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After thriving for 300 million years, ammonites became extinct when the dinosaurs died out 66 million years ago. From the shell structure and fossils, it is assumed that the ammonite is closely related to the squid and octopus. The octopus shed its shell during evolution, but is known to use tools such as coconut shells and bivalves to protect its soft body. Inspired by this evolutionary story, artist and designer Aki Inomata reproduced an ammonite shell and put it in contact with an octopus. Mersi, the animal chosen for this experiment, was placed in an aquarium with an ammonite shell made using 3D scanning and printing techniques, and it took Mersi only a few minutes to settle in.

Think Evolution #1 : Kiku-ishi (Ammonite)

Le Pavillon

Aki Inomata – Why Not Hand Over a “Shelter” to Hermit Crabs?

The obsession of the Brussels collective Muesli, composed of artists Louis Darcel, Hannah De Corte and João Freitas, is to create an &#8216;ideal&#8217; material: a material-work in perpetual evolution, constantly reacting to its environment and its multiple constituent factors. An unpredictable surface that never looks the same. The paints are hygrosensitive (they react to changes in the amount of water in the air and therefore undergo visible changes in colour and texture).
This work was carried out and co-produced in the framework of the residency &#8220;Imagining Ecological Futures&#8221; organised by the KIKK, the Goethe Institut Brussels and the Centre Culturel de Namur / Les Abattoirs de Bomel.

Peintures indisciplinées

Collectif Muesli – Peintures indisciplinées

Mimi Ọnụọha is a Nigerian-American artist and researcher whose work highlights the social relationships and power dynamics behind data collection. Her multimedia practice uses print, code, installation and video to call attention to the ways in which those in the margins are differently abstracted, represented, and missed by sociotechnical systems.
Ọnụọha has been in residence at Eyebeam Center for Art &amp; Technology, Studio XX, Data &amp; Society Research Institute, Columbia University, and the Royal College of Art. Her exhibition and speaking credits include venues like La Gaitê Lyrique (France), FIBER Festival (Netherlands), Mao Jihong Arts Foundation (China), Le Centre Pompidou (France) and B4BEL4B Gallery (San Francisco). Her writing has appeared in Quartz, Nichons-nous Dans L&#8217;Internet, FiveThirtyEight, and K. Verlag. In 2014 she was selected to be in the inaugural class of Fulbright-National Geographic Digital Storytelling Fellows, and in 2017 she was nominated as a Technical.ly Brooklyn Artist of the Year.
Ọnụọha earned her MPS from NYU Tisch’s Interactive Telecommunications Program. In 2018-19 she served as Creative-in-Residence at Olin College for Engineering. She is a Visiting Arts Professor at NYU Tisch.
Ọnụọha a été en résidence au Eyebeam Center for Art &amp; Technology, au Studio XX, au Data &amp; Society Research Institute, à l&#8217;Université Columbia et au Royal College of Art. Elle a exposé et donné des conférences dans des lieux tels que La Gaitê Lyrique (France), le FIBER Festival (Pays-Bas), la Mao Jihong Arts Foundation (Chine), le Centre Pompidou (France) et la B4BEL4B Gallery (San Francisco). Ses écrits ont été publiés dans Quartz, Nichons-nous dans l&#8217;Internet, FiveThirtyEight et K. Verlag. En 2014, elle a été sélectionnée pour faire partie de la classe inaugurale des Fulbright-National Geographic Digital Storytelling Fellows, et en 2017, elle a été nommée artiste de l&#8217;année de Technical.ly Brooklyn.
Ọnụọha a obtenu son MPS du programme de télécommunications interactives de NYU Tisch. En 2018-19, elle a été créatrice en résidence à l&#8217;Olin College for Engineering. Elle est professeur d&#8217;art invité à NYU Tisch.

Mimi Onuoha

The third and final work in the Us, Aggregated series builds off of the first and second thematically but takes the form of a video. Us, Aggregated 3.0 uses Google’s reverse-image search algorithms to hint at questions of power, community, and identity. The work presents an expanded collection of photos from the artist&#8217;s family&#8217;s personal collection set alongside images scraped from Google&#8217;s library that have been algorithmically categorized as similar. Viewed together, the images evoke a sensation of community and similarity that belies the fact that the subjects are randomly assorted, a manufactured aggregation of “us” that remains an &#8220;us&#8221; nonetheless.

Collectif Muesli – Peintures indisciplinées

KIKK in townPeintures indisciplinées

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Mimi Onuoha – Us, Aggregated 3.0

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Aki Inomata – Why Not Hand Over a “Shelter” to Hermit Crabs?