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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 "see." These gestural traces, originally created by three scientists meticulously outlining objects with computer mice, are transformed through two…
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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 "see." These gestural traces, originally created by three scientists meticulously outlining objects with computer mice, are transformed through two…
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