Installation view © Oil Tank Culture Park T1

As part of the collaborative exhibition of the Oil Tank Culture Park's Tank Art Festival, artist Jinah Roh's solo exhibition 《Incomplete Model》 will take place at T1. The exhibition explores the relationship between non-human entities that engage in real-time dialogue with visitors.

Among the various AI entities on display are a baby robot that starts from a blank slate, learning to speak one word at a time as taught by visitors; an immaterial metahuman modeled after the artist’s 3D-scanned face, capable of real-time conversation with visitors; and six massive head robots. Each entity, possessing diverse materials and forms, interacts with visitors, accumulating data throughout the exhibition. The collected data continually influences the quality of dialogue and the AI entities' personalities.

In this open-structured exhibition environment, where the outcome of learning varies according to the visitors' attitudes toward non-humans, unstructured data accumulates. Since this data is reused for further learning, the completeness of the resulting learning model is not guaranteed. If the exhibition space is considered a small society, the visitors' approach to communication and the collectively agreed rules within the exhibition space significantly shape the robots' intelligence, personality, and demeanor. Consequently, a future in which robots, shaped by such interactions, coexist with humans could result in an unpredictable and unstable society.

This exhibition aims to metaphorically reflect the data environment that, once collected and accumulated, recreates future systems. To that end, it presents non-human AI entities of various forms and substances within the exhibition space. These entities embody the concept of data utilization and the resulting incomplete models within an inherently flawed system. They resemble the precarious future of our lives, where we transparently accept systems that mask control under the guise of technology and connectivity.

These precarious non-human entities, seemingly confident and self-assured as they await the visitors' mercy, raise an unsettling question: What kind of life will these artificial beings lead, as they continue to develop within the confines of our expectations and interventions?

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