The Tate Modern's exhibition, "Electric Dreams: Art and Technology Before the Internet," running from November 28, 2024, to June 1, 2025, offers a comprehensive exploration of the symbiotic relationship between art and technology from the 1950s to the early 1990s. This period, marked by rapid technological advancements, saw artists integrating emerging technologies into their creative processes, leading to groundbreaking works that challenged traditional artistic boundaries.
The exhibition brings together over 150 works by more than 70 artists from around the globe, highlighting the diverse approaches to technology in art. From kinetic sculptures to immersive installations, "Electric Dreams" showcases the innovative spirit of artists who embraced machines, algorithms, and industrial materials to create new sensory experiences.
Early Innovators and Kinetic Art
The journey begins with pioneers of kinetic and optical art, who, in the 1950s and 60s, experimented with movement and perception. Belgian artist Pol Bury's "3069 White Dots on an Oval Background" exemplifies this era's fascination with subtle motion. The piece features a large wooden oval adorned with fine bristles that twitch almost imperceptibly, creating a mesmerizing effect that blurs the line between motion and stillness.
Similarly, French artist François Morellet's installation utilizes randomized patterns generated from telephone directories, resulting in dynamic visual experiences that challenge viewers' perceptions. These works underscore the artists' desire to engage audiences in active viewing, transforming passive observation into interactive participation.
Immersive Environments and Light Art
The exhibition also delves into immersive environments crafted through innovative uses of light and space. Venezuelan artist Carlos Cruz-Diez's "Chromointerferent Environment" transforms an entire gallery into a pulsating field of parallel lines that ripple and shift, altering the appearance of both the space and its occupants. This installation exemplifies the use of light to create immersive experiences that engage viewers' senses on multiple levels.
Japanese artist Tatsuo Miyajima's contributions further highlight the integration of technology and art. His works, such as "Lattice B" (1990) and "Opposite Circle" (1991), employ electric circuits and LED counters that cycle through numbers, symbolizing the continuous flow of time and the interconnectedness of existence. Miyajima's art invites contemplation on the relationship between technology and human experience.
Cybernetic Sculptures and Interactive Art
The exploration of cybernetics and interactive art is another focal point of the exhibition. Chinese-American artist Wen-Ying Tsai's cybernetic sculptures respond to environmental stimuli, such as sound and movement, creating dynamic interactions between the artwork and the audience. These pieces exemplify the artists' exploration of systems theory and the feedback loops inherent in both biological and mechanical systems.
British artist Harold Cohen's work with the AI program AARON represents an early foray into artificial intelligence in art. Developed in the late 1960s, AARON could autonomously create drawings based on programmed rules, challenging traditional notions of authorship and creativity. Cohen's collaboration with AARON highlights the potential of machines to augment human creativity, a concept that continues to resonate in contemporary discussions about AI and art.
Material Innovation and Industrial Processes
Artists during this period also experimented with industrial materials and processes to push the boundaries of traditional art forms. American artist Liliane Lijn, for instance, utilized materials such as aluminum and perspex to create her "Koan" series—cone-shaped sculptures that incorporated light and movement. Lijn's work reflects a fascination with energy and transformation, themes central to the technological explorations of the time.
Similarly, German artist Günther Uecker's use of densely hammered white nails creates surfaces that appear to shimmer and move as viewers change their perspective. These tactile works invite viewers to engage with the materiality of the art, emphasizing the physical presence of the artwork in space.
Reflections on Technology and Society
While many artists embraced technology's potential, others offered critical perspectives on its societal implications. Gustav Metzger, known for his concept of "auto-destructive art," used his work to comment on the potential for technological advancements to lead to environmental degradation and societal harm. Metzger's art serves as a cautionary reminder of the double-edged nature of technological progress.
The exhibition also addresses the utopian visions associated with technology during this era. The 1968 exhibition "Cybernetic Serendipity" at London's ICA, referenced within "Electric Dreams," showcased artists' optimism about the possibilities of cybernetics and computing. This historical context provides insight into the evolving relationship between art, technology, and society.
Legacy and Contemporary Relevance
"Electric Dreams" not only highlights historical intersections of art and technology but also underscores their contemporary relevance. The exhibition's exploration of early digital art, interactive installations, and machine-generated works provides a foundation for understanding today's digital art practices. As contemporary artists continue to engage with artificial intelligence, virtual reality, and other emerging technologies, the pioneering works featured in "Electric Dreams" offer valuable insights into the ongoing dialogue between art and technology.
Find out more via Tate Modern.
