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Opgelet! Dit event heeft al plaatsgehad.


donderdag, 16 januari, 2020 - 12:00 to donderdag, 16 januari, 2020 - 20:00
Koningsstraat 236, 1210 Sint-Joost-ten-Node
Privacy Salon / CPDP
0485 49 32 04

Artists : Lucie Planty (FR), Chris Dreier (DE), Jenna Sutela (FI), Joanna Żylińska (UK/PL), Adina Camhy (AU), Constant (BE), Mélodie Mousset (FR/CH), Heather Dewey-Hagborg (US) & Dasha Ilina (Ru)

Title : Mensch Maschine

Venue : Botanique – www.botanique.be– Rue Royale 236, 1210 Brussels

Timing : January 16thuntil February 16th, 2020 – Opening on January 15th– 7pm

Special events :

On 23/01 – CPDP cocktail in presence of artists - https://www.cpdpconferences.org

On 03/02 – Launch of the new Surveillance Chair - VUB - www.vub.be/chair-in-surveillance-studies#chair-in-surveillance-studies-(en)


The exhibition Mensch Maschineis touching on elements of machine learning fundaments: the feed, the successes, as well as the failures. News about technological development seem to be generally positive. However, critical journalism and research are teaching us about machine learning as a biased and even discriminating entity. 

This exhibition opens with a historical point of view through the artwork called Chronique de L’humanitéby the French artist Lucie Planty, whose practice evolves around books and the art of editing. The work displays images and drawings depicting humanity in a chronological order, on a nearly endless scroll. It is a digital reproduction of a book edited by Hachette editions in 1986, from which all textual content has been erased. The last image in the chronicle is Armstrong’s landing on the moon. Hence, in this work, humanity seems to grow into something new from there on…

Chris Dreieris an icon from the Berliner 1980’s punk scene, whose artwork has oftentimes been forged from an activist’s point of view. She created a series of tapestries related to privacy, data and war technology. ERMAis a cushion made of the first machine readable font. 

nimiia vibiéis a peculiar work by Finnish artist Jenna Sutelafor which she exploits a machine to create a Martian language through AI. The source for the language comes from a bacterium which is considered to be Martian. 

Joanna Zylinskais a writer, lecturer, artist and curator, working in the areas of new technologies and new media, ethics, photography and art. She is a Professor of New Media and Communications, and Co-Head of the Department of Media and Communications at Goldsmiths, University of London.  In her video ‘Non-human vision’,she offers a compelling insight on the idea of AI dreaming up the human outside the human. The work reflects on the idea of when the camera shapes and regulates life, even far beyond ways that humans commonly use to exploit cameras. Non-human photography is neither of, by or for the human. 

In How do you see me?, the artistHeather Dewey-Hagborgutilized adversarial processes, algorithms that are designed to deceive machine learning systems. In the research, she creates a self-portrait that doesn’t resemble the artist at all, although the image will be recognized as such. 

The artist and electronic musician Adina Camhyanalyzes in her video 'MENSCH MASCHINE OR PUTTING PARTS TOGETHER’ different possible relationships between humans and machines, specially based on gender issues. The work originated when her mother asked her what birthday present she wanted. Instead of the specific synthesizer she asked for, she got herself an unwanted kitchen robot.

The Center for Technological Painby Dasha Ilinamocks and questions our increasing connection, as a body, to the Internet of Things. The center produces a selection of DIY and Open Source objects to relieve pain caused by digital technologies such as smartphones and laptops. Among the developed prototypes are mechanical eye shields that reduce eyestrain, a headset to free the user’s hands, an insomnia-free box and various more or less absurd gadgets to relieve tense elbows and fingers. CTP also offers DIY manuals on how to build low-tech accessories from cheap materials.

In a book corner presented by the Brussels based Constant vzw, one gets an insight to recent and older artist publications where the bias in technological development is issued. In the virtual reality world Hannahannaby French/Swiss artist Mélodie Mousset,the spectator enters a desolate landscape in which he/she is free to reshape and create a new world from scratch. This world has been shaped while avoiding the male gaze that easily infects designing technologies.


Curated by Thierry Vandenbussche and Privacy Salon.


Mensch Maschine