In 1515, Leonardo Da Vinci designed a weapon that would allow Venice to defend itself from the attacks of the Ottoman Empire: a proto-submarine that could sink enemy ships. In Hito Steyerl's immersive installation, we embark on a metaphorical journey aboard Leonardo's Vessel. Venice's waters, palazzi and skies, generated by future prediction artificial intelligence (AI) video p...
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In 1515, Leonardo Da Vinci designed a weapon that would allow Venice to defend itself from the attacks of the Ottoman Empire: a proto-submarine that could sink enemy ships. In Hito Steyerl's immersive installation, we embark on a metaphorical journey aboard Leonardo's Vessel. Venice's waters, palazzi and skies, generated by future prediction artificial intelligence (AI) video processing, flow past while a silky voice-over speaks of technology, power, corruption, art and warfare. The voice-over addresses the recent name change of Finmeccanica, an Italian global company specialising in armaments, to Leonardo S.p.A., after the artist and weapon inventor. This manoeuvre is common in Steyerl's work: ripping apart the boundaries between reality and fiction, art and politics, philosophy and daily news through pointed, through nonchalant, rhetorical operations.
莱昂纳多的潜水艇的短评 · · · · · · ( 全部 2 条 )
2 有用 知识知识知 看过 2022-10-03 00:29:17 江苏
莱昂纳多在史德耶尔的未来主义想象中状写了一具“超声驱虫器，通过人工制造的尖锐噪音驱赶武器制造商和害虫”，而我们被置于这一武器的操作舱（三屏环绕），以算法处理后的声呐式的视野，管窥威尼斯城市这一自罗马帝国时期开始一直延续到晚期资本主义的景观中，不断变化外形而始终延续的暴力机器。国防承包商试图重写莱昂纳多与暴力的关系，将谴责改写为自身制造杀伤武器的历史渊源，史德耶尔则以视频论文的形式，介入这一发生在意... 莱昂纳多在史德耶尔的未来主义想象中状写了一具“超声驱虫器，通过人工制造的尖锐噪音驱赶武器制造商和害虫”，而我们被置于这一武器的操作舱（三屏环绕），以算法处理后的声呐式的视野，管窥威尼斯城市这一自罗马帝国时期开始一直延续到晚期资本主义的景观中，不断变化外形而始终延续的暴力机器。国防承包商试图重写莱昂纳多与暴力的关系，将谴责改写为自身制造杀伤武器的历史渊源，史德耶尔则以视频论文的形式，介入这一发生在意大利土地上的葛兰西式的霸权斗争，只是方式是召回莱昂纳多的人道主义幽灵：以因不信任人性而终生不述的潜艇方案，反诘现代以国家及安全名义保密的潜艇方案。用以防止高海潮的设施“摩西”预示着科技与水的隐喻关系，它与万物更新有关，也与永恒的侵蚀与腐败有关。 (展开)
0 有用 熊仔俠 看过 2022-05-10 21:25:26
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