Ornella Fieres

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	<title>Ornella Fieres</title>
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	<description>Ornella Fieres</description>
	<pubDate>Sat, 02 Mar 2024 20:40:17 +0000</pubDate>
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		<pubDate>Sat, 23 Dec 2017 09:45:14 +0000</pubDate>

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	ORNELLA FIERES


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		<pubDate>Wed, 18 Aug 2021 12:49:53 +0000</pubDate>

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PORTFOLIO
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		<pubDate>Mon, 06 Sep 2021 19:00:47 +0000</pubDate>

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	VIDEOS


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		<pubDate>Mon, 06 Sep 2021 09:34:23 +0000</pubDate>

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		<pubDate>Sat, 23 Dec 2017 09:45:15 +0000</pubDate>

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SELECTION</description>
		
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		<title>Videos</title>
				
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		<pubDate>Sat, 11 Sep 2021 11:21:26 +0000</pubDate>

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		<description>VIDEOS

We archive the Change (2025)
 Video / 16:9 / 07:10 minExcerpt
We archive the Change is a video work by Ornella Fieres that transforms a 19th-century family photo album into a three-dimensional landscape of memories. The historical photographs, showing a French family who later lived in Brazil, are processed with AI systems that estimate depth. The technology interprets how far objects and people might have been from the camera and turns each image into a cloud of points in virtual space.

The video leads viewers on a slow flight through these scenes. Ten years of family life unfold as moments that can be moved through, entered and viewed from the inside. Faces, clothing, plants and architecture appear as delicate point formations, revealing how the AI reads and rebuilds the past.

The work continues Fieres’ long-term exploration of how machine vision interprets historical photographs. By turning each image into a spatial field of points, We archive the Change makes visible the gap between human memory and algorithmic perception. The result is a machine-generated view of the past — fragmentary, shifting, and always slightly different from what the images once showed. 


It seems to capture the beauty and majesty of nature (2023)
 Video / 16:9 / 06:16 minExcerpt
For It seems to capture the beauty and majesty of nature (2023), the video material was created by sequentially processing analog photographs. First, a language model analyzed the individual nature and family portraits and formulated descriptions of the (alleged) visual content. These written image interpretations then served as a template for a video generation AI, which produced the moving image material. The results are, in the sense of Masahiro Mori, uncanny valleys - here, landscape scenes, some of which are populated by people with distorted bodies and overlaid with a voice-over and the corresponding subtitles. The narrating voice is that of the artist herself, yet it is not her speaking — an AI was taught to replicate her tone and manner of speech — alongside a soundscape recorded at Berlin's Botanical Garden. Blending the natural and artificial, It seems to capture the beauty and majesty of nature offers a glimpse through 'eyes' of AI and its unique perspective on humanity and nature. At the same time that AI learns from our reality via photographs and attempts to understand in order to convincingly replicate it, the electronic waste and consumed energy put that very environment at risk. Much like when people, such as the French family migrating to Brazil, settle in new areas and populate them, AI alters the earth as it interacts with it. 


IC_We will all be here always (2023)
 Video / 16:9 / 05:30 min
Loop

This two-channel video installation flips through a found photo album from the late 19th century, featuring a wealthy French family living in Brazil. The video presents all the photos from the album in the form of a slideshow. On these images, we see object detection frames, part of AI computer vision technology, highlighting various elements within the photographs. The labeling of these elements seems unusual, as the neural network was trained with Fieres’s abstract impressions rather than simple terms like "woman," "cat," or "car." Instead, it uses phrases that capture her subjective perceptions, such as "Fading Carefreeness of Early Life," "Matriarchal Gravity," "Botanical Chaos," and "Foreshadowed Ecocide." This process creates a complex conversation between artist and machine, where subjective interpretations and objective analysis intersect. 


A black dog is looking at himself in the mirror (2021)
 Video / 16:9 / 06:41 min
Excerpt

In Ornella Fieres’ video piece A black dog is looking at himself in the mirror we watch technology observing itself. Almost indiscernible scenes in slow motion are hidden behind what seem to be descriptions of images. It could be that the two, the out of focus footage and the phrases in bold letters, refer to one another, but there is an obvious or at least felt discrepancy which might stem on our collective memory: For the piece, the artist presented Sci-Fi movie sequences from the 1960s to 1970s to a neural network trained to analyze images, which then captioned the short scenes. Fieres blurred the footage, so in the end we can only assume that the artificial intelligence failed to recognize the fake technology that was once imagined to become our future. 


Letters to M / HTR (2020)
 Video Installation / 4:3 / Randomized Loop
Installation Excerpt
In 2016, Fieres acquired from an inheritance sale a box containing about seven hundred letters from the 1960s and 70s from the former GDR. The letters, including postcards and photographs, were addressed to a woman in East Berlin. Among the letters were also a few that she had written herself.


For the video installation&#38;nbsp;Letters to M / HTR Fieres let an artificial intelligence transcribe the handwritten texts in print. In this way, she made the content of the partially hard to decipher handwriting accessible. Some of the letters, more than half a century old, were still written in Sütterlin script.
Fieres selected over a hundred text fragments, mostly single sentences, and presents them on three old monitors. Due to a random generator, the text fragments on display alternate, so that new textual contexts are constantly created. Sometimes the transcriptions are afflicted with small errors. Additionally an AI-generated voice makes the texts audible.


I create paths that lead to the clouds in which we go (2020)
 Video / 16:9 / 08:55 min
Excerpt

In Ornella Fieres’s piece I create paths that lead to the clouds in which we go an artificial intelligence shares its hopes, dreams and fears, giving an outlook on a future where the digital universe unites with the human, forming an entity that could mean the end or the salvation of the world.

To let the AI speak, Fieres fed a neural network with texts that were written within the last decade on her artistic practice, which deals with the spiritual and uncanny aspects of the digital realm. The AI evolved, like in a self-fulfilling prophecy, from the artist’s theories to develop its own unreckoned, dystopian manifesto. 


An Algorithm for Snowfall (2020)
 Video / 16:9 / 60:00 min
Excerpt

The video-piece An Algorithm for Snowfall is a digital reconstruction of historic scientific film footage. Ornella Fieres used an algorithmic intervention to create a simultaneously dystopic and utopic world, where nature and technology intertwine. The two frames next to each other display the same film in extreme slow motion, one part moving forwards, one going backwards, mirroring each other in only one imperceptible instant. 


The Alchemist / On Guard / Behind the Lens (2019)
 3 Channel-Video-Installation / 16:9 / 26:55 min
Excerpt of “On Guard” &#38;amp; Installation

For the video installation The Alchemist / On Guard / Behind the Lens Ornella Fieres filmed computer screens showing early 20th century documentaries on computer-based data acquisition, the invention of slow motion and the chemistry of photography. She then slowed down these recordings by over a thousand times, adding an algorithm which was set to calculate where the video’s pixels would move to in the next frame. The outcome is  full of unpredictable interferences, mysterious artifacts, emanating a droning, muffled sound.


As if we are passing through tunnels (2017)&#38;nbsp;
Video / 16:9 / 31:15 min
Excerpt
The urge to take pictures of screens in order to capture their
emanations has been around since the birth of television. Whether it’s done in the analogue or digital age – any external or internal screen reproduction means freezing visual signals of events far or near; of events long gone or happening right now.
Ornella Fieres’ installation As if we are passing through tunnels focuses on the visuals and language of early spaceflight. 
In her work with appropriated footage, the artist frequently comes across analogue photographs of TV screens showing live transmissions of Soviet and US space travel events. For the video piece she recorded film docuemtaries from that age off of computer screens and then slowed the footage down to an extreme extend. The video installation shifts our innate sense of time. Just like walking through a tunnel …


Tide (2014)&#38;nbsp;
Video / 16:9&#38;nbsp; 
Endless Loop
Ornella Fieres recorded her video work Tide in the Griffith Observatory in Los Angeles. In fast motion, it shows the simulation of the lunar phases as a projection on a ball. Further, the artist converted the data of her video into a sound track. Two versions of the film come about, one visual and one auditive, which are played back simultaneously. The video signals that have been converted into sound by the artist resemble NASA's audio recordings from space. They are reminiscent of the noisy and crackling sounds from the radio which emerge from interfering electromagnetic waves. Also, light is nothing but electromagnetic radiation, visible to the eye. Ornella Fieres has transformed the light of her film's data into audio waves—just as NASA did with waves from space. Similarly, both forms of waves can eventually be located in the narrow array of the conceivability of the human senses. (Text-excerpt by Tina Sauerlaender)


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		<pubDate>Fri, 03 Jan 2014 16:01:19 +0000</pubDate>

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	<item>
		<title>We will all be here always</title>
				
		<link>https://ornellafieres.com/We-will-all-be-here-always</link>

		<pubDate>Sat, 02 Mar 2024 20:40:17 +0000</pubDate>

		<dc:creator>Ornella Fieres</dc:creator>

		<guid isPermaLink="true">https://ornellafieres.com/We-will-all-be-here-always</guid>

		<description>We will all be here always features&#38;nbsp;collages and video works that observe the fragile symbiosis between new digital technologies and historic analog materials. For over a decade, Fieres has engaged with artificial intelligence programs, harnessing these cutting-edge tools in real time as available digital technologies rapidly evolve. At the heart of this latest body of work is a found photo album, documenting the lives of a wealthy French family living in Brazil in the late 19th-century; as various algorithms process these subjects' relationships to each other and their tropical environment, the artist grapples with implications for human creativity and the endangerment of the natural world.

After digitization, each image in the archive underwent a multilayered analysis by artificial intelligence as well as interpretation by Fieres. In the collage The river runs through the middle of the image/CV, an original photograph of people on a mountainside is accompanied by the artist's handwritten transcription of a program's image analysis — "the river runs through the middle of the image winding its way through the mountains" — and is embedded within a generated terrain, which functions as a map of that same original photograph's calculated depth. In other words, the surreal landscapes in the collages are 3D data visualizations of numerical information, such as color values or light readings, gleaned from the analog photographs by computer vision models. The written descriptions, which vary in their accuracy, originate from a neural network tasked to describe the scanned images.

The exhibition continues with a two channel video installation that flips through the entire album like a slideshow, while object detection frames — via computer vision technology — highlight different elements of the photographs. While studying the album, Fieres wrote down her abstract impressions of the images and then taught these phrases to a neural network, which is typically trained to segment images according to simpler terms like 'woman,' 'cat' or 'car.' Instead, this network labeled the images according to Fieres’ perceptions like 'Fading carefreeness of early life,' 'Matriarchal Gravity,' 'Botanical Chaos' or 'Foreshadowed Ecocide.' The detection frames chart a complex conversation between artist and machine, an exchange of subjective and objective evaluation.

In the final video work, It seems to capture the beauty and majesty of nature, artificial intelligence visually eclipses the archival source material. Fieres leveraged the descriptions from the aforementioned neural network's image analysis of the photographs as prompts for yet another neural network to generate entirely new animations. The result is a series of uncanny landscapes, frequently populated by the distorted figures and faces of people, each overlaid with a written and spoken version of the prompt. The narrating voice is that of the artist herself, yet it is not her speaking — an AI was taught to replicate her tone and manner of speech — alongside a soundscape recorded at Berlin's Botanical Garden. Blending the natural and artificial, It seems to capture the beauty and majesty of nature offers a glimpse through 'eyes' of AI and its unique perspective on humanity and nature. At the same time that AI learns from our reality via photographs and attempts to understand in order to convincingly replicate it, the electronic waste and consumed energy put that very environment at risk. Much like when people, such as the French family migrating to Brazil, settle in new areas and populate them, AI alters the earth as it interacts with it. 

In navigating the obscure space between perceived opposites — past and future, analog and digital, two-dimensional and three-dimensional, fact and fiction — Fieres seems to collapse these binaries. Every historical and digital action has a real world consequence, from the ecological impact of the computers running these processes to the artist's irrevocable decision to upload her own and the family's likenesses online, where they will now be stored forever. Balancing these tensions, We will all be here always presents a portrait of technology at this distinct moment in time — given the speed of artificial intelligence's transformation, the very programs utilized in these artworks may be obsolete by the exhibition's opening.
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	<item>
		<title>Ich halte es für eine Tragödie, daß wir uns nicht gefunden haben!</title>
				
		<link>https://ornellafieres.com/Ich-halte-es-fur-eine-Tragodie-das-wir-uns-nicht-gefunden-haben</link>

		<pubDate>Sat, 19 Jun 2021 09:07:14 +0000</pubDate>

		<dc:creator>Ornella Fieres</dc:creator>

		<guid isPermaLink="true">https://ornellafieres.com/Ich-halte-es-fur-eine-Tragodie-das-wir-uns-nicht-gefunden-haben</guid>

		<description>
A few years ago, Ornella Fieres bought a random box of letters and postcards at an inheritance sale belonging to a woman from the DDR. She began processing these artefacts through AI technology, slowly digitising the life of a woman, whose eccentric and outgoing personality now haunts this splendidly odd exhibition at Sexauer Gallery. Although her identity and appearance are kept hidden, in letters written by her and from others, phrases (often misinterpreted) from the handwritten text are delivered in austere female voices out of vintage TV sets. In another piece, hapless image description software has a go at describing photographs from the 60s and 70s. It points at a charming and unnerving meditation on advanced technology, filtered through the reanimated life of an East Berliner. Split into three main sections, the standout being the flowers scanned from the backs of DDR postcards and processed through deep-fake facial programs, which contort and abstract, resulting in peculiarly beauti- ful DDR-styled hybrids.Duncan Ballantyne-Way in EXBERLINER Issue 201


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