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Histoires simples
Léopold Mottet 1 students
107 Féronstrée
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Qu’est-ce-qui se trame ici ?
Centre André Baillon
1 Féronstrée
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Night Walk
Maria Chiara Ziosi
85 Rue de la Cathédrale
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Thy Cities Shall With Commerce Shine — Part II
Hattie Wade
35 Rue Souverain Pont
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La Maison Panure – Fève des rois
JJ von Panure
21 Pont d'Île
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MANTERO
Santiago Vélez
4 Rue de la Cathédrale
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Mobile Écriture Automatique
Philippe José Tonnard
109 rue de la Cathédrale
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ST END
Pablo Perez
10 Rue Nagelmackers
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ALREADYMADE n° 3 : Empty Cart or Cardboard Cybertruck
M.Eugène Pereira Tamayo
18 Rue de l'Etuve
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Centre de remise en forme (économie de guerre)
Werner Moron
7 Rue de l'Official (Îlot Saint-Michel)
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Sun(set)(Seed)
Matthieu Michaut
56 Rue Saint-Gilles
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precarity of non-human entities
Gérard Meurant
23 Rue Saint-Michel
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S’aligne, l’inconnue sans lecture
Julia Kremer
40 Rue Hors-Château
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Autumn Collages
Ívar Glói Gunnarsson Breiðfjörð
30 Rue de la Cathédrale
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Rōt Rot Rôt
Janina Fritz
28 Rue des Carmes
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Pierre ventilée
Daniel Dutrieux
14 Rue de la Populaire (Îlot Saint-Michel)
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Peephole
Jacques Di Piazza
31a Rue de la Cathédrale
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Room Eater
Jorge de la Cruz
5 Rue Saint-Michel (Îlot Saint-Michel)
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Behind the Curtain
Francesca Comune
31b Rue de la Cathédrale
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COMMENT
Kim Bradford
16 Rue du Palais
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Pedro Camejo (série Diaspora)
Omar Victor Diop
25 Rue Saint Paul
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L’impasse de la vignette, dans le temps et dans l’espace
Michel Bart and Mathias Vancoppenolle
75 Rue Hors-Château
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Opéra-savon, épisode 1 : L’ Aquarium-Museum
Clara Agnus
20 Rue de la Sirène
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Work, Comfort, Home
#3
Michael Mönnich
Curator : Arthur Cordier
5740 Rue Léopold
Michael Mönnich is a photographer and video-maker based in Munich. His works explore the hidden world of Data-generated content and the human workforce sustaining it. Who trains algorithms in the first place ? Humans do. The workforce is recruited through different platforms, in order to perform « discrete on-demand tasks that computers are currently unable to do ».
In Work, Comfort, Home (2020) Michael dealt with a data set of 68.8 hours of video material. In his own words « the visual archive was produced entirely by internet workers across the globe in order to train algorithms ». Within this set of visual documentation he selected those made by one family of workers. He reaches out to a pool of anonymous workers willing to contribute to his films.
He recurrently asks them to perform certain sets of actions, such as in the installation work On-Demand Workforce (2018) previously exhibited at The Balcony, The Hague, and the Galerie Der Künstlerinnen, Munich. Thus perverting neo-liberal systems to his own artistic goals Michael Mönnich invites us to reflect upon the shaping of labor in our data-oriented society as well as the new forms of « on-demand » labor.

