Mohammad Mohammadzadeh Titkanloo represents his concerns at the "Artificial Intelligence" exhibition
According to Titkanloo, artificial intelligence can distort the originality of the work by mass production and reproduction, but it cannot erase the totality of the work of art, although it can deny human agency and freedom.
Iran Art: Mohammad Mohammadzadeh Titkanloo, a prominent and experienced Iranian artist, works in various fields of painting, sculpture, photography and filmmaking. For nearly three decades - from the early 90s - until now, he has been seriously, professionally and continuously present in the artistic space of Iran. He has registered his name as the first daguerreotypist in iran and many innovations in various fields of visualization in both theory and implementation methods, including digital daguerreotype photography, monitor photo paper, and theories: paridolia art, Tafut architectural photography, vertical image. And... he has recorded his activities in his extensive record.
Mohammadzadeh Titkanloo, but in the latest presentation of his works at Maher Gallery, continued to represent his concerns that he shared with his audience in the trilogy: "Archetype" and "Metallurgy of Art" and "Perishable". This time, he has cast his eyes on a universal and human phenomenon, which, as a field and circuit of mutual interaction between man and technology, has shrouded the future of human life in an aura of uncertainty and has become the main concern of many thinkers and activists in the world of knowledge. , has created art and culture in the contemporary world: artificial intelligence... and that is the name of the exhibition.
Ten paintings by the artist, all of which represent this idea, are the result of three months of research on the content of artificial intelligence and two months of the process of creating and performing the work. Transforming and translating industrial-technological icons and symbols into artistic forms has been his main challenge in recent experience, which according to him, after extensive studies in various styles and methods of painting and searching for a more suitable approach to present an aesthetic creative expression. It has been formed from a scientific-technical-industrial phenomenon in a way that is not soulless and impossible in the requirements of this non-artistic space and has sense, originality and artistic approach and tone. His method of expression in this collection is choosing the abstract level as a composition and using more of the first layer of color and turning it into a field of division into different colors and then drawing visual elements and icons of artificial intelligence and the electronic world.
But what does artificial intelligence look like in the eyes of this artist? His belief in the latest presented collection, which is executed in a combination of cubism and expressionism, is that art, even when artificial intelligence dominates humans and the world, is still the basis of innovation and creativity of artistic and aesthetic experience. There is no middle ground. He sees artificial intelligence as an opportunity and a possibility that does not narrow the field on art and the nature of the experience of creation and artistic creation, but puts another horizon in front of artistic action and thought to reflect more deeply on the connections between humans and technology.
According to Titkanloo, artificial intelligence can distort the originality of the work by mass production and reproduction, but it cannot erase the totality of the work of art, although it can deny human agency and freedom.
The artist's mentality of artificial intelligence is displayed in these 10 works, corresponding to the concept of distortion, chaos, denial of agency and human will (first panel). The god-like dominance of artificial intelligence over humans, which is in the form of dominating embryos and chromosomes and shaping a part of the human genome that has coded and programmed everything in connection with industrial symbols (the second panel). The messiness of the human structure like a soulless and industrial toy, the facelessness, disfigurement and transformation of man in his self-made tools (the third panel). An allegorical situation in which a person's brain is transplanted or transformed by electronic devices, it appears empty of color, faded and foggy. Like a colorless and soulless mask and mask on the head, it is nothing more than a hollow shell (fourth panel). A world full of chaos, chaos and disorder in which we do not see any sign of balance and coherence. Even in a vertical and upright object, the oscillation of electronic circuits can be seen (the fifth panel). The technological world has become an alternative to the universe and existence, and the contrast between dryness, stagnation, and stillness of this artificial and instrumental world, with the rotation, rhythm, color, and internal movement of the universe, shows an ontological contrast (Sixth panel).
Artificial intelligence being in its seventh childhood and sparking and leaping life in an ocean of nothingness (Seventh panel). Art is influenced by machines and instrumentalization. Artificial intelligence makes the bird and even the genetics of the birds. He determines the structure of the image. We saw the passing of a film strip that refers to the domination of the image world, space, environmental issues, chemistry, music and sound, collective unconscious, the future of the world and man. The human figure has clearly become the center of artificial intelligence and only has a human mask on its face (8th panel). The impact of artificial intelligence on the individual and collective unconscious, which has been one of the central and familiar themes and components of the artist in some of his recent exhibitions (Panel 9). And finally, the impact and dominance of artificial intelligence on sound and audio tools and communication-telecommunication and verbal technology and in one word the world and the communication system, with the representation of a distorted and distorted humanoid figure that has no eyes, is dark and dark and instead The brain has a chip in the head (tenth panel).
In a summary, the artificial intelligence exhibition is, in a sense: future research and future thinking, not foresight. In Titkanloo's critical and thoughtful view of the nature and meaning of artificial intelligence, this opportunity is currently at the service of humanity, but later it can become a huge global challenge and a human threat; It should produce its own energy, be nourished and supplied from within, develop pathologically, and in terms of mechanism and driving force, find a source outside of human will, thought, and intelligence, and become true to its essence and become the eternal guardian of the world and man. Of course, this uncertain and dangerous future can be left and controlled by thinking like this, and the purpose of art and the main purpose of the artist's work and action is this warning and foresight in the mirror of development. Ontology is an art that makes the sensory tentacles of the artist better equipped, more sensitive and more alert before everyone against developments, challenges, dangers and threats and crises of human life and informs about the occurrence of an accident before everyone. This collection, as the artist confirmed, is the opening of a crisis.
Mohammad Titkanloo's journey from Jung's psychology, reflection on mythology and archetypes, symbology of the collective unconscious mind, a phenomenological approach to the symbols of life and death, ontological and existential conflicts, to reflection on the nature of technology and the relationship of man with tools, techniques, machines and The industry and communications and the digitization of the sphere of communications, in the philosophical, epistemological and semantic horizons, is an image of the wholeness of a path and a walk in the revelation of oneself, man and the world and finding one's relationship with this existential geography...
By Farzad Zadmohsen