ezra + Avi Cohen + Boris Levin, Rachella Alcalay, Memo Akten, and more.
Also, on Tuesday, a South African multimedia artist explores the similarities between AI and an octopus. Maggie Roberts. Maggie Roberts will discuss the parallels between the operation of artificial intelligence and the somatic tendencies of the octopus as a decentralized, multi-horizon consciousness. Roberts founded the Orphan Drift collective, which cooperates with Etic Lab, developing the ISCRI project – an AI model trained on octopi. The project combines art, science, and technology, and experiments on interspecies communication between octopi and AI, with human beings as mediators. The event will be online on the TOD website.
Other livestreamed discussions will be found in Hebrew and English during New AI Imaginaries Hybrid Session No. 2. Highlights include “Artist in the Cloud: Towards an Autonomous Artist,” a talk by visionary, artist, and programmer Gene Kogan and “Artificial Life As Entanglement,” a talk by Other livestreamed discussions will be found in Hebrew and English during New AI Imaginaries Hybrid Session No. 2. Highlights include “Artist in the Cloud: Towards an Autonomous Artist,” a talk in English by US visionary, artist, and programmer Gene Kogan and “Artificial Life As Entanglement,” a talk by Feileacan McCormick of Portugal-based Entangled Others Studio on the state of entanglement and his “Hybrid Ecological Systems,” a series of studies for exposing our entangled world.
Throughout the week, the digital arts festival will also feature a number of live performances that can also be enjoyed online. Artists include Italian artist Franz Rosati, whose audiovisual composition, Latentscape, will be shown at Hansen House with music that is part of the creation was based on music generated through machine learning and a live audiovisual performance presenting a unique collaboration between musician Or Edry and digital artist Carmi Dror that focus on lens-based art and creating digital spaces. There will also be an international performative Zoom Session at the Mazkeka pub.
An Audiovisual Night at the Tower of David Museum on Thursday, December 30th will use the Kishle complex as the setting for an immersive experience that looks at the space as a jail during the British Mandate and a time capsule of historical events. Also, Wackelkontakt, a trio that heads an audiovisual project which currently spearheads the Jerusalem experimental scene, will build a special installation of light and sound based on para-psychological experiments from the 1970s called “Ganzfeld” in German (Ganzfeld in English means “entire field.”) The Sadan Lab in the Phasael Tower will also feature local artists and DJs from Sadan Records, a Tel Aviv-based label founded to support artists focusing on contemporary electronic music and visual worlds. Most of the events taking place that night will also be livestreamed.
The ZERO1NE festival began in 2019 and stemmed from a cooperation between the Tower of David Museum and artistic directors Moss and Zini. The digital world is growing at a rapid rate and TOD has really engaged, welcomed, and explored the digitization of history and art, becoming one of the few museums in the world to have its own innovation lab.
“Six years ago, the Tower of David Museum ventured into the world of AR and VR technologies and opened an innovation lab that would harness this energy and enhance the visitor experience,” Berliner continues. “Today, as our lives are hybrid, touched by technologies that we look to understand better, the Tower of David Museum is proud to once again give a platform to our contemporary cultural world that is being changed and shaped by new technologies and applications – whose complexities only mirror the complexities of the city which the museum explores,” said Tamar Berliner, Deputy Director, Tower of David Museum.
For more information on the ZERO1NE festival this week and its happenings, head to the Tower of David website or the site for Hansen House.
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A giant concrete sculpture of a roaring lion’s head stood in the living room, enveloping the fireplace. Looming in the next room was a giant Minotaur head. Papier-mâché sculptures littered the hallways and colorful murals adorned every wall and ceiling, even in the bathroom.
Jones and her family had known Ron Gittins as an eccentric and solitary artist. But they hadn’t realized until shortly after he died in 2019 at age 79 that he had carved, sculpted and painted his passion onto the walls of his rented apartment in Birkenhead, a riverside town in northwestern England where he lived alone.
It couldn’t stay, Gittins’s landlord had said. But Jones knew she wanted to preserve the scene.
“I was just kind of like, ‘We can’t just let this go,’” she told The Washington Post.
For years, Gittins’s family worked to protect his whimsical life’s work, insisting that the apartment, “Ron’s Place,” was an irreplaceable art installation worthy of preservation. This month, the British government agreed. Historic England, a national body that designates historically significant sites in England, added Ron’s Place to its National Heritage List, the family announced in early April.
The designation, which forbids an owner from making changes to Ron’s Place without governmental consent, places Gittins’s apartment among the ranks of the medieval churches and Victorian villas that usually receive such recognition in the country, securing an unlikely legacy for Gittins’s creation. The apartment received a Grade II listing, which is given to “particularly important buildings of more than special interest,” according to Historic England.
“This was Ron, who led a very small, private life,” said Paul Kelly, a board member of the Wirral Arts and Culture Community Land Trust, an organization created to manage Ron’s Place. “Suddenly, he was being recognized as having done something of interest on that scale. … What an extraordinary thing.”
Gittins, a self-employed artist and theater performer, was an outcast of sorts among his family, his niece Jan Williams wrote to The Post. He showed up at reunions in flamboyant outfits and spoke in codes, joking that he was a secret agent. He was known in Birkenhead as the local eccentric who sometimes strutted around town dressed as a Roman centurion.
He was, Williams said, “colorful, larger than life, loud, opinionated, argumentative yet affectionate.”
Gittins kept his family at a distance. He let few people into his apartment, which his rental agreement had permitted him to decorate “to his own taste,” according to the Ron’s Place website.
Walking into Gittins’s home after his death felt like finally discovering the world he’d been inhabiting, Williams said. The lion’s head glistened with eyes made from shards of glass, and a frying pan sat in its mouth. Strewn around the apartment were smaller models, like an Egyptian sarcophagus that opened up to reveal a model mummy. While sorting through Gittins’s possessions, Williams found a postcard he had written addressed to her, saying that he couldn’t wait to show her his creations.
“Ron had created a fantasy world for his own pleasure,” Williams said. “A sort of stage set where he played the leading role.”
Williams, herself an artist and photographer, led the effort to save Gittins’s apartment. She first arranged to keep renting the apartment from his landlord, fundraising to cover the cost and forming a community organization to manage the space. Endorsements trickled in from singers, authors and sculptors who visited Ron’s Place at the family’s invitation. They landed a story in the Guardian and a video feature from the BBC.
In November 2022, the building that housed Ron’s Place was put up for auction. Buyers circled, and Williams scrambled to raise the hundreds of thousands of dollars they needed to win a bidding war. It ended in a “fairytale-style” miracle, Williams said: On March 1, 2023, the last day of the auction, a donor emailed with an offer to lend Williams’s organization most of the money it needed to purchase the building for about $400,000. The donor told Williams she had learned about Ron’s Place that morning, while reading the newspaper on her commute.
“It felt as if it was meant to be,” Williams said.
In a Hail Mary bid to delay the sale, Williams had also petitioned Historic England to list Ron’s Place as historically significant. It was a long shot — the designation is normally given to churches, inns and manors with centuries’ more history than Gittins’s apartment.
Historic England, however, heeded her request, even after Williams and the land trust secured ownership of Ron’s Place. When Sarah Charlesworth, an evaluator with Historic England, visited the apartment later that year, she immediately noticed the same floor-to-ceiling lion statue that had greeted Williams and Jones years earlier.
“I was actually thinking ‘This is a slam dunk’ as soon as I came in,” Charlesworth said.
Ron’s Place seemed to her like a striking example of “outsider art” — artwork created by people with no formal artistic training and without the intention of being exhibited or sold. It was, Charlesworth said, a facet of Britain’s history just as worthy of preservation as its churches and castles.
“Listing is not just about stately homes and chocolate box cottages,” she said. “It is about being representative and inclusive and making sure that we do represent all aspects of the nation’s history.”
The apartment is closed to visitors as it undergoes repairs. Williams and Kelly, the Wirral Arts and Culture Community Land Trust board member, said the organization has plans after acquiring the entire building that houses Ron’s Place, which also includes a garden and three upstairs apartments. They hope to preserve Gittins’s artwork on the ground floor as a museum and art space and renovate the other apartments into low-cost housing units for artists.
It’s an unlikely legacy for Gittins after devoting much of his life to the secret world in his apartment, Kelly said. But he thinks Gittins would be pleased to see others taking notice.
“Ron was a real outsider,” Kelly said. “But … this has been recognition for his work. He would be loving it.”
Art
PARIS RESTAURANT PLÉNITUDE IS REVEALED AS THE RECIPIENT OF THE ART OF HOSPITALITY AWARD 2024 … – Yahoo Canada Finance
Announced in advance of the awards ceremony for the first time ever, this accolade seeks to help raise the profile of the art of hospitality
LONDON, April 18, 2024 /CNW/ — Paris restaurant Plénitude is revealed as the recipient of the Art of Hospitality Award 2024 from The World’s 50 Best Restaurants, ahead of the official ceremony taking place in Las Vegas in June.
Located on the first floor of the French capital’s Cheval Blanc Paris, Chef Arnaud Donckele and Director Alexandre Larvoir have created in Plénitude an ode to the tradition of French fine dining, spending two years choosing the crockery, artisans, ceramicist and fabrics that help to create the restaurant’s intimate ambiance. With just 30 covers, every detail delivers an intimate experience for its diners, complete with the restaurant’s signature French elegance.
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Normandy-born Chef Donckele, who also runs Cheval Blanc Saint-Tropez fine dining restaurant La Vague d’Or, has taken on the role of master perfumer in his creations to make sauces, known as the essence of French cuisine. In his hands, each is treated like a perfume or liquid painting, created such that the sauces are the main event, with meat and fish as their complements. Under the leadership of Larvoir, the restaurant’s impeccable service team knows Donckele’s creations intimately and conveys their essence to guests stepping through the door of Cheval Blanc Paris, which was placed at No.34 on The World’s 50 Best Hotels 2023.
William Drew, Director of Content for The World’s 50 Best Restaurants, says: “We are thrilled to announce Plénitude as the winner of this year’s Art of Hospitality Award. Despite its relative youth, this Paris restaurant has been making waves on the global gastronomy scene for its flawless and inventive approach, celebrating the art of service and showing the world that French hospitality remains at the top of its game.”
Chef Donckele says: “Give yourself the pleasure of giving pleasure.” Larvoir adds: “At Plénitude, service is a wonderful encounter at every table. We seek to welcome our guests as if they were at home, to discover and understand them, to captivate and move them thanks to Arnaud’s fabulous sauces, to make them laugh too, before leaving them with the sincere wish to see them again soon.”
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Art
Canada's art installation at Venice Biennale rooted in research, history, beauty – Hamilton Spectator
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Hundreds of thousands of tiny glass beads will soon be twinkling in the sun across the entire Canadian pavilion at the Venice Biennale, Canada’s newly revealed entry in one of the world’s most prestigious art fairs.
But Kapwani Kiwanga, the Hamilton-born, Paris-based creator of the work, wants you to get past the cobalt blue glass glinting in the Venetian light. She wants you to think of each bead as a character.
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