Global Art Forum at Art Dubai 2018 tackles artificial intelligence

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The program opened at a special evening in Dubai Design District on Feb. 14 2018. (Photos supplied)
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The Global Art Forum 2018 focuses on the power, paranoia and potentials of automation. (Photos supplied)
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Chief Operating Officer and Futurist-in-Chief of the Dubai Future Foundation Noah Raford. (Photos supplied)
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The Forum’s program opened at a special evening in Dubai Design District on Feb. 14 2018. (Photos supplied)
Updated 22 March 2018

Global Art Forum at Art Dubai 2018 tackles artificial intelligence

It certainly isn’t the most obvious choice of topic for an art summit. In fact, it’s quite a head-scratcher at first. But this year’s Global Art Forum commissioner — and writer/curator/cultural critic — Shumon Basar defended the theme of artificial intelligence (AI) eloquently, saying: “What Global Art Forum tends to do is take the cultural temperature of the moment, and this is clearly part of the cultural consciousness now.

“We’re able to approach the topic in ways that other platforms can’t — by cutting through different disciplines. People from films, philosophy, literature, political theory… we’re always interested to see how minds from different disciplines think when put next to each other. Often that elicits something new from the speaker.”

The Forum’s program opened at a special evening in Dubai Design District on Feb. 14 2018 and continues during Art Dubai, which ends on March 24.

And there will be some very interesting people from different backgrounds participating. Not least the curatorial team of the show, which, alongside Basar, includes Noah Raford – chief operating officer of the Dubai Future Foundation, and former futures adviser to the Prime Minister’s Office (this is a personal project for Raford, however); and Marlies Worth, leading curator and art historian from Austria, who is, among many other things, part of the curatorial team of the international traveling exhibition “Hello, Robot.”

Even though the approach may seem more like thought leadership than art discourse, the trans-disciplinary summit aims to explore the relationship between art and technology today, particularly dwelling on the themes of power, paranoia, and ethics in an era in which artificial intelligence is becoming increasingly commonplace.

“We’re increasingly living in a present that feels like science-fiction. To really understand any artist, you have to understand social history — the world they existed in,” Basar said. “Some of the earliest adopters of the Internet were artists. Today, more and more artists are bringing robots into their work — there are a number interested in the phenomena of humanoids; some artists looking at the anthropomorphic side of robots; some are looking at networks or codes … Many of the participants in the forum are contemporary artists, but they have a key interest in technology.”

A prime example is James Bridle — a highly lauded British artist, writer, and thought leader on the subject of technology and the future — who expounded on his theories of how AI can affect our culture and politics, at a Global Art Forum 2018 curtain-raiser event held at Dubai Design District in February.

Bridle is just one of several notable participants — such as Emirati writer Mishaal Al Gergawi; Finnish architect and musician Martti Kalliala; London-based Artistic Director of the Serpentine Galleries, Hans-Ulrich Obrist; and Estonian artist Katja Novitskova ¬— who will take on the existential issues mankind faces today, through a diverse range of programs over three days.

Issues such as how algorithms influence societal decisions; whether hyper-intelligent machines can feel the full range of human emotions; how AI can affect jobs and employment; the history of technology and the supernatural (“Many people in the Muslim world relate ghosts to machines,” Basur said); and the related topic of the difference in perceptions of AI and intelligence across cultures, and how this can have an effect on the development of AI — which, so far, has primarily been viewed and discussed through the lens of Western philosophy…

This question appears even more pertinent considering the geographical axis the forum has been built on, focusing on the Middle East and its role at the global frontier of the adaptation of technology.

Basur said: “Dubai is obviously at the forefront in tackling how a city can employ new forms of technology for governance. My co-curator Noah Raford, for example, is actively involved in shaping Dubai’s outlook toward automation.

“Recently Saudi Arabia also made a number of announcements, including giving citizenship to the first female robot, and launching Neom (the futuristic, fully automated megacity that will be run mostly by robots). These countries are thinking about what a smart city in the 21st century should be, and I see it as an exciting time for tech entrepreneurs to step up and tackle all these big questions.
Quite often, real disruptive innovation comes from the least likely sources, and emerging economies such as these have a rich potential in this direction.”

In the hope of spurring on some of that innovation and precipitating discussion, the forum will not only include mind-expanding lectures and presentations, but also feature slightly more light-hearted elements such as a live dance and music performance, “I am/not a robot,” and thought-provoking film screenings curated by Cinema Akil — which include a dystopian-future sci-fi short film by Kenyan director Wanuri Kahiu; Lebanese short film “Last Days of the Man of Tomorrow”; and Austrian film “Free Lunch Society,” which tackles the subject of universal basic income.

“The kind of experience we hope our audience has is to encounter a menu of topics — some of which they might have thought of before, some not — and that they leave somewhat empowered by these things,” Basur concluded. “Because raising important and pressing questions has always been the role of art.”

Stars of the 'The Kitchen' movie talk to Arab News

“The Kitchen,” stars Melissa McCarthy, Elisabeth Moss, Tiffany Haddish and Domhnall Gleeson. (Supplied)
Updated 22 August 2019

Stars of the 'The Kitchen' movie talk to Arab News

DUBAI: “The Kitchen,” starring Melissa McCarthy, Elisabeth Moss, Tiffany Haddish and Domhnall Gleeson, is an ode to the ever-popular gangster movie, but also a reimagining. Three women who can’t pay the bills after their mobster husbands go to prison decide to take over the organization themselves — becoming violent criminals in the process. Gone is the Don, in his place are the Donnas.

“I love mobster movies, they’re some of my favorite movies, but I think I always watched them and thought, ‘Where am I in that story? Where am I represented?’ I never am. The opportunity to put those two things together — a real authentic, gritty mob story that has interesting, flawed, human women at the center of it felt like an incredible opportunity,” writer/director Andrea Berloff tells Arab News.

Andrea Berloff at the premier of "The Kitchen" in Hollywood. (AFP)

In casting, Berloff went against type — McCarthy and Haddish are best-known for comedic roles, and Gleeson’s roles in “Star Wars” and the Oscar-nominated “Brooklyn” suggested anything but a gangster.

“If I’d read the script I wouldn’t have thought of me for the role, so I was thrilled that Andrea for some reason thought that I could do a good job. The good ones are a surprise to you as opposed to something you track down — or that’s the way it’s been for me so far. I never thought I’d really want to play a killer in a mob movie. When this script came along, that’s what I found a bit scary and interesting,” says Gleeson.

Domhnall Gleeson at the premier of "The Kitchen" in Hollywood. (AFP)

Like Berloff, Moss has always loved the genre — especially the women in legendary projects such as “The Godfather” and “The Sopranos.” While the women of “The Kitchen” are different in many ways from those groundbreaking characters, they carry on their spirit.

“It’s something that we’ve seen in various mobster projects. With Diane Keaton and Edie Falco, and these incredible portrayals, I always find them the most interesting parts of those projects — to see the effect that that lifestyle has on women is really interesting,” Moss tells Arab News.

Elisabeth Moss loved the genre of the movie. (AFP)

McCarthy wasn’t as focused on the history of women in crime fiction as her co-star. Instead, the character and the script were rich enough that she was able to link it to her own life quite easily.

“I didn’t reference other movies,” she says. “For me, when a script it that good, and that complete, and that fully realized, I try to delve into the character itself. I thought about how I related as a mother of two, and what does that mean when you’re just trying to survive and try to take care of your kids. I don’t look to other movies as a guide — I’m a big movie fan, but I prepare a little more solo.”

Tiffany Haddish at the premier of "The Kitchen" in Hollywood. (AFP)

“I’m the same way,” says Haddish.

“It just seemed easy. It’s that great thing. Especially with Andrea running the ship, we all saw the same movie, which was really great, and we all naturally get along,” says McCarthy.

 Melissa McCarthy at the premier of "The Kitchen" in Hollywood. (AFP)

This is Berloff’s debut as a director (she was nominated for an Oscar for writing the 2016 hit “Straight Outta Compton”) and she hadn’t originally planned on helming the movie herself. But she found she felt so passionate about the story that she wanted to oversee the whole project.

“There are times when I write a script and I’m happy to hand it off to someone else and let them run with it, but in this case I felt like I had so much more to say about these characters, and this world, and these themes,” she explains. “I went in to pitch as a director and started saying to them, ‘Here’s what’s not in the script that you don’t know.’”