31.05.25-30.06.25
Featuring works by: Julia Taszycka, Manor Grunewald, Felipe van Laar, Marius Lut and Erris Huigens.
Featuring works by: Julia Taszycka, Manor Grunewald, Felipe van Laar, Marius Lut and Erris Huigens.
Dressed for Space blurs the line between the handmade and the machine-generated. This evolving exhibition, shaped in real-time by AI, shifts across three locations, starting in Amsterdam. Walls move, objects change, and artworks are continuously reassembled. At its core is documentation — not static, but alive, where AI-generated and raw images mix to form a shifting archive. A collaboration between FORM and 0—1, the project explores how art transforms in a world shaped by code, memory, and constant change.
What remains of an exhibition when documentation is not what follows it, but what produces it?
This is the central inversion staged by Dressed for Space, a project that dismantles the traditional axis between the artwork and its image, the site and its record, the experience and its trace. Here, artificial intelligence is not content, not commentary, not even tool — it is infrastructure. The exhibition moves, mutates, re-positions itself, not as a response to the logic of spatial installation, but as a response to a system of visual operations that has already displaced the very notion of presence.
The question is not what is exhibited, but what can be exhibited when the field of exhibition is no longer physical but probabilistic. What does it mean to document something that is itself the product of a documentation process? When the camera no longer captures the work, but generates its condition of legibility, what remains of the work as such? Is the AI-generated image a memory, a prophecy, a falsification, or the only instance in which the exhibition truly exists?
In this landscape, the archive precedes the event. The work does not precede its record. It emerges from it. Documentation, rather than preserving a past, opens a series of speculative presents — not versions of a fixed original, but variations without origin.
There is a violence in this shift. A collapse of sequence. The before and after lose coherence. What once came later now arrives first. And the viewer, historically positioned as witness to a temporally grounded aesthetic object, is recast as an interpreter of iterations — images without clear referents, environments shaped by machinic recall rather than embodied construction. Does this still qualify as installation? Can we still speak of site, of work, of curatorial gesture, when the logic of substitution displaces the logic of selection? When the artwork is no longer what is made, but what is synthesized across space and time by a feedback loop between machine perception and institutional framing?
The collaboration between FORM and 0—1 does not seek to answer these questions. It leaves them suspended. Instead of stabilizing a narrative, it multiplies fractures. Each image, each reconfiguration of space, each AI intervention functions as a fragment — not of a whole, but of a system that resists totality. A system where memory is written in the future tense.
Dressed for Space is not an exhibition in movement. It is movement that produces an exhibition-effect.
And in the absence of a stable referent, in the erosion of any clear origin, what is left is not the artwork, but the conditions under which something may still be seen.