Picasso2033

This work expresses my examination of the future direction of AI development and questions about the value of the lives of future artists and the wider public. The boycott statement issued by many artists in 2021 is still fresh in my mind, but today AI has already infiltrated into all kinds of artistic creations and even the daily work of various industries. With the commercial touting, AI-related industry stock high, and the crazy spread of AI-produced videos on the Internet that are difficult to distinguish between real and fake, I’ve become increasingly anxious about my lack of ‘AI’ skills. Driven by this anxiety, I didn’t hesitate to become an easy target for AI business courses, diving headfirst into AI-related online classes. I’m determined to become someone who can use, master, and even capitalize on it.I hope to become a person who can use, override and utilise it. But the truth is that the more I learn, the more afraid I am, I am thinking or fantasy, if human beings one day really in the earth's biological chain to the second? If AI through deep learning can do everything that art creators want to do in the near future, what is the value of the artist's creation? Or what is the value of human life? It is with these questions in mind that I wanted to look back on this work, to rekindle the theme of ‘human being’ by comparing the lives of people in the past with those of people in the possible future, and to recall the life of my mother as a living human being through 9527. However, the work does not intentionally emphasise the evil or coldness of AI, which is an important element that has been used as a voice throughout the work, and which has selflessly helped 9527 recall his mother's memories in an attempt to calm him down, while at the same time destroying his life as an artist in the context of the larger era. I see it not as a cold machine, but as a mirror of man, driven both by human social change and by man's desire to attempt to evolve. It is the man who makes it and it is the man it moulds. In any case, my friends we are on our way to see 2033.

The work was performed in three rounds of 12 performances in Sichuan, China; Edinburgh, UK; and Shanghai, China.

Through the curtain as a carrier and boundary, we divided the whole work into three different spaces (memory space, psychological space, and reality space)