Virtual Ideological noises in the Van Abbemuseum collection
The proposal is the continuity of a survey that Moreschi has been conducting since 2012, related to the field of institutional critique and the idea of emancipated experiences in museums (Rancière and Néstor Canclini are references). First, there were actions that took place within the physical spaces of the museums: the insertion of fictional books as nonfiction in the libraries at these institutions (Art Book), the distribution of pamphlets that criticized the exclusionary setting of the visual arts (History of _rt), the re-signification of historical paintings (The Museum is Closed for Renovations) and the study of Hermitage (St. Petersburg) without seeing it up close.
These experiences have led Moreschi and the researcher partner Gabriel Pereira (Aarhus University) to the virtual layers of museums. The new technologies of image analysis have directed the research toward the attempts by large corporations to catalogue images of artworks available on the Internet. Nowadays there is a growing interest of companies like Google, Facebook and IBM in finding efficient ways of interpreting works of art without human assistance.
The proposal is to analyse how various technological tools behave with images from the Van Abbe museum collection. Errors will occur in this process, and Moreschi argues that, rather than being discarded, they should be studied carefully because they reveal the concepts and terms that these logarithms want to categorize the images as. For example, it is common for these programs to understand readymades as design objects, paintings of women as advertising for cosmetics and images of people of colour as something dangerous – flaws which are an indication of the attempt to catalogue images of the world within a single ideology, in this case, that of white male Eurocentric consumer society.
Bruno Moreschi (São Paulo, Brasil, 1982) is a researcher and visual artist with projects that approach the system of visual arts itself, specially its physical and virtual spaces of legitimization, and focus on decoding the field, revealing its hidden procedures. For your PhD (Unicamp, BR, and exchange at University of Arts of Helsinki, FI), Moreschi conducted emancipated experiences at historical museums in South America and Europe. Work in collections of São Paulo Museum Contemporary Art, Colombia National Museum and CA2M. Visit Bruno Moreschi's website here.