Category: Artists

Posted on

AI Motion Sculpture

At the Festival Noûs in Paris, the collaboration of AI with artists was a major event. Based on the huge collections of the BNF in form of data bases it is possible to join the 3 worlds of library conservation, technological innovation like AI and the imagery of artists. In the preparation of the exhibits and the parallel documentation of the genesis of the exhibits of the artists, the creative potential and process becomes more evident and understandable to broader audiences. The exhibit by Tobias Gremmler, Anatomy of Motion (2026 see below), captures the motion of a dancing body in a sculpture based on a 3D printing of a series of images blended into each other. with a fast photography camera, known from sports images previously, the dynamics of a motion become a tangible sculpture. The intriguing new form is in fact a motion that has been captured or has cristalized or materialized in a permanent fashion. New technologies and materials enter into art as they offer new ways of expression as well. The collection of art and documentation centers shall enter into new phases as well. (Image: Tobias Gremmler, Anatomy of Motion (2026) at BNF 2026-4).

Posted on

Mind mapping

The exhibition in Paris on “Cartes imaginaires” at the BNF regroups treasures of maps across centuries in an interesting way. The technique of putting together elements in a map has been developed and refined over long time spans. Map are mostly in our minds as  depictions of geographical details allowing a broader overview amidst lots of detail. The mind mapping of today as a managerial or pedagogical tool is not much different even if AI might make is believe that it is a modern tool. The exhibit of “The island of Marriage” (image below BNF, “Cartes imaginaires”) in the middle of lots of distractions and potential distractions has a particular charm to it as it tells many tales and storylines for writing lives and novels. Our own lives or the depiction of life courses might be represented in a single map, maybe even comparable to a sequence analysis of events. The history and potential of maps and lives as mind maps is going to accompany us for quite some time as it already did for centuries. 

Posted on

Critique of Maps

From a sociological perspective on maps we learn for example, that maps are also instruments to reflect property rights. This can be past claims of imperialism or recent claims of independence. A depiction as a map has historical and societal implications. Superposition of maps according to political, cultural or linguistic communities often reveal contested areas of domination and liberation movements. The specialized field of the history of maps can sharpen the senses for a critical view of maps in the 21st century. (Image:  Brankiza Zilovic, Nusquama 1984 exhibition “Cartes imaginaires’ BNF Paris).

Posted on

Fact and Fiction on Maps

As a matter of fact, for centuries maps have played in both registers, fact and faction. In geography we expect maps to represent geographical facts, and yet based on a historical perspective on the subject, we realize that early cartographers had to brush over, at their time unknown, territories. What did many of them do? They imagined what could be the case.
In the early days of “creating a map” the artists had to rely on some sort of fiction or were intentionally creating a fictive image of the unknown world. Out of this “science and fiction” approach, a whole discipline of literature has evolved, science-fiction. The imagery of Manga-mania in the 2020s owes a lot to this drawing and mapping of fiction in form of stories.
Maps tell lots of stories. They are powerful in their neurological function, similar to mind maps that are a tool to structure our thoughts or story lines. The gesture to point at an area on a map of the Arctic, Greenland for example, can send shivers across the globe. Maps make stories and stories may lead (eventually) to shifts of attribution on maps. In the same vein: the mapping of power also reflects the power of maps, be they based on facts or fiction.
(Image: Exhibition: Cartes imaginaires, BNF Paris 2026-4-8, Gerardus Mercator, Map of North Pole 1595)

Posted on

Failure as criticism

The production of an object, which does not abide by the norms and conventions of its designated use, can either be considered a failure, a commercial flop or a critical comment on consumerism. In some instances it may even have the intention to produce art rather than a useful product. A tea or coffee pot may serve as such an example of it (see image below). It is designed not to serve tea or coffee in a conventional way. Such an object invites us to think around the corner,  whether we could still use it in the “normal” way. We are forced to innovate as user or we just leave the object aside. The Flops exhibition also included early car examples which used a “Wankel car engine” and the aerodynamic adjusted car model (shape of a peach) of the R14 in its flops collection which were early precursors of a, later on widely followed, car design principle. Such an aerodynamic car design saves energy and therefore increases the reach of the car without refueling or battery charging.

Overall, some supposed failures are more indications that we are not easily prepared to accept behavioral changes or alternative visions of products.

Posted on

Fan of fan

The fan and the French version of it called “eventail” served thousands of ladies across history. Ventilation is key, even in times of air conditioning being all around us. Instead of bulky electric pocket fay, the eventail is surely going to make a splendid comeback. This utensil serves both as cooling device as well as fashionable accessories. The craft of making one has almost been forgotten, but the Musée de la Mode preserves some of the finest examples of the tiny heroes of global warming. 

Posted on

Artificial flowers

The craft to imitate the beauty of flowers is in fact at least 200 years old. The skill linked to the production has been documented in a manual which seems to be forgotten by today. Real as well as artificial flowers have been an accessory in fashion for centuries. In 2025-26 they return again in high fashion in all shapes and colors. The technique has also been documented in textbooks that explain the “how to…” the craft and professionalism (see image below). The time consuming activity has been outsourced from Europe long ago, but the basic techniques still were refined and mass production prepared for the sharing of the pleasures. It is an interesting case study of the sociology of technology or the rise and fall of an industry which occasionally has a surprising comeback. To follow parts of the trajectory just visit the Musée de la Mode in Paris, Palais Galliera.

Posted on

Flower Power

In the 1960s the flower power movement originated in the USA. The association of flowers in all their shapes and shades within fashion has played a role already over centuries. The most prominent use of flower imagery can be traced back to the 18th century when the many specialized professions contributed to the embellishment of humans through the reference to motifs around flowers. This is made explicit in the exhibition and catalog of “Tisser, broder, sublimer” in the Palais Galliera, Musée de la mode in Paris 2026-3. Nature and especially flowers have so many different shapes to offer that it can serve as an endless inspiration to creation and the arts. Power has been derived from special dress and community building as well. Flower power is interesting in this regard because it has been and keeps being used what is now known as the fashion industry as well. The soft power of beauty and sensual persuasion is lasting flower power.  

Posted on

Totalitarian Totality

In political science we study totalitarian regimes across history in order to better understand how the decline into authoritarian and then totalitarian regimes occurred. But it is not only a matter of historical interest. Authoritarian regimes can get worse, like the Nazi-terror demonstrated and it propagated and applied “total war”. Across the world it is necessary to keep monitoring the war like situations of hybrid war and whether we might have to face again totalitarian regimes entering into all encompassing terror and war. It is the people, no matter from which country, who will suffer the most. The installation by Monia Ben Hamouda in the art gallery ChertLuedde allows us to think beyond or what remains “After totality” (image below from 2026-3-24). Maybe the challenge to make people think beyond the totality is the only way to prevent it from happening or totality being repeated. The experience of the installation is impressive and encourages us to question every attempt of totality especially of totalitarian regimes. 

Posted on

Myths debunked

There has been careful research on the use, or not, of color in classical Greek sculpture. More than 40 years of research have documented that what was long believed as monochrome sculptures, have in fact been very colorful specimen. The collection and researchers linked to the “Liebieghaus Sculpture Collection” can be inspected with experimental versions of the colors of the classical Greek time. “Gods in Color”, an exhibition by the Liebieghaus, provides a view of the rich colors of classic statues like the “archer” using the chemicals of the time to produce more or less durable or resistant colors. See also the archaic Greek Sphinks at The Met Museum.
Brinkmann and Koch-Brinkmann have spent close to 50 years on this research and attempts to convince the public of the “monochrome myth” of Greek sculptures. Research alone did not convince people, they seemed to need to see the colorful versions eye to eye to believe. The broader social science interest is to realise how much time it can take to re-establish scientific facts once they have been “eradicated” previously. (Image: Statuettes of classic Greek actors, lower row, BNF Paris)