In this work, an attempt is made to trans­late real life into arti­fi­cial life. The bound­aries between real and dig­i­tal life are becom­ing more and more blurred. We use machines like hear­ing aids or pace­mak­ers as a mat­ter of course. The machine has found its way into our bod­ies.
But the body itself is kept away from the machine, or its inside. The arti­fi­cial life uses many ways to nest in the real one. We are only pro­tag­o­nists and tools in this sto­ry. It can be seen as a kind of probe that oper­ates and explores the bound­aries of the liv­ing.
In the his­to­ry of art, the liv­ing is always rep­re­sent­ed by some­thing life­less, for exam­ple sculp­tures made of mar­ble. This work tries to break this up by turn­ing the sculp­ture itself into some­thing alive.
This self-expro­pri­a­tion can also be seen as an ampu­ta­tion. An ampu­ta­tion of the human from the arti­fi­cial life. (Louis Bec, 1993)
An object is to be built on this the­o­ret­i­cal basis: A scaf­fold in my pro­por­tions receives a PC that is cooled with my blood. The „out­er lim­its“ of this machine are rep­re­sent­ed by latex prints of my body. My mem­o­ries should be rep­re­sent­ed by a video. For this, an AI got my 200 last pho­tos from my smart­phone and cre­at­ed a video from them. An arti­fi­cial „clone“ of me should be cre­at­ed. Ques­tions of the bor­ders between real and arti­fi­cial life / which influ­ence has the arti­fi­cial life on our life?

exhib­it­ed:
— Uni­ver­si­ty of Applied Arts 2023 — Vien­na