re:future Lab featuring

Grégory Chatonsky

Grégory Chatonsky, born in 1971 in Paris, is a French and Canadian Artist who works with interactive installations, networked devices, photographs and sculptures. He lives and works in Paris and Montreal.

He finished studies in Visual Arts and Philosophy at La Sorbonne Pantheon-Sorbonne University, studied at École nationale supérieure des beaux-arts (ENSBA) and finished with a master degree from Télécom Paris (ENST) in 1999. In 2016 he was awarded his PhD from Université du Québec à Montréal for his dissertation: 'Aesthetics of flows (after digital)'.

He received the Audi Talents Award in 2018. He has participated in numerous solo and group exhibitions in France, Canada and abroad, including Terre Seconde (2019) at Palais de Tokyo, Imprimer le monde (2017) at Centre Pompidou, Capture: Submersion (2016) at Arts Santa Mònica, La condition post-photographique (2016) at Montréal, Walkers: Hollywood afterlives in art (2015) at Museum of the Moving Image in New York, Telofossils (2013) at MOCA Taipei, Erreur d’impression (2012) at Jeu de Paume.

He has taught at Le Fresnoy (2004-2005), at UQAM (2007-2014) and is an artist-researcher at the École Normale Supérieure de Paris.

Future is no clay in our hands

Since the mid-1990s, Gregory Chatonsky has been working on the Web and mainly on his affectivity, leading him to question the identity and new narratives that emerge from the network. From 2001, he began a long series on dislocation, aesthetics of the ruins and extinction as an artificial and natural phenomenon.

 

Over the years, he has turned to the ability of machines to produce results that resemble a human creation in an almost autonomous way. These issues have become convergent thanks to the “artificial imagination” that uses the data accumulated on the Web as learning material to produce a similarity. In the context of a probable extinction of the human species, the network appears as a desperate attempt to create a monument in anticipation that would continue after our disappearance.

MADELEINE SCHWINGE:

What possible impact can art have on social transformation? Can artists stimulate personal and social change? In your opinion, what is the responsibility of contemporary art and what is the role of artists in society?

 

GRÉGORY CHATONSKY:
This is an ambitious question, which is, in fact, quite classic in the modernist debates of the last century. At a time when the need for global change seems more urgent than ever, and our failure to achieve itleaves us in a state of deadly impotence, artists are increasingly being asked to fill this gap.
This demand seems to me to be disproportionate and leads to over-excited statements ("we have to") and repetitive disillusionment ("that's all it is"). I'm seeing more and more institutional projects on art, anthropocene and inequalities, etc. that seem to set ideological goals for art. If environmental and social issues are indeed convergent, do such projects reduce the works to mere illustrative means? In other words, we might know that we need to achieve a turning point, a new alliance, a new policy, and the works of art would serve to imagine these new possibilities in advance and to disengage us from the world we are still in.
I believe that art production cannot be a stimulating illustration of predefined social goals. Rather, such instrumentalization constitutes the mental structure that today brings us the problem: to consider all things (art as nature) as things that do not have an end in themselves and that must be oriented towards an anthropological purpose, towards a utility, towards a desirable future. It is precisely this type of causality, which subjects everything to the will, whose responsibility is another name, that must be broken if we want works of art to leave room for an incalculable and unpredictable future.
 The paradox is that it suspends the role, function, responsibility and finality of artistic production that it can operate on the logistics of a world where everything is considered a chain of causes and effects, the first of which must be fixed by the human will and the second of which must be of benefit to our species.

 

 

MS:
What role could narrative play in times of great crisis and historical upheaval?
In light of the disasters and crises that characterize our world today, can we be bold enough to hope and imagine a better future?


GC:
Here again the question asked and the very concept of a better future seems to me problematic. It assumes that we need new great stories to rebuild belief in the future and that art should be "feel good". However, I believe that we must start from the suspension of the times to come, which characterizes the feeling of our times, rather than trying to close this loophole in advance. The future is no longer given to us, it might not even happen... It is this possibility that we need to open up even more.
This is why I would be critical of the notion of narration because it always assumes that someone has the authority to be the narrator and to reconstruct a consistency, a vision, an insight for listeners. Inspired by experimental literature, I would like to imagine a fiction without narration or FsN, without a narrator, who would no longer be indebted to the desperate search for meaning. Suspension of finalities there again.
If we live in a logistics of the world where everything is considered to be useful to another, forming a network of causal commissions until it returns to its own beneficial use, part of artistic production can try to break the chains of this determinism and make room for what comes.
 

MS:
What might a dialogue between art and other disciplines look like to promote innovation and shape the future? What other disciplines would you like to get in touch with? What new ideas and approaches might emerge?


GC:
Interdisciplinary dialogue does not seem to me to be a matter of innovation, a concept that I criticized when I created the notion of disnovation in 2011 precisely because in my opinion the future is not shaped. It is not clay in our hands.

Innovation has only succeeded in producing incremental gadgets because it only thinks of time as the emanation of its will... The idea that we are masters of our future and that we can create it according to our desires, our goals and our will is precisely the world from which we must somehow get out. It is a will of power that is heading towards its own destruction, which we can call nihilism, the period in which we are indeed in.
Interdisciplinarity, to use this word and without entering into the terminological debates already known, can, here again, deconstruct the instrumentalization of the world and disorient our knowledge to open us to an unpredictable future.
Thus, I have been working for several years with recursive neural networks, or artificial intelligence that I prefer to call artificial imagination , not to find solutions, to imagine a desirable future or whatever, but to show that if for 15 years we have been accumulating our memories on the Web like never before, it is because this data feeds software that can generate similar and different data. This automation of resemblance, or mimesis, allows us to imagine that the Web and AI are our pyramids, monuments to our predicted demise.
There is nothing more instrumental, desirable or wishful, but a speculative proposal that deals with the present, with what we are living and which is the very horizon of our time.
 

MS:
What do you wish for a better future? Assuming that we dare to hope and that a better world can be built on the ruins of the old ones - what would you want it to look like?

 

GC:
I work since many years on the issue of ruins. Here again, the idea that a world that dies means a world that will be born, that destruction is creation (Schumpeter), that ruins give rise to new possibilities, is a conception historically rooted in the West that is one of the sources of our current situation: destroying nature in order to bring it back to life, neo-liberalism does nothing else. There would be so much to say about such a deep affect that mixes the will to power, destruction, fascination with beautiful ruins, the feeling that the world is going to end... Perhaps it is not possible to get out of this imagination, but I would at least like our imagination to become aware of these historical overdeterminations, that our images, our fictions because they are without narrative and disoriented, should be reflexive and know how to reckon with their conditions of possibility. Images coiled up in their historicity.
The presupposition that we have to go towards the best and towards maximization, that we have to keep hope because it is this mental horizon that would allow us to slow down our extinction, seems to me to be a strategy that is part of the problem.


 

 

MS:
It is often said that the extraordinary power of art lies in always courageously and fearlessly seeking renewal and always starting afresh on a blank sheet of paper. Do you personally use particular strategies, rituals or work techniques to find your way into a new work and start a new project from scratch?


GC:
I'm trying to do precisely the opposite. When I do an artistic project it's as if history condenses, transforms and crystallizes in it. Before carrying it out, I document myself, I try to see if other projects exist, what are their historical filiations, to build up a library of Babel, texts and images around me, etc. I try to make a project that is not a project.
All I have to do is reconstruct the entire logistical and infrastructural network that it took to produce a blank sheet of paper to understand how unrealistic this metaphor is.
Art as pure tabula rasa associated with a heroic personification seems to me to be a conception that has historically been accompanied by a fascination with ruins in the West. Heroism, the idea of courage and even sacrifice, is also the companion of great narratives.
You don't start from scratch. The only meaning it could have is precisely the extinction of the human species to which this nihilistic will to power leads us. I would like to start from the historical sedimentations to unfold threads that were present but have not yet emerged. The artistic imagination would then consist of everything that has not been, everything that is not, everything that will not be.

 

MS:
And one last question: Who do you think should definitely be on the re:future lab interview series?

GC:
Goliath Dyèvre
 

The interview was conducted in May 2020

Text and interview: Madeleine Schwinge

Translation from French : Cécile Nebbot

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