Since 2016, the ARTTEC art programme at the Technology Symposium, organised by us, has been showing the many similarities between art, technology and science. We rely on the support of professionals here – with partners such as Ars Electronica Linz, the MAK – Museum of Applied Arts and the University of Applied Arts.
In the fall of 2018, we finally brought ARTTEC to AIT as well – more specifically, to the foyer of our headquarters at Giefinggasse 4. Under the name ARTTEC at AIT, creative and interdisciplinary exhibitions with international artists broaden the perspective of our employees and guests at our location.
2024 - currently Claudia Larcher – Future and Transition
Claudia Larcher is the fourth artist in residence at AIT. The Vienna-based artist works with a variety of media and has already had exhibitions e.g. at the Centre Pompidou Paris, Anthology Film Archives NYC, Ars Electronica Festival Linz and Kunsthalle Wien.
As part of ARTTEC, Claudia Larcher is presenting her two works ‘Das große Baumstück’ and ‘Stillleben 3000’. The current exhibition deals with social, technological and ecological changes that demand new approaches for our future.
Claudia Larcher uses generative AI to complete her compositions where human and technical limitations are reached. In her artistic work, she breaks down visual systems into their individual parts and reassembles them as collages. Larcher experiments with generative AI systems to interpret and complete her compositions where camera recordings and the human gaze reach their limits.
For the video ‘Das große Baumstück’ (the big piece of tree) (2022/23), Larcher combines different image material to examine an exemplary ecosystem. The selected images from the series ‘Stillleben 3000’ (Still Life 3000) (2023/24) are reinterpretations of classic paintings by Rachel Ruysch, a 17th-century Dutch artist. With the AR app ‘Artvive’, you can see behind the reinterpretations and take a look at the originals.
Previous Exhibitions
2022-2024 Process Studio - Tokens for Climate Care
‘Tokens for Climate Care’, exhibited from 2022 to 2024, artificial intelligence was used to design new, original symbols for climate. Martin Grödl and Moritz Resl (under the name Process – Studio for Art and Design) used an extensive database of logos, symbols and glyphs, associated keywords in the broader context of ‘climate care’ and the machine learning system GAN (Generative Adversarial Network).
However, the resulting tokens can escape the machine's emergent system and, following the ‘Terms of Care’, be individually processed and used as symbols for climate protection.
2020-2022 Judith Fegerl – Capture
In the high-voltage laboratory of the Center for Energy, Judith Fegerl chased lightning and electric arcs through various sand mixtures in July 2020. The high heat caused the sand to melt and solidify into jagged tubes called fulgurites. In addition, old lightning rods were reactivated by lightning. The exhibits are on display in the foyer of Giefinggasse 4 until the end of the summer.
Here you can listen to the final talk with Judith Fegerl as a podcast (in German).
2019-2020 Judith Fegerl – reservoir
Judith Fegerl's installation "reservoir" was on display from June 2019 to May 2020 and consisted of two parts: First, twelve copper and aluminium plates were placed in glass containers filled with salt water in the foyer of Giefinggasse 4. After three months, the plates were removed from the salt water bath, processed and hung in pairs on the wall. The resulting structural changes in the material were clearly visible.
2018-2019 Chris Noelle - Deceleration
From November 2018 to May 2019, Berlin-based mixed-media artist Chris Noelle was our first artist-in-residence. Chris' exhibition called "Deceleration" addressed the constant changes in society and technology through spirography.
2018-2019 Chris Noelle - video project ONE
Parallel to the exhibition, we have realised the video project ONE with the mixed media artist Chris Noelle. In a one-minute clip, Chris interprets the research of our Centers in an artistic way.
