"I saw splattered paint, knotted rope, braided yarn, chiselled wood and filigreed metal. The objects flaunted their virtuosity. They were proudly, defiantly analogue. Was this art as a last stand for humanity? In this year of feverish anxiety about artificial intelligence (AI), the art world seemed to be staging a rally for art created by flesh-and-blood people. I was intrigued but not surprised."
"'An analogue sanctuary' One of them is a kind of strategic retreat-or advance, depending on your view-whereby the art world, and especially museums, might transform into what I called an analogue sanctuary. In this version of the future, the legacy art world would double down on what it has long done well. It would showcase rare and unique objects made by humans for humans."
Art Basel Paris displayed very little digital art, with only a few photographs and screens and no algorithmic, large-language or motion-sensing works. The Grand Palais was filled with hand-made pieces featuring splattered paint, knotted rope, braided yarn, chiselled wood and filigreed metal that emphasized virtuosity and analogue craft. A plausible future is an analogue sanctuary in which museums double down on rare, unique human-made objects. Immersive and AI-driven art would carve out a parallel sub-industry requiring large spaces, new skill sets and energy-intensive technology, analogous to the historical split between theatre and cinema.
Read at The Art Newspaper - International art news and events
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