it’s our pleasure to welcome Tintin Patrone to our subnetAIR program 2024!
As every year, a mixture of local and international artistic positions has been sought out. The selected project proposals and persons are characterised by ambitious objectives and thematic relevance.
The jury selected Tintin Patrone, because the approach to human-robot interaction, detailed in her project „wire and soul – healing in a digital age“, questions the basic instincts that come to the fore when interacting with more-than-human agents. The jury was moved by the empathetic aspects of the proposed project.
About Tintin Patrone’s project:
In a world where robots are becoming more and more common – from everyday helpers to war machines – a new ethical question arises: How do we deal with these machines, how do we treat them and how is this treatment reflected in our society?
In recent years, there have been several reports and viral videos of robot abuse.
A striking example was the case of HitchBOT, a Canadian robot that responds to an interactive journey through different countries. Despite successful trips through Canada and parts of Europe, HitchBOT was vandalized in Philadelphia, USA, which prematurely ended the experiment.
The project „wire and soul – healing in a digital age“ brings together art, ethics and technology and reflects on our relationship with robots and the ethical imperatives of the 21st century. The focus is on psychological research conducted in collaboration with specialists in trauma and coping. The highlight is an art installation that resembles a day care center for robots full of interactive therapy areas for mistreated robots.
Christina Koehler, mainly working as Tintin Patrone, is a German-Filipino Sound- and Performance artist. Tintin Patrone is captivated by the exploration of interconnections among music, art, sound, and experimental forms of expression. Her creative works revolve around the visual aspects of music and the ways in which personal and societal connections are established with it.
By involving herself with robots and artificial intelligence in her artistic practice, Tintin Patrone challenges established notions of human subjectivity and physical presence. Through the integration of these technological elements, her objective is to go beyond outdated concepts of “human nature” and nurture fresh perspectives that continuously evolve alongside contemporary advancements in science and technology.
More （ノ♯｀△´）ノ~’┻━┻ | Tintin Patrone
subnetAIR25 will be calling this summer and deadlining on October 31st 2024.
subnetAIR Exhibitions:
2022 Medien.Kunst.Realitäten – Katalog
2018 possible bodies – Katalog
2015 Klanghypothesen – Katalog
subnetAIR 2016 -2022:
# Jana De Troyer – documentation
# Martina Fröschl – documentation
# Scarlett Yang
# Corrie Francis Parks (MediaART Stadt Salzburg) – documentation
# Chun Shao – documentation
# Katsuki Nogami – documentation
# Margarethe Maierhofer-Lischka – documentation
# Nora Jacobs (MediaART Stadt Salzburg) – documentation
# Lukas Gwechenberger – documentation
# Stefan Tiefengraber – documentation
# Stefano Mori – documentation
# Simon Whetham – documentation
# Silvia Rosani and Tom Jacques – documentation
# Vera Sebert – documentation
# Michaela Schwentner – documentation
# Mac Krebernik – documentation
subnetAIR Ausstellung: possible bodies (2018) – Katalog
# Lale Rodgarkia-Dara – documentation
# Simon Faulhaber
# Georg Scherlin – documentation
# Iulia Radu
# Nicolò Cervello
# Robert B. Lisek – documentation
# Kanari Shirao – documentation
# Laura Splan documentation
#Antoni Raijekov – documentation
# Young Suk Lee – documentation
# Danny Bracken
# Lucie Strecker
2015subnetAIR Ausstellung: Klanghypothesen (2015) – Katalog
# Myriam Bleau
# Robert Praxmarer – documentation
# Nikolas Psaroudakis – documentation