Interview: Aujik | ITSLIQUID

Interview: Aujik

Art, Interviews | January 20, 2016 |

02Image courtesy of AUJIK

Luca Curci talks with artist AUJIK during LIQUID CITIES NYC event in New York on October 2015.

AUJIK was initiated in 2001 by Stefan Larsson. Stefan was born in Sweden and lives and works in Otsu, Japan. MFA from Umea academy of Fine Arts 2005. AUJIK is mainly working with video using CGI, but also Virtual Reality, 3D printing, installations, music, photo and text based works. Topics are focused around Artificial Intelligence – and how it will potentially evolve nature, consciousness, neuroscience, animism and esoteric  endeavors. AUJIK been featured at festivals, galleries and museums worldwide. Most notable are  Prix Ars Electronica, Japan Media Arts Festival, SIGGRAPH, Oberhausen film festival, Rotterdam film festival, Frankfurt Kunstverein, Nordic Outbreak in NYC, Cyberfest and onedotzero. Had solo exhibitions at galleries in Tokyo, Osaka and Kyoto and recently at the CAC (Contemporary art center) in Vilnius. Is currently part of the exhibition Co-workers at the Museum of Modern Art, Paris and ‘the Wrong‘ new media art biennale in Mexico city.

 

03Image courtesy of AUJIK



Luca Curci – Can you talk about your personal experience in New York City? What did you think about the whole organization of the event, the artists’ selection, the communication management and opening nights?

AUJIK – Didn’t have the opportunity to go there myself but just watched the pictures and it seemed like a cool thing I reckon. Yeah, you did a good job.

L.C. – What do you think about the collaboration between It’s LIQUID and XY Atelier Contemporary Art Gallery?
A. – It all seemed great with a tasty variation.

L. C. – Can you talk about the artwork you presented in New York City? How is it linked with the festival’s theme?
A. – That video called ‘anxOxna’ was filmed in a Japanese garden (close to where I live) on the few occasions when there’s snow. The video depicts a sort of neural network in which the tress branches functions as dendrites and axons with neurotransmitters interacting in between. It suggest nature as an conscious computational multi layered entity. I suppose, since the festival were mobile and taking place at different coordinates,  it had also a sort of rhizomatic structure to it.

 

04Image courtesy of AUJIK



L. C. – What are you currently working on?

A. – Lately I’ve been sketching and planning for the last video in a Trilogy called ‘Impermanence Trajectory’. The themes for these videos are primarily theories regarding Artificial General Intelligence or strong AI and structures based on trajectory’s and patterns. The last video will also focus on Swarm Intelligence and peculiar interventions (basically pollination) between insects and plants and how it relates to computational processes. I also just completed a video called ‘Polygon Graffiti: karakuri cores’ which is the second video about future visions of Augmented Realties and how it impose complete libration of art in the public domain. The video is a collaboration with Scottish electronic artist Christ whom I’ve been working with many times earlier. Besides that I’m working on  video that presents some of AUJIK’s artifacts. These artifacts been sort of the core during the 13 years I’ve been working with this concept. They are supposedly crossbreeds of organic and synthetic elements, sort of the essence and outcomes of an Technological Singularity, but in a very crude way and besides the efficiency TS propose, these are completely idle and redundant.

 

07Image courtesy of AUJIK

L. C. – What is art for you?
A. – It’s mainly the most progressive and flexible format there is in order to propose and visualize ideas of all forms. Whether it’s social, politics, scientifically, psychological, philosophical, gender or more private matters, and despite how diffuse or concrete, subjective or objective these ideas are, it’s all accepted without any rigid limitations or rules. At least that’s what it supposed to be. I also like to see art as a language with no strict structuralism that can be adapted, expressed and developed by everyone, despite their cultural, political and religious status.   

L. C. – What do you think about International ArtExpo and It’s LIQUID organizations? Do you think they can represent an opportunity for artists?
A. – Sure, definitely. It’s a splendid opportunity for any artists, and you have various themes and genres of art at different locations such as New York City and Venice which has very vital art scenes.

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