Feelings (Columns)
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2019, galvanised steel, marble, dimensions variable, modular arrangement
Feelings
2019, HD Video, sound, 8min 30sec, loop
music by Bill Kouligas
SPURT
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2019, 64pages hardcover, silverprint, book with Corian pedestal, 30 x 30 x 82cm, unique
Stray Horizons, Future Landscapes
(Two Spirits)
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2019, oil, wax and acrylic on linen, aluminum stretchers, 209 x 178cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Stray Horizons, Future Landscapes
(The Path to the Sea at Night)
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2019, oil, wax and acrylic on linen, aluminum stretchers, 245 x 178cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Feelings
![]()
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Feelings
![]()
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Feelings
![]()
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Feelings (Columns)
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2019, galvanised steel, marble, dimensions variable, modular arrangement
Feelings (Curve 1)
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2019, galvanised steel, 337 x 151 x 128cm
Feelings
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2019, HD Video, sound, 8min 30sec, loop
music by Bill Kouligas
GEN1
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2019, archival pigment print on cotton paper,
wooden frame, UV glass, 32 x 32cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
GEN2
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2019, archival pigment print on cotton paper,
wooden frame, UV glass, 32 x 32cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
GEN3
![]()
2019, archival pigment print on cotton paper,
wooden frame, UV glass, 32 x 32cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Stray Horizons, Future Landscapes (Winged Spirit)
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2019, oil, wax and acrylic on linen, aluminum stretchers, 129 x 94cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled “Feelings”, which typically involve authenticity.
One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Stray Horizons, Future Landscapes
(The Road to the Light)
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2019, oil, wax and acrylic on linen, aluminum, 69 x 93cm
Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.
Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.
Text by Alex Gartenfeld, artistic director, ICA Miami:
Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep
Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.
With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.
Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.
Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to ‘learn’ his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’ associations of images to feelings.
The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape.’
The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.
The exhibition is titled ‘Feelings’, which typically involve authenticity.
One might say that Manolis’ work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.
The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.
An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.
As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.
The book begins: ‘Who is responsible for anything?’, she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.
Manolis’ work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.
* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.
Feelings
(After the Beach Run Dream)
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2019, archival pigment print on cotton paper, wooden frame, UV glass, 51 x 82cm
We Used To Care
(Cosmic Dust) No2
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2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
We Used To Care
(Cosmic Dust) No3
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2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
We Used To Care
(Scarred)
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2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
dusk and dawn look just the same
(riot tourism)
HD video, sound, 3min loop, music by Julien Perez, commissioned by Pavillon Neuflize OBC, for the occasion of Prec(ar)ious collectives, a group show of Palais de Tokyo at Akadimias 23, Athens
dusk and dawn look just the same (riot tourism)
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installation view at 'Songs for Sabotage', the New Museum Triennial, 2018
Liquid Dreams
(Spring in Greece) No1
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2017, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
Liquid Dreams
(Spring in Greece) No2
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2017, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
Liquid Dreams
(Spring in Greece) No3
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2017, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
Gold
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2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed
Feral Remnants
(Dog)
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2017, oil and water in iron tank, HD video with sound, 4’13’’ loop, dimensions variable. The project was commissioned by the Onassis Cultural Center on the occasion of the exhibition
Tomorrows, 2017.
Tomorrow’s Corporate Love
(Forgetting from Athens)
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2017, oil & water in iron tank, soil, lavender essential oil,
dimensions variable, video, 3’ loop and performance
Tomorrow’s Corporate Love
(Forgetting from Athens)
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2017, oil & water in iron tank, soil, lavender essential oil,
dimensions variable and video, 3’ loop
Tomorrow’s Corporate Love
(Forgetting from Athens)
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2017, oil & water in iron tank, soil, lavender essential oil,
dimensions variable and video, 3’ loop
Tomorrow’s Corporate Love
(Forgetting from Athens)
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2017, oil & water in iron tank, soil, lavender essential oil,
dimensions variable and video, 3’ loop
Tomorrow’s Corporate Love
(Forgetting from Athens)
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2017, oil & water in iron tank, soil, lavender essential oil,
dimensions variable and video, 3’ loop
Not Yet Titled
(Oil Spill Fire)
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2016, acrylic spray paint on canvas, archival pigment print on cotton paper mounted on dibond and aluminum frame, 128 x 280 cm
Silent Hysteria II
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2016, petroleum and water in iron tanks, dimensions variable
Silent Hysteria III
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2017, petroleum and water in iron tanks, 177,4 x 177,4 cm