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Justine Emard, a French artist, explores the new relationship between our lives and technology. 
By combining different image media &#8211; from photography to video and virtual reality &#8211; she situates her work at the crossroads between neuroscience, objects, organic life and artificial intelligence. Her devices take as their starting point experiments in deep learning and dialogue between human and machine. Since 2016, she has been collaborating with scientific laboratories in Japan. She is a laureate of the French Institute&#8217;s 2017 Hors-les-murs residency in Tokyo. 
Her work has been exhibited at the Moscow International Biennial of Contemporary Art and in museums such as NRW Forum (Düsseldorf), National Museum of Singapore, Moscow Museum of Modern Art, Itaú Cultural Institute (São Paulo), Cinémathèque Québécoise (Montreal), Irish Museum of Modern Art (Dublin), Mori Art Museum (Tokyo), MOT Museum of Contemporary Art Tokyo, Barbican Center (London) and the World Museum (Liverpool). 
In 2020, she is in residence at the ZKM, Centre for Art and Media Karlsruhe, and is the winner of the national photographic commission &#8220;IMAGE 3.0&#8221; of the Centre national des arts plastiques (CNAP) in partnership with the Jeu de Paume in Paris. In 2021-22, she is a guest artist-professor at Le Fresnoy, Studio national des arts contemporains.

Justine Emard

Supraorganism is a reactive installation composed of robotic glass sculptures, animated by a machine learning system (artificial intelligence), and developed from data collected in a community of bees. 
As guardians of the balance between earth and sky, bees have always been a source of inspiration for thinkers. The observation of their intelligence is an indicator of the state of our ecosystem and they are often called upon to think about the present. 
Today, machine deduction techniques allow us to interpret a large amount of data and to observe the world differently. Supraorganism is a work about the memory of bees and their collective intelligence. The creation process is calculated from observed behaviour patterns and analysed by computer. An artificial neural network has been trained on the data captured by the artist. This machine learning system, developed specifically for the project, generates predictions: a glimpse of possible futures. 
These predictive interstices are embodied in a visual and sound installation. Some twenty robotic glass sculptures, suspended on a stainless steel structure, are deployed in the space. The modules come to life through their connected systems, lights and motors, animated by live artificial intelligence. The generated light and sound immerse us in this predictive atmosphere. Thanks to its ambient sensors, the installation reacts in a subtle way to the detection of visitors and adapts to their presence, like an artificial life organism. 
The non-predictable nature of the system leads us to a singular experience. The light and sound of this new organised being react in symbiosis while surprising each other, colliding in a structured, organic and floating constellation. From this ensemble emanates a form of collective intelligence: a supra-organism comes to life, itself generating new images from the shadows and reflections projected in the space-time of the installation.

Supraorganism

Cinex

Justine Emard – Supraorganism

Anouk Kruithof (b. 1981, Dordrecht, The Netherlands) is a visual artist with a trans-disciplinary approach, which encompasses photography, sculpture, collage, video, websites and (social) interventions in the public domain. Kruithof depicts the transience and the chaos of this world, which the artist skillfully addresses by mixing urgent societal issues with personal experiences. She graduated from the art academy in 2003 and currently lives and works alternately in Brussels, Belgium and Boto-Pasi, Suriname. Kruithof has had solo exhibitions in Foam Fotografiemuseum Amsterdam, Centro de la Imagen Mexico City and Stedelijk Museum Amsterdam. Her work has also been included in the collections of MoMA San Francisco, Museum Folkwang in Essen and Museum Voorlinden in Wassenaar. 
Universal Tongue is still intensively shown all over the world and has been exhibited in Museum Tinguely in Basel, Viernulvier (formerly known as Vooruit) in Ghent and at WHOLE | United Queer Festival, Ferropolis, Gräfenhainichen, Germany.

Anouk Kruithof

Twerking, vogue, Fortnite, flash mobs, a Sufi or musical chairs. Visual artist Anouk Kruithof is fascinated by dance as a form of self-expression and empowerment, which has led her to research dance styles from all over the world. The dance-conclave and video installation Universal Tongue leads us through the jungle of the internet. It explores how dance has developed throughout history as part of our global media culture, and how it manifests online today. 
The immersive installation is based on 32 hours of found video material presenting thousands of different dance styles, selected by a team of 52 researchers from all over the world from YouTube, Facebook and Instagram. 
Collectively, they collected 8800 videos; 250 hours of video material, 1000 dance styles, from all 196 countries of the world. This four-hour rousing dance video installation is spread over eight screens, with no less than 32 hours of found footage bundled into Universal Tongue, arranged by rhythm and the number of dancers. 
The ongoing loop of moving image erases typical categories of the world order, such as country, continent or culture. 
Instead, it looks at our era of fluidity, hybridity and non-stop connectedness with respect for and in celebration of our diverse historical backgrounds, cultural differences and unique individuality. 
&#8220;Dance—the moving body—more than anything in our diverse and complex world unites us in the recognition of our shared fragility and our common human condition. It also points us towards a possibility of a more inclusive world with limitless exchange and understanding of new identities, a world where simply everyone is a dancer.&#8221; — Anouk Kruithof

Universal Tongue

Etablissement des Soeurs Notre-Dame

Anouk Kruithof – Universal Tongue

Founded in Montreal in 2010, digital art studio Iregular creates audiovisual installations, large-scale sculptures, architectural projections and scenographies, with a focus on interactive and immersive experiences. At the crossroads between art and technology, these artworks experiment with geometry, light, sound, typography, mathematics, algorithms, communication protocols, AI, and machine learning. Iregular also develops its own proprietary technologies.
The studio works with the infinite and random combinations produced by interactive systems that the audience ultimately influences and transforms. The interaction is at the core of it all. It is only the relationship between the people and the piece that finalizes the artwork and gives it meaning.
Iregular’s work has been shown in 25 countries, notably including a solo exhibition in the Van Abbemuseum in the Netherlands, 5 solo exhibitions in Montreal, as well as other important presentations at Mutek (Montreal and Mexico), BIAN (Montreal), Mapping Festival (Switzerland), Chroniques Biennale (France), LEV Festival (Spain), Draaimolen (The Netherlands), Elektra (Montreal), Glow (The Netherlands), Lumiere (United Kingdom), Dubai Design Week (UAE), B39 (South Korea), Arttech (Colombia), Festival du Nouveau Cinéma (Montreal), and Aurora Festival (USA). Their creations are also in the collections of the WNDR museum in Chicago (USA), the Museo de Antioquia in Medellín (Colombia) and the Collection du Mouvement Desjardins in Montreal.

Iregular

This first version that uses the facial tracking feature depicts the universality of humankind. Using artificial intelligence, the system accurately tracks the faces of participants standing in front of the screen. It then unifies and aligns the features of the different faces, creating an ever-changing blended portrait of a single digital human.
Today more than ever, we must remember that we are all united across borders, that we are the same despite our diverse physical appearances. We are all in the same boat, and need to stick together and look beyond facial features. Technology can demonstrate this to us very easily in an engaging and entertaining way, but it is up to us to remember to apply this concept in our daily lives.
Work available on : 
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Anouk Kruithof – Universal Tongue

AboutAnouk Kruithof

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Iregular – Faces

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Justine Emard – Supraorganism