MACHINE LOVE: Video Game, AI and Contemporary Art

Press Release VOL.1

August 29, 2024

MACHINE LOVE:Video Game, AI and Contemporary Art
FEBRUARY 13 [THU]-JUNE 8 [SUN], 2025

MORI ART MUSEUM [53F, ROPPONGI HILLS MORI TOWER]

The Mori Art Museum, in Tokyo, is pleased to present the exhibition MACHINE LOVE: Video Game, AI
and Contemporary Art from Thursday, February 13, to Sunday, June 8, 2025.
With the explosive growth of artiﬁcial intelligence (AI) and the integration of virtual and real worlds,
the latest cutting-edge technologies have quickly penetrated our daily lives. This tendency has become
especially apparent since the COVID-19 pandemic, when many human activities shifted towards virtual
space. Looking back, the progress of art and technology has run parallel to each other throughout thecourse of history, a phenomenon that is especially evident in the field of computer art and video art.
While recent innovations in video game engines and AI offer unprecedented possibilities for artists,
the advent of generative AI also has raised significant concerns. Such developments are now attracting
considerable attention in various ﬁelds and industries, including the contemporary art world.
MACHINE LOVE not only introduces contemporary art that employs game engines, AI, and virtual
reality (VR), but also works that utilize generative AI – a technology with the capacity to surpass humancreativity. These works explore new aesthetics and image-making through the use of various data setsthat exist in digital space. Some works examine how online avatars and characters can nurture new
types of gender and racial identities that lie beyond the reach of social norms, while others demonstrate
the visualization of hyperrealistic landscapes. With artists adopting these methods, at the core of
their creative practices are universal views of life and death, ethics, the environmental crisis facing
contemporary society, historical interpretation, and diversity.
By exhibiting artworks jointly created by “machines ” and artists, and offering immersive spatial
experiences through large-scale installations, this exhibition functions as a platform to contemplate therelationship between humankind and technology, which evokes emotions of love, empathy, elation, fear,
and anxiety. Join us in a space where reality and virtual space overlap in order to envision better ways tolive out an uncertain future.
Kim Ayoung
Delivery Dancer's Sphere
2022
Video
25 min.

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MACHINE LOVE: Video Game, AI and Contemporary Art

Press Release VOL.1

August 29, 2024

FEATURED ARTISTS * In alphabetical order of the artists surnames’

BeepleBorn 1981 in North Fond du Lac, WI, USA; lives in Charleston, SC, USA
Kate Crawford and Vladan Joler Born 1975 in Sydney, lives in New York,born 1977 in Novi Sad, Serbia; lives in Novi Sad and Berlin
DiemutBorn 1982 in Berlin; lives in New YorkFujikura Asako
Born 1992 in Saitama, Japan; lives in Ibaraki, Japan
Hsu Chia-Wei
Born 1983 in Taichung, Taiwan; lives in Taipei
Kim Ayoung
Born 1979 in Seoul; lives in Seoul
Lu Yang
Born 1984 in Shanghai; lives in Shanghai and Tokyo
Sato Ryotaro
Born 1999 in Hokkaido, Japan; lives in Kanagawa, Japan
Jacolby Satterwhite
Born 1986 in Columbia, SC, USA; lives in New YorkJakob Kudsk Steensen
Born 1987 in Copenhagen; lives in Berlin
Adrián Villar Rojas
Born 1980 in Rosario, Argentina; lives in Rosario
Anicka Yi
Born 1971 in Seoul; lives in New York

General Information
Exhibition Title: MACHINE LOVE: Video Game, AI and Contemporary Art
Organizer: Mori Art Museum
Curated by: Kataoka Mami (Director, Mori Art Museum)
Martin Germann (Adjunct Curator, Mori Art Museum）
Yahagi Manabu（Associate Curator, Mori Art Museum）
Advisors: Hatanaka Minoru（Chief Curator, NTT Inter Communication Center [ICC]）
Taniguchi Akihiko（Media Artist）
Exhibition Period: February 13 [Thu] − June 8 [Sun], 2025
Venue: Mori Art Museum, 53F, Roppongi Hills Mori Tower, 6-10-1 Roppongi, Minato-ku, Tokyo
Hours: 10:00-22:00 | Tue: 10:00-17:00 | * Open until 22:00 on Tuesdays of April 29 and May 6, 2025.
* Admission until 30 minutes before closing. | * Open every day.
Admissions:［Weekdays］［Sat., Sun. & Holidays］

On-SiteOnlineOn-SiteOnlineAdults¥ 2,000¥ 1,800¥ 2,200¥ 2,000

Students (University/High School)¥ 1,400¥ 1,300¥ 1,500¥ 1,400

Children (Jr. High Students and under)
Seniors (Ages 65 and over)Free (across the board)¥ 1,700¥ 1,500¥ 1,900¥ 1,700* It is encouraged to make advance booking for a designated date/time slot and purchase the admission ticket on the booking website.
* Admissions without advance bookings will be allowed so far as the time slots have not ﬁlled up on the day of your visit.
* All prices include tax.
* Ticket also valid for admission into the following Mori Art Museum small programs that run concurrently:
MAM Collection 019: Viewpoints - Haruki Maiko, Katayama Mari, Yoneda Tomoko ; MAM Screen 021: Gabriel Abrantes ; and MAM Research 011:
Tokyo Underground 1960-1970s – A Turning Point in Postwar Japanese Culture.

General Inquiries: 050-5541-8600 (Hello Dial, within Japan) / +81-(0)47-316-2772 (Hello Dial, from overseas)www.mori.art.museum/enpress release Press Inquiries: Mori Art Museum Public Relations Office [within Kyodo PR]

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MACHINE LOVE: Video Game, AI and Contemporary Art

Press Release VOL.1

August 29, 2024

EXHIBITION FEATURES AND HIGHLIGHTS

Articulating a new world through the convergence of expertise from adiversity of ﬁelds
Eleven individual and one group of highly acclaimed creators in the fields of contemporary art, design,
gaming, and AI research will come together to present works created through collaborations with fields
such as biology, geology, philosophy, music, dance, and programming. Visitors will be able to experience
the relationships between the latest technologies and contemporary art through an exhibition that crosses adiverse range of ﬁelds.

Numerous winners of art and media art prizes
For Delivery Dancer’s Sphere (2022), Kim Ayoung received the Golden Nica (Grand Prize) in 2023 in the
New Animation Art category at Prix Ars Electronica, one of the top international honors in the world of media
art, and the first ACC Future Prize by the National Asian Cultural Center in South Korea in 2024. Lu Yangwon the Deutsche Bank Artist of the Year Award in 2022, while Hsu Chia-Wei won the Eye Art & Film Prize
by Eye Filmmuseum (Amsterdam) in 2024. Finally, for their work Calculating Empires: A Genealogy of Powerand Technology, 1500-2025 (2023), Kate Crawford and Vladan Joler won the S+T+ARTS Grand Prizeat Prix Ars Electronica, which honors artists who have brought innovation to media art.

Shuttling between the digital and real worlds
In addition to the latest digital video works, there will also be many works that physically exist, including
two-dimensional and three-dimensional works and installations, making this exhibition an experience thatalternates between digital and real spaces.

Audience participation in interactive works, and indie game arcades
Visitors will be able to experience interactive works including the game version of Kim Ayoung ’s Delivery
Dancer’s Sphere , and Diemut’s El Turco/Living Theater (2024), which challenges visitors to a debate with
AI characters. For the indie game*1 arcade, Taniguchi Akihiko, media artist and advisor of this exhibition, will
select easy-to-play games with the theme of “I and Others.” Visitors will have the opportunity to play thesegames with one another.
*1 Indie games
Games created by individual, or small groups of developers with a strong experimental orientation not found in major games.

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MACHINE LOVE: Video Game, AI and Contemporary Art

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August 29, 2024

STRUCTURE OF THE EXHIBITION

Interactions with Characters, Life, Humans, and Cities in the Digital WorldThe exhibition opens with Beeple’s first ever three-dimensional work HUMAN ONE (2021), representing thefirst human born in the metaverse. In this work, a figure in a cuboid space walks endlessly through the world,
projecting a three-dimensional presence despite being a digital work. It is followed by Sato Ryotaro’s video
piece that depicts a somewhat disturbing and absurd world by using a large number of unnamed charactersand data “assets” such as soldiers, girls, and animals used in game production. Assets used as substitutable andinterchangeable lives remind us of lives in the real world lost in wars and natural disasters, urging us to reconsider
their meaning. Diemut’s early interest in AI language models has led her to question the relationship between
machines and humans. Named after the automatic chess machine by the 18th century Hungarian inventor
Wolfgang von Kempelen that was in fact operated bya human inside, her El Turco/Living Theater captures
a dialogue on a philosophical level that unfolds
between an AI personality and an audience member
or an actor. On the other hand, Kim Ayoung’s video
work Delivery Dancer’s Sphere depicts the trajectory of
movements involved in delivery services that expanded
as a result of the COVID-19 pandemic. Kim’s work
is also a love story of characters riding motorcycles
through the urban space of Seoul as they compete
over the shortest distances and times.
Sato Ryotaro Dummy Life #11 2022
Inkjet print 12.4 x 14.8 cm*Referential image

An Experience of Technology, Human Spirituality, and the Buddhist
Worldview
Lu Yang, who is himself a practitioner of Tibetan Buddhism, sheds light on Buddhist wisdom through newtechnology and pop culture tropes, raising fundamental questions about the human body and mind. The
exhibition will exhibit a video work, in which Lu Yang’s own avatar, “DOKU,” makes a voyage through spiritualspace, questioning the relationship between body, spirit, and identity. Drawing inspiration from the Buddhist
Metta prayer, Jacolby Satterwhite will also present
a kaleidoscopic computer generated world through amulti-media installation that combines choreography,
wallpaper, video, animation, and music. In each case,the artist ’s own avatar appears, and through unique
sound and visual effects and installation, the audience
experiences a spectacular fusion of the Buddhist
worldview and new technology.
Lu Yang DOKU the Self 2022
Video 36 min. Music: liiii

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MACHINE LOVE: Video Game, AI and Contemporary Art

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Landscapes Depicted by Technology:
From Geological Time to the Endless Future
Hsu Chia-Wei explores the essence of technology from a geological perspective, such as metals and minerals,
expanding the scope of his imagination to a timeline that exists far beyond that of human history, taking his
starting point not from intangible data or the cloud, but rather technology as a material. For his new work,
Hsu focuses on silicon, which is used in a substance for semiconductors called “wafers. ” Fujikura Asako
has been interested in the urban landscape of Tokyo’s suburbs, and has juxtaposed its homogeneity with thedesert landscapes of cultures in West Asia. Her 3D computer generated moving images create unique oases
and gardens while exploring the textures of urban landscapes and industrial products, as well as the light andshadow of digital spaces. Jakob Kudsk Steensen explores ecologies through fieldwork and collaboration. In
The Ephemeral Lake (2024), an installation comprising video, sound, and glass sculptures, he digitized andcombined photographs, 3D scans, specimens, and sound recordings of ﬂora and fauna and landscapes collectedin California’s Death Valley and Mojave Desert to create a simulated virtual lake and its surrounding ecosystem.
The landscape of the lake changes constantly and unpredictably, even to the artist himself. The works of Anicka
Yi, an artist deeply concerned with biology and ecology, depict a newly generated world in which the machinelearns from various images and past works that have been researched by the artist for a long time. In addition,
Adrián Villar Rojas uses the “Time Engine” software that was developed during the COVID-19 pandemic
to simulate specific moments from the history of Earth ranging from the past to the endless future, creating alandscape that transcends time and space.

Jakob Kudsk Steensen
The Ephemeral Lake
2024
Live simulation, generative spatial sound, and glass sculptures
Commission: Hamburger Kunsthalle, Hamburg, Germany
Installation view: The Ephemeral Lake , Hamburger Kunsthalle, 2024
Photo: Christoph Irrgang

Adrián Villar Rojas
View from live environmental simulation generated by “ Time Engine ” software
2022
Courtesy: kurimanzutto*Referential image

Technology and Humans: A 500-year Relationship
Leading AI researcher Kate Crawford, in collaboration with Vladan Joler, an information and communication
technology (ICT) researcher and artist, has created Calculating Empires: A Genealogy of Power and Technology,
1500-2025 , a twenty-four-meter-wide infographic tracking the relationship between power and technology
since the 16th century. By placing the relationship between technology and humans on a temporal axis longer
than 500 years, the chart takes viewers back to the Gutenberg’s letterpress printing and Age of Discovery whencolonialism began and brought about major cultural changes, prompting us to reflect on contemporary global
transformations associated with wars and conﬂicts, AI, and the climate crisis.
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MACHINE LOVE: Video Game, AI and Contemporary Art

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MACHINE LOVE ARTIST PROFILES *In alphabetical order of the artists surnames’

BeepleBeeple is a moniker of Mike Winkelmann, a digital artist, graphic designer, andanimator known for his satirical images of politics and society. In 2007, hebegan his “Everydays” project, creating a digital image and posting it online eachday. This sustained practice has continued for more than seventeen years andinspired thousands of digital artists to follow suit. Beeple ﬁrst burst onto the art
scene when his artwork EVERYDAYS: THE FIRST 5000 DAYS (2021) was soldat a Christie’s auction for a record-breaking price, triggering a broad awarenessof digital art and NFTs globally. With the kinetic video sculpture HUMAN ONE(2021), which represents the first human born inside the metaverse journeying
through the ever-changing digital landscape, Beeple introduced a life-sized
physical presence to his oeuvre and specified that the artist may change theartwork at will.

BeepleHUMAN ONE
2021
Four video screens (16k resolution), polished aluminum
metal, mahogany wood frame, media server, and endlessvideo with corresponding dynamic non-fungible token
220 x 114.8 x 114.8 cm
Installation view: Beeple: HUMAN ONE , M+, Hong
Kong, 2022-2023
Photo: Lok Cheng

Kate Crawford and Vladan Joler
Kate Crawford is an internationally renowned scholar of artiﬁcial intelligence andits impact. Together with Vladan Joler, an ICT researcher, artist, and co-founderof the SHARE Foundation, they produce visual investigations such as Calculating
Empires: A Genealogy of Power and Technology 1500-2025 (2023), whichmerges research and design with science and art. Measuring over twenty-four
meters long, this map charts how power and technology have been intertwinedwith each other since 1500. It can be seen as a necessary corrective to thecurrent short-term bias in terms of how technology is criticized and visualized,
frequently focused on the most recent spectacles and devices, rather thantracking its deeper historical and political contexts.

Kate Crawford and Vladan Joler
Calculating Empires: A Genealogy of Power andTechnology 1500-2025
2023
Installation view: Calculating Empires: A Genealogyof Power and Technology 1500-2025 , Osservatorio
Fondazione Prada, Milan, 2023-2024
Photo: Piercarlo Quecchia – DSL Studio
Courtesy: Fondazione Prada

DiemutDiemut ’s work is characterized by its intrinsic entanglement of art andscience, presented in a variety of experimental installations. In her projects
she collaborates with scientists in the fields of AI, synthetic biology, quantum
physics, and other strands of science. Three Approaches to Synthetical Entities
features a dialogue between AI and humans (El Turco/Living Theater ) that
presents a human player hidden in the system, a debate between two adversarial
AI machines (Eris’ Apple), as well as an externalized inner soliloquy (Monologue ).
Three Approaches to Synthetical Entities reconsiders the meaning andimplications of human intelligence when confronted with the capabilities of anadvanced AI machine.

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DiemutEl Turco (montage)2024
Technical execution coding and programming:
E. Barzilay and team (Northeastern University),
B. Greenman (University of Utah),H. Shi and SHI Lab (Georgia Institute of Technology)

MACHINE LOVE: Video Game, AI and Contemporary Art

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Fujikura Asako
In her mysterious video works produced with 3D computer graphics, industrial
materials move and act like living creatures inside virtual cities. Inspired by her
own early upbringing in suburban areas, where large highways and infrastructure
create an unchanging and homogenized landscape, Fujikura’s works reveal theinvisible laws that govern how standardized urban space is produced. At a time
when architectural and urban development rely heavily on computer modeling,
her practice of exploring the tension between the real and virtual through her
own senses may offer a new landscape theory around contemporary cities. Sheis scheduled to participate in the Japanese Pavilion of the Venice Architecture
Biennale in 2025.

Fujikura Asako + Ohmura Takahiro
Fixing Garden
2022Vacant house, garden and video
Dimension variable*Referential image

Hsu Chia-Wei
As an artist, filmmaker, and curator, Hsu’s work traverses the realms of film
and contemporary art. His research delves into the political and industrial
history of each region, often on a geological time scale. Inspired by the factthat the silicon for semiconductor wafers that are essential to modern digitaltechnology products can be extracted from sandy beaches, his new work in thisexhibition is composed of a virtual seaside, an underwater cello performancescene, and footage from the Industrial Technology Research Institute in
Taiwan, which conducts research on chips used exclusively for AI, with musicby a generative AI to examine the latest technologies at the level of theirmaterials. In 2024, he won the Eye Art & Film Prize.

Hsu Chia-Wei
Silicon Serenade (preliminary rendering)2024
Video installation

Kim Ayoung
Kim creates video, virtual reality, and game simulations based on stories called“speculative ﬁction” that fuse geopolitics, mythology, technology, and futuristic
iconography. The work Delivery Dancer ’s Sphere ( 2022 ) , presented in thisexhibition, tells the story of female delivery riders who take on the challenge ofcompleting their work in the shortest distance and time for delivery service tohomes, which increased during the COVID-19 pandemic. These workers areinvisible presences in a city where no close contact with others is to be madefor delivery. The labyrinthine, fractal-like trajectory of these delivery routes
ushers the viewer into another dimension. Kim won the Golden Nica in the New
Animation Art category at Prix Ars Electronica in 2023, and the ACC Future
Prize established by the National Asian Cultural Center in South Korea in 2024.

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Kim Ayoung
Delivery Dancer’s Sphere
2022
Video
25 min.

MACHINE LOVE: Video Game, AI and Contemporary Art

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Lu Yang
In Lu’s video works, the transcendental power of Buddhist wisdom is mediatedthrough new technologies and pop cultural tropes, raising fundamental
questions about the human body and mind. Since 2022, he has been
producing a trilogy of films titled “DOKU ” (a world inspired by the Mahayana
Buddhist phrase “Dokusho Dokushi ” [we are born alone, and we die alone]),in which a namesake avatar, who is a digital incarnation of the artist himself,
journeys through different dimensions of the Buddhist spiritual world, offeringa captivating perspective towards life and death. His recent solo shows include
Fondation Louis Vuitton (Paris, 2024), Kunsthalle Basel (Switzerland, 2023),
and MOCA Cleveland ( OH, USA, 2017 ) . He participated in the Venice
Biennale in 2022 and 2016 among other major biennales and triennials. He
was awarded the BMW Art Journey in 2019 and the Deutsche Bank Artist of
the Year in 2022.

Lu Yang
DOKU the Self
2022
Video
36 min.
Music: liiii

Sato Ryotaro
While in graduate school, Sato began creating ﬁlms using game engines basedon data “ assets ” circulating on the Internet, such as the 3D models, textures,
and animations used in video games. According to the artist, he was inﬂuenced
by the culture of sampling and MAD videos *2 in the post-Internet era. His
absurd stories in which various characters such as soldiers, girls, and animals
repeatedly appear recall the short stories of Abe Kobo and others, as well as
the pictorial space of Surrealism, while at the same time questioning the valueof human existence and life in contemporary society. In this exhibition, hewill present a new video piece in which the assets characters that exist just as
various signs are released into the homogenized space of a suburban area.

Sato Ryotaro
Inorganic Friends
2023
4K video
7 min. 37 sec.
*Referential image*2 MAD video
Videos edited by individuals other than the copyright holders, using content from anime,
dramas, movies, games, and other copyrighted works.

Jacolby Satterwhite
Satterwhite fuses an analogue-industrial understanding of technology withimagery from Afrofuturism, the African-American ideals of the future, andpopular culture as a means of “queering” new technologies, creating paradigms
for acting out one ’s identity. His practice is also influenced by his mother
Patricia Satterwhite, a self-taught artist who suffered from schizophrenia.
The work for this exhibition is a continuation of A Metta Prayer , an expansive
multimedia installation that fuses choreography, wallpapers, video, animation,and music to reimagine a kaleidoscopic, computer-generated world inspired by
Buddhist Metta prayers, originally commissioned in 2023 for the Metropolitan
Museum of Art in New York.
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Jacolby Satterwhite
A Metta Prayer
2023
4-channel multimedia installation: sound, theatricallighting, high-deﬁnition color video, 3D animation in
Autodesk Maya and Unreal Engine
21 min. 28 sec.
Courtesy: Mitchell-Innes & Nash, New York

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Jakob Kudsk Steensen
With 3D animation, sound, and digital technology, Steensen creates immersive
works that bring natural phenomena that are often overlooked to life throughvirtual simulations. Presented in this exhibition is The Ephemeral Lake
( 2024 ) , inspired by the German Romantic painter Caspar David Friedrichand commissioned by the Hamburg Kunsthalle, comprising video, sound, andglass lamp sculptures. Examining the natural phenomenon of the “ephemerallake” that periodically appears and disappears in dry barren land, he combined
photographs, 3D scans, specimens, and sound recordings of flora and faunaand landscapes collected during his fieldwork in Death Valley and the Mojave
Desert in California to create a virtual lake and its ecosystem. Its scenery
continues to change in real time and evoke the viewer’s senses.

Jakob Kudsk Steensen
The Ephemeral Lake
2024
Live simulation, generative spatial sound, and glass sculpture
Commission: Hamburger Kunsthalle, Hamburg, Germany
Installation view: The Ephemeral Lake , Hamburger
Kunsthalle, 2024
Photo: Altay Tuz

Adrián Villar Rojas
Villar Rojas conceives long term projects, collectively and collaboratively
produced, that take the shape of large-scale and site-specific installations,both imposing and fragile. Within his research, which mixes sculpture, drawing,
video, literature and performative traces, the artist explores the conditions ofa humanity at risk, on the verge of extinction or already extinct, tracing themulti-species boundaries of a post-Anthropocene time folded in on itself, inwhich past, present and future converge. For this exhibition, the artist uses the“Time Engine, ” an amalgamation of software based on procedural generation
and AI, to model digital ecologies. This engine simulates conditions thenproduces visually rendered data of the physical consequences of time on a
sculpture (or any artifact) of the artist’s design: modeling worlds, that model
sculptures.

Adrián Villar Rojas
Untitled 21 (from the series “ The End of Imagination ” )2023
Live simulations of active digital ecologies, layered
composites of organic, inorganic, and human andmachine made matter
Courtesy: kurimanzutto

Anicka Yi
Yi has cultivated one of the most unique artistic practices that explores the ﬂuid
intersection between biology and technology. In her recent series of shimmering
algorithmic “paintings, ” she integrates imagery amassed through years oflaboratory research with data from her earlier works. This collection is processedby machine learning generative networks that shape the compositions andmateriality of these paintings. The resulting works feature multiple reﬂective andtransparent layers that evoke the sensation of a dynamic, moving relief. Throughthis series, Yi also challenges the traditional notion of painting as a creation
solely attributed to a single author, or even a human author.

Anicka Yi
Wñ †§ñ0§R§
2024
Acrylic, UV print, and aluminum artist ’ s frame
121.9 x 162.6 x 3.8 cm
Courtesy: Gladstone Gallery© Anicka Yi / ARS, New York / JASPAR, Tokyo, 2024 G3616

The latest exhibition press images are available on our website for downloads:
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