AI meets Reality
SHOTVIEW ARTISTS MANAGEMENT
about
Synchrodogs is a duo of fine artists from Ukraine, Roman Noven and Tania Shcheglova, collaborating since 2008. Together they pursue questions of environmental mindfulness and education via art, investigating the complex relationship of human and nature and the new ways the earth begins to look like as a result of their fragile codependence, highlighting juxtaposition of natural and artificial, real and surreal via multidisciplinary artistic approach.
Their works have been exhibited in Dallas contemporary museum, Pinchuk art center, Palais de Tokyo, Benaki museum, the Annenberg space for photography and Artprize hub, they took part in Sothebys charity art auction in 2021 and visions of the future exposition by Saatchi art in 2022.
They also participated in AFAA art residency together with artists like Mason Saltrelli, Anthony Miler, Liam Allen, and Mary Heilmann, and became one of main winners of Lensculture award in 2022.
about the artwork
‘Overture’ is a visual representation of human and technology blending together. The project is created by merging Synchrodogs artworks solely, using ai tools in order to construct the digital interpretation of 15 years of duo’s film photography. the project aims to juxtapose classic/well known vs progressive/innovative, old ways vs new ways or making art.
Caspar Jade
about
Hi, I'm Caspar and I've been working as a portrait photographer in Berlin for many years. AI technology has made it possible for me to express myself creatively in a different way. It is the computer that generates the images, but I make the many small decisions that have significant impact on the effect of an image. I am interested in cinematic images with high narrative power.
Grit Wolany
about
Grit Wolany is a visual artist exploring the field of Generative AI based on curiosity, serendipity and playfulness.
It’s all about experiments, exploration and observation. Grit sees something where others don’t. She develops her own techniques, processes and feedback loops in collaboration with the algorithms and thus finds unexpected subjects, details, tranquility and beauty in the data. Everything in her life is source material. Words and images are her brush and paint.
Grit started her creative career as an art director and designer. In 2020, her curiosity led her to join the pioneering class of the newly formed Digital Ethics study program. After completing the course with a thesis on Digital Humanism, she decided to pursue a Master's degree at the Zurich University of the Arts (ZHdK), focusing on the topic of Artificial Intelligence. What started as socio-economic trend and design research in the field of the creative industries developed over time more and more into an explorative artistic engagement with generative algorithms and digital new media. Grit lives and works in Zurich, Switzerland.
about the artwork
"Buy myself flowers" explores new visual languages of Generative AI. Is it possible to find new interesting aesthetics besides the stereotypical AI look?
Monica Menez
about
The native of Stuttgart, Monica Menez, is an internationally renowned fashion photographer, filmmaker, and creative conceptualizer. Whether it's moving images or a photographic series, and whether fashion or musicians are the main characters, in her work, she takes viewers into a unique world adorned with absurd elements, sensuality, surprises, and humor. In 2010, the already internationally successful fashion photographer ventured into filmmaking, directing her first fashion film, "Precious". Thanks to her vibrant visual language and original storylines, Menez quickly became one of the most influential figures in the emerging fashion film scene. Her most significant film is "Hors d’oeuvre", which earned her the "Best Art Direction" award at ASVOFF in 2012. By 2020, she had directed five more films, all of which became critic favorites and were honored with prestigious awards. The secret of her success is far from being a mystery - it is quite evident in her films and photographs: it is the multi-layered and detail-oriented visual language that turns the viewer into an observer. The multitude of sources of inspiration is unmistakable: Menez draws her ideas from bizarre musical pieces, color and shape worlds from the 1950s and 1960s, to films by John Waters spanning all cultural genres.
about the artwork
Vor einem Jahr begann für mich ein spannendes Kapitel: die Auseinandersetzung mit künstlicher Intelligenz, insbesondere im Bereich der KI-generierten Bilder. Mein Ziel war es, diese innovative Technologie zu nutzen, um meine eigene Bildsprache zu erweitern. Als Künstler mit einem minimalistischen Stil suchte ich nach Wegen, wie KI mir helfen könnte, meine Visionen auf neue, unerwartete Weisen zu realisieren. Die Ergebnisse waren zunächst gemischt. Einige der frühen KI-generierten Bilder waren weit entfernt von meiner Vorstellung einer minimalistischen Bildsprache. Sie waren überladen oder verfehlten das gewünschte Gefühl von Einfachheit und Klarheit. Doch mit Geduld und fortwährendem Feintuning begann die KI, Werke zu erzeugen, die meinem Stil entsprachen. Inzwischen ist die KI ein unverzichtbarer Teil meines kreativen Prozesses geworden. Sie ermöglicht es mir, Grenzen zu überschreiten und meine künstlerische Vision auf Ebenen zu erweitern, die zuvor unerreichbar schienen.
Mario Müller
about
Mario Müller, who hides behind the pseudonym BASD-ART, is a renowned design director with over 20 years of professional experience in the online sector. During his career, he has worked with renowned brands and agencies and has been able to demonstrate his creative expertise. Several of his works have won national and international awards. BASD-ART is particularly fascinated by digital trends and technologies.
about the artwork
"Bloom" stands as an homage to expansion—a visual metaphor embodying the blossoming of the soul, while saluting the creative synergy between humanity, the natural world, and the nuanced touch of artificial intelligence. It represents the harmony that can be achieved when organic life is augmented by the precision and imagination of technology, presenting a future where growth is not just a biological process, but a collaborative dance between the forces of life and the infinite possibilities of AI.
Pol Kurucz
about
Pol Kurucz c/o B&A GERMANY & UK is a French photographer and motion director who combines Photo, 3D and AI tools to create theatrical works. He blends vibrant colours with eccentric narrative to paint outer worldly scenes with its protagonist at its focus.
He's worked with global brands such as Netflix, McDonald’s, Tinder, Warner Music, Peloton, Coty Cosmetics, Skyy Vodka, Melissa Shoes, Jockey to name a few.
His works have been exhibited internationally at Art Basel Miami, ArtExpo NYC, LA Art Show, Red Dot Miami, Lincoln Center NYC, Somerset House London, NY and Shanghai Fashion Week, Superchief NY and Mana Contemporary Miami. In the NFT sphere Pol has been a featured artist on Foundation, Opensea, Nifty, MakersPlace and had a solo show at SuperchiefNFT NY, the world’s first NFT gallery.
about the artwork
'My 2 Tinder campaigns from 2023 using an AI model based on all the photos I took in the past 8 years (no copyright issues)'
Jana Zabarska
about
My name is Jana Zabarska, I am an editorial and commercial stylist, based in Munich but available for bookings anywhere.
I graduated as Designer of Fashion and Communication and worked as Fashion Designer and Graphic Designer before starting to concentrate on fashion styling in 2012.
Since then I have worked on numerous fashion & beauty editorials, image campaign, advertising, lookbook and e-commerce productions. I am a fast and precise worker with hands on mentality and I speak fluently English, German, Russian and Italian.
My work focuses on creating compositions and communicating emotions with shapes and colors. As editorial stylist I have collaborated with Numéro Russia magazine, Harper's Bazaar Czech Republic, L'Officiel Arabia and Russia among others.
about the artwork
WHERE THE WILD THINGS ARE // VOGUE PHILIPPINES A fashion editorial that explores the mysterious and dangerous world of carnivorous plants, beautiful and seductive but yet lethal creatures. These images were produced with an elaborate mixture of real and artificial plants with almost no postproduction or retouch. In times of endless possibilities of AI this project was pure "analogue creativity" in which only the camera was digital but work and beauty very human. Please check out "making of" videos in the stories named "VOGUE PH" of my Instagram account @jana.zabarska Styling: JANA ZABARSKA // Photographer: Pierfrancesco Artini // Hair: Bianca Van Zwieten // Make-up: Jimmy Stam // Set Design: Roberta Terra // Muse: Li Qian
Grayson Lauffenburger
about
I have taught kindergarten in eastern Europe and lived in a lighthouse on an island in the Arctic Circle. I moonlighted as an archaeologist in Tuscany. I love burritos and photography. I got punched in the face by an Italian guy in Scotland once.
-Grayson
about the artwork
This story is driven and defined by happy coincidence, brutally uncomfortable social interaction, and straight-up absurdity. It was born of the half-baked idea to create a body of work reminiscent of the oh-so-beloved awkward family photo albums of the 80´s and 90´s (or, as Gen-Z would call it, the late 20th Century).
It was created by scouring the beach on a daily basis for complete and total strangers and attempting to summon enough courage to approach them and ask them to willingly participate in some questionable image-making with us. What started as a random side project slowly transformed into something of a social experiment touching on the core of human interaction- Why are we so uncomfortable approaching strangers in the first place? Under what circumstances are people saying no? And, most interestingly, why in the hell would they actually consent? These images attempt, in a ludicrous and in-no-way-scientific manner, to answer those questions.
Eric Schilling
about the artwork
Hello, As a graphic designer by trade, I stumbled into the fascinating world of AI-generated art quite unexpectedly in June 2022. What began as a playful creative exploration has blossomed into an immersive artistic journey that continually surprises and delights me. Some of the images overtly display their machine-assisted origins through surreal, dreamlike compositions. Others, however, seamlessly blend the organic and the synthesized, challenging the viewer to distinguish between the real and AI-generated elements. With each new piece, I strive to further dissolve the boundaries between human and machine creativity. My approach is one of open-minded experimentation across diverse styles, subjects and art generation techniques. I don't claim to have any profound answers, but I hope this body of work provokes thought about art's continual evolution in an era of artificial intelligence's rapid development. I invite you to join me in appreciating both the digital magic and grounded humanity that coexist in these hybrid visual spaces. Cheers
Tweda
about
Tweda, alias Sandramaria Schweda, studied photography and communication design at the Folkwang University of Arts in Essen and worked for many years as a freelance designer and art director for agencies and design studios. She has worked on many national and international advertising campaigns - from major car brands to well-known beauty labels.
What excites her about working with AI are the endless visual possibilities and the freedom it gives her to realise visual concepts.
She lives and works in Düsseldorf, Germany.
about the artwork
Photography / AI / Livestyle
A journey back in time to the hot, unforgettable summer of 1995.
Steve Marais
about
"I believe that storytelling is a powerful way to cope with dark times. Stories are spaces where we can recreate and renew ourselves. In an age when AI is challenging our sacred bond with creativity, original stories reveal the timeless links between originality, culture, and human connection."
Steve Marais is a photographer based in Berlin, Germany. Known for his energetic visual style, Steve is a proud member of the LGBTQIA+ community who uses his camera to celebrate the beauty of all bodies, regardless of gender, sexual orientation, age, shape or size. He is curious about the different realities that people face and he invites them to collaborate with him in making new experiences, together. He actively embraces inclusion and variety in his work, and shows the everyday in a fresh and authentic light.
Steve has a talent for capturing people in a way that is both intimate and empowering. His personal work has been featured in numerous publications, where he has received acclaim for his ability to get close and extract a raw sensuality from his subjects.
Represented by 70seven Artist Management
about the artwork
A.I. MEETS REALITY, A MATCH MADE IN HELL // BY STEVE MARAIS
The romance between Artificial Intelligence and Reality is, in my experience, doomed. While AI has made strides in enhancing creative processes, it struggles to replicate the depth and authenticity of human expression.
Let's imagine AI and Reality both swipe right for each other. Their initial chats are flirty, but not filthy (AI doesn't allow that) and they plan a date. AI arrives at the café ready for with meticulous conversation topics and data-driven icebreakers. Reality, however, shows up with humour and spontaneity, and an unpredictability that soon freaks out AI. Prompts go awry, despite AI's best efforts to predict Reality's preferences. The date quickly takes a turn for the worse. AI's calculated approach to romance clashes with Reality's desire for passion, leading to awkward silences and misread cues.
At the heart of AI's rendezvous with Reality is its ability to assist in generating content, from music and art to legal jargon and code. While AI streamlines the creative process, it often falls short of capturing Reality's creative essence, rooted in personal experiences, emotions, and cultural influences.
AI is also pretty boring. Reality tries to spice things up a bit, but suggestive language is strictly forbidden. Sensitive topics are blocked, aimed at protecting Reality from "inappropriate material". AI's ecosystem is developed for "responsible use and inclusivity", often at the cost creativity and spontaneity. As the date sours, Reality becomes concerned about safety. Is AI potentially creepy? The question of AI's danger is complex. While AI itself isn't inherently dangerous, its development, deployment, and regulation pose potential risks. Mass job displacement due to AI-driven automation is a significant concern, particularly for workers in creative, administrative or routine-based jobs, potentially exacerbating catastrophic socioeconomic inequality. Data privacy is also a huge concern, AI relies on vast data mining.
As the evening comes to an end, it becomes increasingly clear that AI and Reality are, sadly, fundamentally incompatible.
ChatGPT actually assisted in writing the above. But, after several rounds of prompts and edits, its limitations became glaringly apparent. However useful any AI tool is, it takes a great amount of tweaking to get it anywhere close to usable. The headache associated with misunderstood commands and output limitations is enough to deter anyone with even an inch of creative depth. It is therefore not surprising that I don't care much for AI, nor do I feel in any way threatened by it's existence.
Instead, I herewith submit a series called "HORSEPLAY", created with a CAMERA -- published in The Working Issue of Lampoon Magazine (A/W 2023).
"HORSEPLAY" explores human connection as the ultimate expression of sustainability. Our lives immersed in digitalism, we often tend to forget our basic need for closeness. But what about our primal desire for each other? Horses are magnificent, often fetishised creatures that embody strength and freedom. The talents horse around on a farm in garments from Prototipo, a label that is dedicated to creating ethical luxury fashion. We may live in the age of artificial intelligence, but in the end nothing is more sustainable than human connection.
Photographer: Steve Marais // @stevemarais
Stylist: Camille Franke // @camille.franke
Stylist Assistant: Antonio Chiocca // @antoniochiocca_stylist
Make-up artist: Sabrina Pinsone // @sabinapinsone
Hairstylist : Dennis Brandt // @dennis_brandt
Producer: Eugenia Vicari // @gingistudio
Casting Director: Hien Le // @hienlecasting
Production & photo assistant: Elfesya Canimara // @elfesya_canimana
Cast:
Illia Kulishov // @illiakulishov
Dave Waldorf // @dave_waldorf
Emma Gröper // @emma.groeper
Denys Buchok // @ddenisonn
Maxie Elizabeth // @maxie_elizabeth
Barbara Kepa //
Emma Krög // @emmakroeg
Jasper Braack // @jasper_lasse
Fernando Barbella
about
Fernando Barbella is a multi-disciplined award-winning Creative Director, with digital DNA, and many years of international experience in fully integrated communications in Germany, the UK, Spain, Argentina, and Chile, at J Walter Thompson, LOLA MullenLowe, DDB, BBDO, and Ogilvy, and developing and launching local, regional, and global projects with Nike, Audi, KitKat, Microsoft, UBS, HSBC, Pepsi, VW, SEAT, Gatorade, Doritos, Sports Illustrated, Dove, Coca-Cola, Brahma Beer, Santander Bank, Motorola, IBM and American Express, among others.
With a deep knowledge of how technology can transform communications, but at the same time with the talent and humanity to harness this to ideas that move people, no matter the shape of those ideas.
He's an executive member of the Webby Awards organized by the IADAS (International Academy of Digital Arts and Sciences), the PWAs Jury, the Global Panel of MIT Technology Review, the Art Directors Club of Germany, and the Harvard Business Review Advisory Council.
about the artwork
"The No-Return Dispatch" immerses viewers in the poignant reality of humanity's inaugural Martian settlement. Through the use of Generative Art, it vividly portrays the daily triumphs and challenges of the pioneers who've committed to a one-way journey. Spectators witness the settlers' routines, from cultivating Martian soil to constructing sustainable habitats. The project dynamically illustrates the emotional and psychological toll of knowing they'll never return to Earth. Viewers grapple with the settlers' determination, forging connections with the characters and experiencing the resilience required to build a new home on the Red Planet. "The No-Return Dispatch" not only showcases Midiourney's technical prowess but also fosters a profound contemplation on the indomitable human spirit in the face of interplanetary exploration." "The No-Return Dispatch" has the potential to become a fully developed AI-generated short film, as well as an immersive experience in the physical world. Via Virtual Reality, people could explore how life on Mars could be, understanding the implications and impact of sending a "one-way" dispatch or mission to a new world to settle there and establish a Human colony in the near future. It would be also key to understand the emotional and psychological impact of living for the rest of their lives thousands of miles away from Earth.
Nina Lemm
about
Biography
Nina Lemm is a interior stylist and set designer living in Berlin. After studying Product Design at Central Saint Martin’s College in London and working at Babelsberg Film Studios she worked for numerous photo productions with clients including AD Architectural Digest, Dornbracht, Occhio, SieMatic, Zimmer+ Rohde among many others. She has also designed her own furniture collection. Recently she has moved into AI image creation as a means of expressing her untamed desire for creativity ( https://ninalemm.com/ai-creation) .
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Biografie
Nina Lemm ist Interior Stylistin und Set Designerin und lebt in Berlin. Nach ihrem Produktdesign-Studium am Central Saint Martin’s College in London und ihrer Arbeit in den Babelsberg Film Studios arbeitete sie für zahlreiche Photoproduktionen mit Kunden wie AD Architectural Digest, Dornbracht, Occhio, SieMatic, Zimmer+Rohde und vielen anderen. Sie hat ihre eigene Möbelkollektion entworfen. Vor kurzem hat sie sich der KI-Bilderstellung zugewandt, um ihrem unbändigen Wunsch nach Kreativität Ausdruck zu verleihen (https://ninalemm.com/ai-creation).
about the artwork
KI ist gekommen um zu bleiben Gefühlt von jetzt auf gleich betrat die generative künstliche Intelligenz unsere Welt. Sind Sie erstaunt, fasziniert, verwirrt oder verängstigt? Wie Max Tegmark in seinem Buch „Life 3.0“ schreibt, sind wir in die Gruppen der Digitalen Utopisten, Techno-Skeptiker oder Anhänger der Nützlichen KI-Bewegung eingeteilt, die Forschung und offene Debatten fordern, um Wohlwollen gegenüber der menschlichen Gesellschaft sicherzustellen. Auch dieser Wettbewerb ist Recherche und Einladung zur produktiven Diskussion. Es liegt in unserer Verantwortung als Individuen und Grupppen, Antworten für eine optimale Auseinandersetzung und Interaktion mit diesem neuen Medium zu entwickeln. Nur wenn wir diese Fragen anerkennen, verstehen und gemeinsam entwickeln, können wir eine fundierte Entscheidung treffen. Laut Klaus Holz (CEO von Midjourney) wird unsere Reaktion auf die Explosion neuer visueller Möglichkeiten unseren kommerziellen Erfolg auf dem Markt der Bildgestaltung bestimmen. Wer jetzt investiert, wird Erfolg haben, Unternehmen, die diese Chance verpassen, werden scheitern. Als Interior Stylistin und Designerin sehe ich eine neue Welt voller faszinierender Inspirationen, Moodboard-Ideen und schon jetzt: einfach bessere Hintergründe. Wir erschaffen in diesem Moment eine neue Bildsprache. MIt einer Wabi Sabi Mentalität erlaube ich KI-spezifische Unregelmäßigkeiten, ich finde sie charmant. Für die GoSee Awards habe ich Bilder entwickelt, die zwischen den Welten der Magie und des Realismus schweben und so den Titel „Magischer Realismus“ tragen. Willkommen neu im Team: AI Artists! https://ninalemm.com/ai-creation ( Deutsche Version) -- AI entered the building Within the blink of an eye, Generative Artificial Intelligence entered our world. Are you amazed, mesmerized, bewildered or scared? As seen by Max Tegmark in his book “Life 3.0” we are divided into the groups of Digital Utopists, Techno Sceptics or followers of the beneficial AI movement, which demand research and open debate to ensure benevolence. This competition too is research and invitation for productive discussion. It is our responsibility as individuals and society to develop answers for ideal engagement and interaction with this new medium. Only by knowing, understanding and developing these questions together will we be able to make an informed choice. According to Klaus Holz ( CEO of Midjourney) our response to the explosion of new visual possibilities will determine our commercial success in the market of image creation. Whoever invests now will succeed, businesses missing this opportunity will fail. To me as a set stylist and designer I see a new world of fascinating inspirations, moodboard ideas and already now: simply better backgrounds. We are creating a new visual language as we speak. With a wabi sabi attitude I allow irregularities specific to AI, I find them charming. For the GoSee awards I have developed imagery which floats between the worlds of magic and realism, leading to the title "Magic Realism". Welcome a new team member: the AI Artist! https://ninalemm.com/ai-creation ( english version) --
Jeannette Bergen
about
Jeannette Bergen
- 1998 - 2005 Art Director at Springer & Jacoby Hamburg and Amsterdam
- since 2005 Freelance Creative Director (focus: beauty, fashion, lifestyle)
- since 2023 Digital Creator / AI Artist, represented by Yesweprompt (Germany) + Visual Eyes Artists/AI Artists (Switzerland/Austria)
about the artwork
Your & Me. Since the beginning of my first AI works, portraits of (more or less) real people & otherworthy (AI) creatures have been my favorite subject, which I bring to life again and again in various forms. Here in illustrative style.
Hekuran Avdili
about the artwork
In today's world, where digital and real worlds are blending, the combination of Artificial Intelligence (AI) and traditional crafts is creating innovative art forms that change how we see everyday things. A striking example is using advanced AI by Midjourney to represent food in a style reminiscent of crochet crafts. These images, from burgers to tomatoes, not only celebrate the diversity of our food but also showcase the creative potential of combining human and technology efforts. By merging AI with the art of crochet, we get visual masterpieces that define a new aesthetic: tasteful and stylish. They encourage us to think about the relationship between technology and craftsmanship, and between artificiality and authenticity. These works demonstrate how AI can push creative boundaries without losing the warmth of handmade art. Moreover, they reflect the growing importance of sustainability by presenting the beauty of food in a way that is neither perishable nor wasteful. These AI-created images are more than just art; they are a dialogue between the crafting traditions of our ancestors and the technological possibilities of the future. They invite us to see the world of food in a new ligh, as a source of inspiration and a display of endless creativity.
Svetlana Jovanovic
about
Serbian born Dutch artist, Svetlana received an MA in Psychology from the University of Belgrade. She has also studied at the Royal Academy of Arts (KABK) in The Hague, Nouva Accademia di Belle Arti NABA in Milan, and the International Center of Photography in New York City. After years with the UN in The Hague where she was engaged in the field of international justice ,Svetlana moved to NYC to work on personal and commercial art projects. She is currently based in Amsterdam.
about the artwork
I have always been inspired by the concept of the Self and Other in psychology and philosophy. Identical twins, with their enigmatic bond, appeared to be an ideal subject for exploring this dichotomy through photography. I started the series “Otherness” in which I focus on identical twins and the balance between individuality and shared identity. As a continuation of this series, for my Hasselblad Heroines presentation I photographed Anna and Thea, identical twins from Denmark. Upon discovering Anna and Thea, I instantly recognized their suitability for this project, envisioning them almost as characters in a film by Danish director Lars von Trier, whose cinematography I admire. Through photographing them, I want to examine complexities of human perception, self-discovery, and the subtle nuances that define us as both distinct individuals and inseparable entities. I strive to capture the unique connection between twins, inviting viewers to reflect on how we define ourselves as both separate and connected beings.
Thomas Schorn
about the artwork
Der McLaren Speedtail ist die nahezu märchenhafte Verschmelzung von Kunst, Automobildesign und Ingenieurswesen. Die pure Eleganz und seine stromlinienförmige Leichtigkeit lassen einen leicht vergessen, dass er mit seinen 1.050 PS sowie einem Topspeed von über 400 Km/h an Dominanz kaum zu übertreffen ist.
Die Full-CGI Serie ist wie ein Fashion-Shoot inszeniert und spielt gekonnt mit den Attributen dieses rollenden Kunstwerks - Dominanz, Leichtigkeit, Eleganz.
„Airytale“ ist die Symbiose aus Air und Fairytale, die perfect den Charakter des McLaren Speedtail umklammert.
Philipp Langer
about
Born and raised in East Berlin, I relocated to New York City in March 2003 after completing my degree in computer science with a focus on digital media and design. Over several years, I immersed myself in the city's creative and agency scene, working as an art director, motion designer, and photographer. In June 2012, I returned to Berlin, where I currently serve as a senior creative director and designer.
My fascination with generative AI began when I recognized its immense potential for creativity and its capacity to revolutionize my industry. I am constantly driven to push the boundaries of realism and explore new avenues for creating impactful content, aiming to evoke emotional reactions in the viewer.
about the artwork
In my project "The Hybrids," my objective was to craft portraits of artificial beings possessing strikingly lifelike qualities, so that the observer feels a emotional connection to them just like they would with real individuals. AI or not.
To maximize their impact, I meticulously eliminated nonessential visual elements from the images, focusing solely on the essence of the subjects.
