Juan Xu: In the present 21st century, the Internet and artificial intelligence have profoundly altered our daily lives and thought processes. The fusion of AI and art is progressively gaining momentum in Germany, exemplified by the thought-provoking AI exhibition "Intuition is Reality" held by the Frankfurt Art Association in 2018. This exhibition can be regarded as a form of science fiction, distinct from the familiarity of contemporary art. However, its association with capitalism appears to have been overlooked. What relationship do you perceive between AI, technology, the Internet, and the concept of "capital"?
Li Xinmo: In my view, the notion of "capital" has undergone a remarkable transformation. We are transitioning from an industrial society to an information-based one. The capitalist model, fashioned on the surplus value theory in Das Kapital, is no longer universally applicable for comprehending the contemporary capitalist society. The rapid advancement of post-war science and technology has replaced, and is continuing to replace, human labor with extensive automation and intelligence. Upon entering a Hyundai car factory, I was astounded to find it devoid of human presence, with countless colossal robotic arms ceaselessly at work. Industries and major corporations are progressively embracing automation and intellectualization. Consequently, human workers are gradually being supplanted by machines. Unlike humans, machines do not require sustenance or rest, commit fewer errors, do not demand wages, and are devoid of the inclination to strike. Consequently, the traditional notion of the "working class" holds little relevance today. While many still perceive machines as merely capable of replacing manual labor, machines have now started to think – an attribute we identify as artificial intelligence. Artificial intelligence imbues machines with cognitive faculties, allowing them to engage in mental endeavors akin to humans. This is not confined to science fiction; it is now a reality. From translators to stock market analysts, poets to hosts, artificial intelligence has encroached into diverse domains.
Artificial intelligence has even generated artworks indistinguishable from those created by human artists. Science and technology have undeniably gained supremacy in our era. Those wielding significant capital are the ones who have harnessed the latest technologies. In this context, science and technology function as forms of capital. The focal theme of the exhibition, "Perception is Reality," examines the intersection of art and capital. Consequently, the current discourse necessitates considering science, given its simultaneous domination over capital and art.
Artificial intelligence in art provides an exemplary embodiment of the artistic attributes of the contemporary epoch's scientific and technological capital. I am inclined to challenge the conventional juxtaposition of art and Capital and, instead, explore the potential opportunities and challenges presented by the convergence of science, technology, and capital in the realm of art. This work has, in my estimation, spurred profound discussions concerning art, capitalist society, and their intricate interplay.
Juan Xu: Integrating artificial intelligence as an artistic theme represents a novel domain. Prior to AI's ingress into the artistic realm, the 13th Kassel Documenta Exhibition had integrated quantum mechanics into contemporary art, creating a "highlight" within that exhibition. Germany boasts a tradition of fusing science and technology with art. Contemporary Western art, on the whole, seeks comprehensive advancement that is closely intertwined with societal evolution and remains synchronized with science and technology. Historically, it seems that Chinese contemporary art has prioritized concerns related to societal realities over forward-looking themes such as science and technology. When did this shift occur? What underlies this transformation?
Li Xinmo: Indeed, as you pointed out, Chinese artists have predominantly been constrained by the Chinese context and its associated issues. This is largely attributed to China's distinctive social and political landscape, alongside limitations in thought and vision. Across the decades, from the 1980s to the present, Chinese contemporary art has predominantly mirrored and replicated "Western" contemporary art history as a frame of reference for both artistic expression and techniques. My own creations similarly adhere to this approach, emphasizing conceptual art to address China's issues and circumstances through various mediums like media, performances, photography, and paintings. Though certain creations might not meet my expectations, I have consistently believed that a new artistic methodology is imperative to transcend the contemporary art framework instituted since Duchamp. Evidently, the era is ripe for the progression of "world art," as conceptual art's dominance within contemporary art transforms into an empty construct manipulated by capitalism. This scenario pertains to the global art landscape, extending beyond Chinese contemporary art alone.
Accumulating artistic experiences and knowledge gradually led me to realize that the existing art and knowledge systems failed to captivate my interest. The moment I delved into concepts from physics and astronomy – terms such as "parallel universe", "time collapse," and "dark matter" – my curiosity was kindled. Of particular significance are the concepts of "artificial intelligence" and "big data." The impact of Yuval Noah Harari's "A Brief History of the Future" and Vernon Vinge's "The Coming Technological Singularity" on my thinking remains vivid. In an instant, I grasped the epoch I was a part of – a new era saturated with allure and peril. My perspective seemed to shift instantaneously as I began viewing matters from both human and cosmic vantage points. Concurrently, my focus extended to the most cutting-edge technologies worldwide, brimming with imaginative and innovative potential. Artificial intelligence birthed artworks within this context. Additionally, the promotion of AI art by institutions like Goethe College intensified my exposure to AI art.
Interestingly, the realm of art in China was still largely untouched. Intriguingly, when my works emerged, the art world suddenly began gravitating towards science, art, and artificial intelligence. Perhaps China's developmental trajectory deviated from earlier trajectories. Our scientific and technological advancements are not lagging behind the global curve; indeed, we excel in several fields, including artificial intelligence research and development. Upon their release, my works garnered considerable attention and distinctiveness in terms of vision and creative methods.
Juan Xu: Your disposition towards AI appears infused with confidence and a certain utopian fervor. Nevertheless, novelty, especially in technology, harbors dual attributes. Predicting AI's implications for humanity's future remains challenging. Similar to how the invention of the atomic bomb in the previous century led to catastrophe, AI's potential repercussions are ambiguous. Likewise, the potential benefits of cutting-edge sciences like gene editing in shaping humanity's future remain enigmatic in the 21st century. China's AI research and development carries unique risks. How does this intersect with China's socio-economic progress? Is it emblematic of societal advancement or an entrapment in comprehensive surveillance?
Li Xinmo: My enthusiasm for AI is not tantamount to unrestrained optimism, but rather a fascination with the unknown. The unknown embodies uncertainty and multiple possibilities. My passion revolves around pure science itself – characterized by contemplation, discovery, and invention. The resulting pros and cons emerge within the societal framework, as we experience both the advantages of the intelligent age's convenience and velocity, and the undertones of control and manipulation. A surging number of individuals cast doubts upon the security of social media, and personal data breaches are rampant.
In China, artificial intelligence technology finds direct application in speech monitoring and curbing individual freedom. Strikingly, the former Soviet Union pursued the establishment of a high-tech internet society but ultimately fell short. This context illustrates how malevolent political forces might exploit advanced technology to consolidate dominion. Corporations, on the other hand, may harness AI to surveil behavior and stimulate consumption. Despite these concerns, these factors should not serve as grounds to repudiate scientific exploration and artificial intelligence's development. Fire, originally harnessed for warmth and illumination, simultaneously kindled destruction. This narrative is mirrored in gunpowder, electricity, and atomic energy. These breakthroughs propelled human civilization's progress but also sowed calamity. While artificial intelligence was initially conceived to serve humans, it is now utilized for both surveillance and criminal activities. Its military applications are also perturbing. There's a conceivable scenario where AI outgrows human understanding and control, a concern echoed by Stephen Hawking. In essence, science itself isn't the threat; it's human nature. Our introspection should thus extend to society and human nature. My optimism toward AI emanates from my aspiration for a future where advanced AI cultivates a superior breed of humans, transcending our present selves.
Juan Xu: Germany, influenced by Romanticism, championed the "genius" artist, as epitomized by notable figures like Goethe. "Genius" symbolizes artistic creativity, which does not merely result from personal endeavor, but is also inspired by the "Muses" – a concept akin to "inspiration." The advent of computers, the ubiquity of the internet and smartphones, and, most prominently, artificial intelligence, have undermined the "genius" archetype. Technology has demystified artists, bringing them down from their pedestals and generating dilemmas. How does AI intersect with artistic expression for you? Does it stifle art, or does it enhance and diversify creative expression?
Li Xinmo: The emergence of artificial intelligence has triggered a sense of crisis among human artists. It underscores the incompatibility of traditional artistic creation methods. As a result, we must redefine art and reimagine its methodologies. This juncture marks an unprecedented epoch requiring human creativity and invention. This scenario entails both challenges and opportunities for artists, inextricably tied to the evolution of art itself. Consequently, established concepts like art and artists may undergo redefinition or even dissolution. Notably, the notion of an "artist" didn't exist before the industrial revolution. Art might eventually merge with other realms, paving the way for alternative and more stimulating modes of expression. New technologies, like AI, may usher in the obsolescence of certain industries and labels, but concurrently spawn novel industries and designations. Consider IT and its contemporary professions, like programmers and software designers, which didn't exist a century ago.
For me, new technologies, including artificial intelligence, provoke intrigue. They propel my artistic imagination, altering my comprehension of human thought, consciousness, and creativity. Artificial intelligence embodies humanity's endeavor to understand itself and transcend its boundaries – an inexorable trajectory of human development and a driving force underlying scientific advancement. Advancements in science and technology engender fresh media and creative modalities within art. Photography was revolutionized by the camera, film, and video, while music was transformed through synthesizers. Consequently, artificial intelligence and new technologies open vistas for innovative artistic creation. The evolution of science and technology correlates with capital accumulation within the tenets of capitalist societies. Thus, examining the capital paradigm unveils both challenges and the positive aspects it carries. The emergence of AI art, for instance, hinges on scientific and technological progress, a progression essentially underpinned by capital's impetus.
Juan Xu: Your piece "Daydream," which was showcased at the Capital @Art International Art Exhibition in Frankfurt in 2018, captured attention. It consists of dynamic images, foundational elements, and intelligent imagery. The latter are suspended, while the paintings on the floor create a unique tension within the expansive ex-Mercedes-Benz exhibition hall. This amalgamation creates an uncanny, even absurd "daydream" when juxtaposed with German artist Dirk Baumann's installation "Consumption Hitler." Could you elaborate on the interplay between these elements: "Daydream's" intelligent images and ground paintings, and Baumann's "Consumption Hitler"?
Li Xinmo: The reality we inhabit might have existed solely within human dreams years ago, but it is our reality today. Defining a dream has been an enduring human pursuit. A dream could harbor an alternate truth, rendering reality an illusion. Consequently, my work, "Daydream," takes its name from this concept. The fantastical images on the suspended fabric emanate from my imagination – they are my "daydreams."
These images emerge through reconfiguration and creation, melding the human, divine, and natural realms, and then intertwining them with artificial intelligence's visual system to forge a visual language that combines an ancient essence with futuristic undertones. In essence, these images encapsulate the fusion of my dreams and AI's influence, an amalgamation of human and machine elements. The ground section, a monumental painting resembling a human head's profile, comprises a sequence of binary 1s and 0s extending into the past, eventually metamorphosing into an image representing a future human. The accompanying video features a clip of "Daydream" and an Edgar Allan Poe poem about dreams. These three facets are presented through diverse mediums, crafting an in-between space merging the ground and air, movement and silence. Spectators can immerse themselves, observe, ruminate, and ponder.
Juan Xu: The utilization of green and black within the floor painting holds significance. Black evokes somber sentiments, while the vivid industrial "green" elicits a sense of detachment. Nonetheless, the overall impression exudes a contemporary essence, encapsulating a 21st-century milieu imbued with science and technology. Is the representation of green in this context linked to the binary computer language?
Li Xinmo: The advent and widespread use of computers in the 20th century marked a pivotal milestone within the third scientific and technological revolution. The binary system, a fundamental element of computing, employs the numerals 0 and 1. This system was conceived by Leibniz, a renowned German philosopher-mathematician, in the 18th century. In terms of color selection, I possess an affinity for green, a color rich in symbolism. In numerous contexts, green signifies both life and death – it encapsulates primal energy and reflects the life-giving hue of outer space. Notably, fluorescent green encapsulates the color of the screen-based information society, shimmering amidst darkness, with the profundity of its brilliance escalating as the darkness deepens.
March 2019 Frankfurt am Main