{"id":1136,"date":"2025-12-26T16:42:54","date_gmt":"2025-12-26T15:42:54","guid":{"rendered":"https:\/\/michaeldoerner.de\/?p=1136"},"modified":"2026-01-26T16:45:46","modified_gmt":"2026-01-26T15:45:46","slug":"korea-germany-contemporary-art-exchange-exhibition-2","status":"publish","type":"post","link":"https:\/\/michaeldoerner.de\/en\/arbeiten\/installationen\/korea-germany-contemporary-art-exchange-exhibition-2\/","title":{"rendered":"Korea-Germany Contemporary Art Exchange Exhibition"},"content":{"rendered":"
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Meeting with Correspondence<\/strong><\/em><\/p>\n\n\n\n

<\/p>\n\n\n\n

Changwon Seongsan Art Hall, Changwon, Republic of Korea<\/strong><\/p>\n\n\n\n

<\/strong>26. November 2025 bis 12. Dezember 2025<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Screenshot<\/figcaption><\/figure><\/div><\/div>\n<\/div>\n\n\n\n

Who am I<\/strong><\/p>\n\n\n\n

This work deals with the existence of God. The conversation arose from questions that the artist Michael D\u00f6rner conducted with ChatGPT in February 2025. He was interested in how an artificial existence (AI) would respond to questions about God and questions about its own identity and existence. He tried to understand how the AI responds and continually takes on the role of the questioner. The result was a dialogue that was not only about his own existence and the transfer from life to death, but also touched on profound philosophical questions. Questions that all people will probably ask themselves at some point in their lives. The dialogue took place in writing and was neither shortened nor corrected afterwards. The first version of this dialogue was exhibited as a pure audio file in three languages on golden USB sticks and with headphones in San Antonio in Ibiza.<\/p>\n\n\n\n

In the summer of 2025, the English-language version of the interview was spoken by artificially generated avatars. The artist has his own film portrait appear as an avatar and speak through an AI-generated voice and for the ChatGPT voice an avatar was generated that resembles an androgynous Jesus figure. The film shows two faces side by side in an analogue conversation. It has the appearance of an online meeting.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Who am I<\/strong><\/strong><\/p>\n\n\n\n

\uc774 \uc791\ud488\uc740 \uc2e0\uc758 \uc874\uc7ac\uc5d0 \uad00\ud55c \ub0b4\uc6a9\uc744 \ub2e4\ub8f9\ub2c8\ub2e4. \ub300\ud654\ub294 \uc608\uc220\uac00 \ub9c8\uc774\ud074 \ub3c4\ub974\ub108\uac00 2025\ub144 2\uc6d4 ChatGPT\uc640 \uc9c4\ud589\ud55c \uc9c8\ubb38\uc5d0\uc11c \ube44\ub86f\ub418\uc5c8\uc2b5\ub2c8\ub2e4. \uadf8\ub294 \uc778\uacf5 \uc874\uc7ac(AI)\uac00 \uc2e0\uc5d0 \uad00\ud55c \uc9c8\ubb38\uacfc \uc790\uc2e0\uc758 \uc815\uccb4\uc131 \ubc0f \uc874\uc7ac\uc5d0 \uad00\ud55c \uc9c8\ubb38\uc5d0 \uc5b4\ub5bb\uac8c \ubc18\uc751\ud560\uc9c0 \uad81\uae08\ud574\ud588\uc2b5\ub2c8\ub2e4. \uadf8\ub294 AI\uac00 \uc5b4\ub5bb\uac8c \uc751\ub2f5\ud558\ub294\uc9c0 \uc774\ud574\ud558\ub824 \ud588\uc73c\uba70, \uc9c0\uc18d\uc801\uc73c\ub85c \uc9c8\ubb38\uc790\uc758 \uc5ed\ud560\uc744 \ub9e1\uc558\uc2b5\ub2c8\ub2e4. \uadf8 \uacb0\uacfc \ud0c4\uc0dd\ud55c \ub300\ud654\ub294 \ub2e8\uc21c\ud788 \uc790\uc2e0\uc758 \uc874\uc7ac\uc640 \uc0b6\uc5d0\uc11c \uc8fd\uc74c\uc73c\ub85c\uc758 \uc804\ud658\uc5d0 \uad00\ud55c \uac83\ubfd0\ub9cc \uc544\ub2c8\ub77c, \uc2ec\uc624\ud55c \ucca0\ud559\uc801 \uc9c8\ubb38\ub4e4\uae4c\uc9c0 \ub2e4\ub8e8\uac8c \ub418\uc5c8\ub2e4. \uc544\ub9c8\ub3c4 \ubaa8\ub4e0 \uc0ac\ub78c\uc774 \uc778\uc0dd\uc758 \uc5b4\ub290 \uc2dc\uc810\uc5d0\uc11c \uc2a4\uc2a4\ub85c\uc5d0\uac8c \ub358\uc9c0\uac8c \ub420 \uc9c8\ubb38\ub4e4\uc774\ub2e4. \uc774 \ub300\ud654\ub294 \uc11c\uba74\uc73c\ub85c \uc774\ub8e8\uc5b4\uc84c\uc73c\uba70, \uc774\ud6c4 \ud3b8\uc9d1\ub418\uac70\ub098 \uc218\uc815\ub418\uc9c0 \uc54a\uc558\ub2e4. \uc774 \ub300\ud654\uc758 \ucd08\ud310\uc740 \uc21c\uc218 \uc624\ub514\uc624 \ud30c\uc77c \ud615\ud0dc\ub85c \uc138 \uac00\uc9c0 \uc5b8\uc5b4\ub85c \uc81c\uc791\ub418\uc5b4 \ud669\uae08 USB \uc2a4\ud2f1\uacfc \ud5e4\ub4dc\ud3f0\uacfc \ud568\uaed8 \uc774\ube44\uc790\uc758 \uc0b0 \uc548\ud1a0\ub2c8\uc624\uc5d0\uc11c \uc804\uc2dc\ub418\uc5c8\ub2e4.<\/p>\n\n\n\n

2025\ub144 \uc5ec\ub984, \uc601\uc5b4\ud310 \uc778\ud130\ubdf0\ub294 \uc778\uacf5\uc801\uc73c\ub85c \uc0dd\uc131\ub41c \uc544\ubc14\ud0c0\ub4e4\uc774 \uc74c\uc131\uc73c\ub85c \uc804\ub2ec\ud588\ub2e4. \uc791\uac00\ub294 \uc790\uc2e0\uc758 \uc601\ud654 \ucd08\uc0c1\ud654\ub97c \uc544\ubc14\ud0c0\ub85c \ub4f1\uc7a5\uc2dc\ucf1c AI \uc0dd\uc131 \uc74c\uc131\uc73c\ub85c \ub9d0\ud558\uac8c \ud588\uc73c\uba70, ChatGPT \uc74c\uc131\uc744 \uc704\ud574 \uc911\uc131\uc801\uc778 \uc608\uc218\uc0c1\uc744 \ub2ee\uc740 \uc544\ubc14\ud0c0\ub97c \uc0dd\uc131\ud588\ub2e4. \uc601\ud654\ub294 \uc544\ub0a0\ub85c\uadf8 \ub300\ud654 \uc18d\uc5d0\uc11c \ub098\ub780\ud788 \ub193\uc778 \ub450 \uc5bc\uad74\uc744 \ubcf4\uc5ec\uc900\ub2e4. \uc628\ub77c\uc778 \ud68c\uc758 \uac19\uc740 \ubaa8\uc2b5\uc744 \ud558\uace0 \uc788\ub2e4.<\/p>\n\n\n\n

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Cortex X, Emotions II, Who am I?<\/strong> – Ausstellungsansicht, Changwon Art Hall, 2025<\/figcaption><\/figure><\/div>\n\n
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Who am I?<\/strong>, Changwon Art Hall, 2025<\/figcaption><\/figure><\/div><\/div>\n<\/div>\n\n\n\n

Cortex X<\/strong><\/p>\n\n\n\n

Serie von 10 Skulpturen, 2025<\/p>\n\n\n\n

Die Werkgruppe Cortex X<\/em> bezieht sich auf den Cortex (Hirnrinde) als funktionalen und strukturellen Tr\u00e4ger kognitiver Prozesse. Die aus Kunststoff geformten Skulpturen greifen die gefaltete Morphologie des Gehirns auf und \u00fcbersetzen sie in abstrahierte, organisch wirkende K\u00f6rper. Dabei steht nicht die anatomische Reproduktion im Vordergrund, sondern die Falte als formales und konzeptuelles Prinzip. Die Skulpturen lassen sich als Momentaufnahmen eines permanenten Werdens lesen – als tempor\u00e4re Stabilisierung eines instabilen Systems. Die glatte, lichtreflektierende Oberfl\u00e4che verst\u00e4rkt diesen Eindruck, indem sie die Formen zugleich betont und entzieht.<\/p>\n\n\n\n

In philosophischen Kontexten wie etwa bei Gottfried Wilhelm Leibniz und sp\u00e4ter bei Gilles Deleuze (Le Pli<\/em>) wird die Falte als Denkfigur verstanden, die Innen und Au\u00dfen, Materie und Geist, Kontinuit\u00e4t und Differenz miteinander verschr\u00e4nkt. Die Falte markiert keinen Bruch, sondern eine kontinuierliche Umformung und eine Bewegung, in der sich Komplexit\u00e4t einschreibt, ohne eindeutig sichtbar zu werden. In diesem Sinne erscheinen die Skulpturen von Cortex X <\/em>weniger als abgeschlossene K\u00f6rper denn als verdichtete Zust\u00e4nde eines fortlaufenden Prozesses. <\/p>\n\n\n\n

Durch die Montage an Metallgest\u00e4ngen l\u00f6sen sich die Objekte von der Wand und treten in den Raum als einzelne, voneinander isolierte Einheiten. Diese r\u00e4umliche Fragmentierung spiegelt die Logik des Gefalteten: Jede Skulptur ist Teil eines Kontinuums, ohne dieses vollst\u00e4ndig zu repr\u00e4sentieren. Wand, Tr\u00e4ger und Objekt bilden ein relationales Gef\u00fcge, in dem sich Denken nicht abbildet, sondern r\u00e4umlich artikuliert.<\/p>\n\n\n\n

Cortex X<\/em> versteht sich somit als skulpturale Untersuchung der Falte \u2013 nicht als Metapher des Gehirns, sondern als materialisierte Denkbewegung.<\/p>\n\n\n\n

Cortex X<\/strong><\/p>\n\n\n\n

Series of 10 sculptures, 2025<\/p>\n\n\n\n

The Cortex X group of works refers to the cortex (cerebral cortex) as a functional and structural carrier of cognitive processes. The plastic sculptures take up the folded morphology of the brain and translate it into abstract, organic-looking bodies. The focus is not on anatomical reproduction, but on the fold as a formal and conceptual principle. The sculptures can be read as snapshots of a permanent process of becoming – as a temporary stabilisation of an unstable system. The smooth, light-reflecting surface reinforces this impression by simultaneously emphasising and withdrawing the forms.<\/p>\n\n\n\n

In philosophical contexts such as those of Gottfried Wilhelm Leibniz and later Gilles Deleuze (Le Pli), the fold is understood as a figure of thought that interweaves inside and outside, matter and spirit, continuity and difference. The fold does not mark a break, but rather a continuous reshaping and a movement in which complexity is inscribed without becoming clearly visible. In this sense, the sculptures of Cortex X appear less as self-contained bodies than as condensed states of an ongoing process. <\/p>\n\n\n\n

By being mounted on metal rods, the objects detach themselves from the wall and enter the room as individual, isolated units. This spatial fragmentation reflects the logic of the folded: Each sculpture is part of a continuum without fully representing it. Wall, support and object form a relational structure in which thinking is not depicted but spatially articulated.<\/p>\n\n\n\n

Cortex X thus sees itself as a sculptural investigation of the fold – not as a metaphor of the brain, but as a materialised movement of thought.<\/p>\n\n\n\n

Cortex X<\/strong><\/p>\n\n\n\n

10\uc810\uc758 \uc870\uac01 \uc791\ud488 \uc2dc\ub9ac\uc988, 2025<\/p>\n\n\n\n

Cortex X \uc791\ud488\uad70\uc740 \uc778\uc9c0 \uacfc\uc815\uc758 \uae30\ub2a5\uc801\u00b7\uad6c\uc870\uc801 \uae30\ubc18\uc778 \ub300\ub1cc\ud53c\uc9c8(Cortex)\uc744 \uc8fc\uc81c\ub85c \uc0bc\ub294\ub2e4. \ud50c\ub77c\uc2a4\ud2f1\uc73c\ub85c \uc131\ud615\ub41c \uc870\uac01\ub4e4\uc740\ub1cc\uc758 \uc8fc\ub984\uc9c4 \ud615\ud0dc\ub97c \ucc28\uc6a9\ud558\uc5ec \ucd94\uc0c1\uc801\uc774\uba74\uc11c\ub3c4 \uc720\uae30\uc801\uc73c\ub85c \ubcf4\uc774\ub294 \ud615\ud0dc\ub85c \uc7ac\ud574\uc11d\ud55c\ub2e4. \uc5ec\uae30\uc11c \uc911\uc694\ud55c \uac83\uc740 \ud574\ubd80\ud559\uc801 \uc7ac\ud604\uc774 \uc544\ub2c8\ub77c, \ud615\ud0dc\uc801\u00b7\uac1c\ub150\uc801 \uc6d0\ub9ac\ub85c\uc11c\uc758 \uc8fc\ub984\uc774\ub2e4. \uc774 \uc870\uac01\ub4e4\uc740 \uc601\uc18d\uc801\uc778 \ubcc0\ud654\uc758 \uc21c\uac04\uc744 \ud3ec\ucc29\ud55c \uac83\uc73c\ub85c \uc77d\ud790 \uc218 \uc788\ub2e4\u2014\ubd88\uc548\uc815\ud55c \uc2dc\uc2a4\ud15c\uc758 \uc77c\uc2dc\uc801\uc778 \uc548\uc815\ud654 \uc0c1\ud0dc\ub85c. \ub9e4\ub044\ub7fd\uace0 \ube5b\uc744 \ubc18\uc0ac\ud558\ub294 \ud45c\uba74\uc740 \ud615\ud0dc\ub97c \ub3d9\uc2dc\uc5d0 \uac15\uc870\ud558\uace0 \uc740\ud3d0\ud568\uc73c\ub85c\uc368 \uc774\ub7ec\ud55c \uc778\uc0c1\uc744 \uac15\ud654\ud55c\ub2e4.<\/p>\n\n\n\n

\uace0\ud2b8\ud504\ub9ac\ud2b8 \ube4c\ud5ec\ub984 \ub77c\uc774\ud504\ub2c8\uce20\uc640 \uc774\ud6c4 \uc9c8 \ub4e4\ub8b0\uc988(Le Pli)\uc640 \uac19\uc740 \ucca0\ud559\uc801 \ub9e5\ub77d\uc5d0\uc11c \uc8fc\ub984\uc740 \ub0b4\ubd80\uc640 \uc678\ubd80, \ubb3c\uc9c8\uacfc \uc815\uc2e0, \uc5f0\uc18d\uc131\uacfc \ucc28\uc774\ub97c \uc11c\ub85c \uc5ee\ub294 \uc0ac\uace0\uc758 \ub3c4\ud615\uc73c\ub85c \uc774\ud574\ub429\ub2c8\ub2e4. \uc8fc\ub984\uc740 \ub2e8\uc808\uc774 \uc544\ub2c8\ub77c \uc5f0\uc18d\uc801\uc778 \ubcc0\ud615\uacfc \uc6c0\uc9c1\uc784\uc744 \ud45c\uc2dc\ud558\uba70, \ubcf5\uc7a1\uc131\uc774 \uba85\ud655\ud558\uac8c \ub4dc\ub7ec\ub098\uc9c0 \uc54a\uc73c\uba74\uc11c\ub3c4 \uadf8 \uc548\uc5d0 \uc0c8\uaca8\uc9d1\ub2c8\ub2e4. \uc774\ub7ec\ud55c \uc758\ubbf8\uc5d0\uc11c Cortex X\uc758 \uc870\uac01\ub4e4\uc740 \uc644\uc131\ub41c \uc2e0\uccb4\ub77c\uae30\ubcf4\ub2e4\ub294 \uc9c0\uc18d\uc801\uc778\uacfc\uc815\uc758 \uc751\ucd95\ub41c \uc0c1\ud0dc\ub85c \ubcf4\uc778\ub2e4. <\/p>\n\n\n\n

\uae08\uc18d \ub9c9\ub300\uc5d0 \uc7a5\ucc29\ub428\uc73c\ub85c\uc368 \uc624\ube0c\uc81c\ub4e4\uc740 \ubcbd\uc5d0\uc11c \ubd84\ub9ac\ub418\uc5b4 \uacf5\uac04 \uc18d\uc73c\ub85c \uac1c\ubcc4\uc801\uc774\uace0 \uc11c\ub85c \uace0\ub9bd\ub41c \ub2e8\uc704\ub85c \ub4f1\uc7a5\ud55c\ub2e4. \uc774\ub7ec\ud55c \uacf5\uac04\uc801 \ubd84\uc808\uc740 \uc811\ud798\uc758 \ub17c\ub9ac\ub97c \ubc18\uc601\ud55c\ub2e4: \uac01 \uc870\uac01\ud488\uc740 \uc5f0\uc18d\uccb4\uc758 \uc77c\ubd80\uc774\uba74\uc11c\ub3c4 \uc774\ub97c \uc644\uc804\ud788 \ub300\ud45c\ud558\uc9c0\ub294 \uc54a\ub294\ub2e4. \ubcbd, \uc9c0\uc9c0\ub300, \uc624\ube0c\uc81c\ub294 \uc0ac\uace0\uac00 \uc7ac\ud604\ub418\uc9c0 \uc54a\uace0 \uacf5\uac04\uc801\uc73c\ub85c \ud45c\ud604\ub418\ub294 \uad00\uacc4\uc801 \uad6c\uc870\ub97c \ud615\uc131\ud55c\ub2e4.<\/p>\n\n\n\n

\ub530\ub77c\uc11c Cortex X\ub294 \ub1cc\uc758 \uc740\uc720\uac00 \uc544\ub2cc \ubb3c\uc9c8\ud654\ub41c \uc0ac\uace0\uc758 \uc6c0\uc9c1\uc784\uc73c\ub85c\uc11c \uc8fc\ub984\uc5d0 \ub300\ud55c \uc870\uac01\uc801 \ud0d0\uad6c\ub85c \uc774\ud574\ub41c\ub2e4.<\/p>\n\n\n\n

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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

Cortex X<\/strong>, 2026<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Installationsansicht, Changwon Art Hall, 2025<\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

Meeting with Correspondence Changwon Seongsan Art Hall, Changwon, Republic of Korea 26. November 2025 bis 12. Dezember 2025 Who am I This work deals with the existence of God. The conversation arose from questions that the artist Michael D\u00f6rner conducted with ChatGPT in February 2025. He was interested in how an artificial existence (AI) would … Continue reading „Korea-Germany Contemporary Art Exchange Exhibition“<\/span><\/a><\/p>","protected":false},"author":1,"featured_media":1137,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,5],"tags":[95,79,15,33,80,70,81],"class_list":["post-1136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-einladungen","category-installationen","tag-95","tag-changwon","tag-featured","tag-installation","tag-korea","tag-participation","tag-ueberfluss","has-thumbnail"],"_links":{"self":[{"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/posts\/1136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/comments?post=1136"}],"version-history":[{"count":1,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/posts\/1136\/revisions"}],"predecessor-version":[{"id":1142,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/posts\/1136\/revisions\/1142"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/media\/1137"}],"wp:attachment":[{"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/media?parent=1136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/categories?post=1136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michaeldoerner.de\/en\/wp-json\/wp\/v2\/tags?post=1136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}