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Marcel Schwittlick's "White Show" presents a decade-long investigation into the aesthetics of human-machine gesture, manifested through three distinct yet interconnected bodies of work. At its core, the exhibition builds upon historical captures of the cursor – an extension of human gesture into virtual space – as both a personal artistic medium and an artifact of human-machine interaction. Schwittlick's work reveals these daily gestures - our clicks, drags, and hovers - as something far more embodied than mere utility, a choreography of modern existence, each movement a negotiation between flesh and pixel, intention and interface.
In the Caltech Studies series, Schwittlick appropriates one of computer vision's foundational moments: the manual annotation of over 9,000 images that formed the first systematic attempt to teach machines to…
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Press Release
Marcel Schwittlick's "White Show" presents a decade-long investigation into the aesthetics of human-machine gesture, manifested through three distinct yet interconnected bodies of work. At its core, the exhibition builds upon historical captures of the cursor – an extension of human gesture into virtual space – as both a personal artistic medium and an artifact of human-machine interaction. Schwittlick's work reveals these daily gestures - our clicks, drags, and hovers - as something far more embodied than mere utility, a choreography of modern existence, each movement a negotiation between flesh and pixel, intention and interface.
In the Caltech Studies series, Schwittlick appropriates one of computer vision's foundational moments: the manual annotation of over 9,000 images that formed the first systematic attempt to teach machines to…
