Curating Creative Experimentation: the HyperPavilion at the 57th Venice Biennial

Philippe Riss-Schmidt,Anne-Laure Fortin-Tournès

doi:10.4000/angles.1066

Abstract

The interview tackles the issue of the relations between art and technology, curation and creation in the digital age. Philippe Riss-Schmidt, the curator of the HyperPavilion presented in the 57th Venice Biennial in 2017, comments on the conception of the exhibition as an experimental immersive space designed to reflect on the post-biohuman world we are entering, and to offer a critical perspective on how artists confront and challenge the digital revolution.

Highlights

Electronic reference Philippe Riss-Schmidt and Anne-Laure Fortin-Tournès, « Curating Creative Experimentation: the HyperPavilion at the 57th Venice Biennial », Angles [Online], 6 | 2018, Online since 01 April 2018, connection on 14 September 2020
Because the digital revolution started more than twenty years ago and is accelerating, I really don’t think we can still equate the use of digital means with experimental art
How would you define post-humanism? PRS: In this article written for Artnews I meant that we presented at the HyperPavilion several pieces that were created by the artists with the help of an AI (Artificial Intelligence)

Summary

Introduction

Electronic reference Philippe Riss-Schmidt and Anne-Laure Fortin-Tournès, « Curating Creative Experimentation: the HyperPavilion at the 57th Venice Biennial », Angles [Online], 6 | 2018, Online since 01 April 2018, connection on 14 September 2020. Photo by Vinciane Lebrun-Verguethen Anne-Laure Fortin-Tournès: You curated the HyperPavilion exhibition in this year’s Venice Biennial.[1] In what way can it be said that the HyperPavilion engages with the idea and the forms of experimentation in the arts? Philippe Riss-Schmidt: As a curator I seek to explore the ways in which the digital and physical worlds have merged to create an entangled hybrid new reality that encompasses and envelops us globally, it is very difficult for me to imagine curating a prospective exhibition without presenting networked, time-based or generative art pieces...

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