Le catalogue du pavillon maltais à la 60e exposition internationale d'art contemporain de la Biennale de Venise : un projet associant le patrimoine culturel et les technologies de pointe basées sur l'intelligence artificielle.
The project explores ideas of human existence and survival at the point of convergence between history and future, physical experience, and digital input. It originates from the artist's latest explorations into AI and drawing technology, fused with his interest for historical images of ex-voto ship graffiti, vernacular iconographies which speak of ancient local tales of faith and salvation across the Mediterranean and located on the facades of several wayside chapels on the islands. This is the point of departure of Attard's project for the Malta Pavilion, conceived to catalyze the attention of the spectator via technological devices which allow for digital interaction and collective speculative thinking about the future In fact, the ship graffiti are unique to Malta, yet resonate with many cultures whose relationship with the sea has been—and still is—crucial, as evidenced by Venice's own inscriptions. At a time of climate change, rising sea levels, and questions of people's place in a hyper-technological world, these humble marks of hope, root metaphors deeply embedded in human consciousness, drift in the middle of the Pavilion to reveal what hides behind screens and beliefs.
Matthew Attard (né en 1987 à Malte) est un artiste maltais basé à Édimbourg. Il a exploré l'art numérique à travers différents médias, en concentrant ses recherches sur le comportement optique. Un grand nombre de ses travaux découlent de l'utilisation de l'eyetracking, un processus qui permet de surveiller et de cartographier les mouvements des yeux.
Edité par Elyse Tonna et Matthew Attard.
Textes de Elyse Tonna, Domenico Quaranta, Matthew Attard, Caesar Attard, Sara Dolfi Agostini, Glen Calleja, Joey Borg, Halmann Vella.
