LARS NAGLER: BETWEEN BAUHAUS AND AI

Lars Nagler: In 1996, I started with analog collages and photography. I set up my own darkroom and had my first experiences with various photo techniques. This direction was strengthened by the beginning of my studies at the Bauhaus Weimar in 1998. Nine years at the Bauhaus have encouraged me to keep my favorite work and process, namely intuitive and emotional, in various trades. Besides photography, over the years there have been narrative and abstract short films. Sound design and music were added later, and in 2005 I started working with 3D.

All in all, this resulted in various exhibition projects, music videos, short films, music albums, and commissioned works.

LN: Not only did my first steps in creating art influence my current processes and dynamics, but my whole life so far. Every observation, every smell, every sound, every thought. Already before 1996, I started to absorb films, art, and music on a large scale. This formed my favoritism concerning attitudes and feelings. Much of it is very subtle, if not classically invisible.
For the current photographic AI excursions, of course, my cinematic/photographic eye comes in handy.

LN: I have a lot of experience in the 3D field. However, a few years ago, I accepted that I would not be able to access the 3D program "Houdini". The difference between all the programs I had used until then was too big. That was the first time I had to make such a decision.

There are a lot of new dynamics that I would like to indulge in. The whole field of AI animation is time-consuming if you want to use different techniques. Almost every day there are new challenges in the AI field; for that, there is persistent curiosity and power.

LN: By basically calling a value system my own, which remains unaffected by the fast pace and value devaluation of today's world. Empathy is actually a great drive: the observation and questioning analysis of artists, people, and their works and drives.

I like to look back because every artist that I find interesting was an innovator in his or her time. And there is so much to discover just by looking back. I am far from the superficiality and synchronicity of the current time.

LN: If I remember correctly, this chapter began in mid-2021. I received the first information about it and the idea of the broad spectrum that was already foreseeable at the time. I tested the first apps, got to know COLLAB NOTEBOOKS, and have been exercising every day since then. My first AI series, UNIVERSES, on Opensea was invisible for a long time and then minted out within half an hour. My DREA•M•ACHINE AI animation series is innovative for its time in terms of content and storytelling. This started in November 2021 and includes 16 pieces, 14 of which were collected.

LN: I continue to serve each of my interests in working with AI. This also includes surreal and abstract directions. My photorealistic AI series is currently more visible. This has to do with the current technical possibilities and the great desire to finally be able to use them to implement my own pictures on a level that was not possible before.

A year ago, I was asked to create set designs for a TV series that was in preparation. At that time, I still implemented it using 3D. Now, I would do that immediately with the current AI tools. If you're a master of the prompt (I count myself among them; I don't retouch afterwards), you can now achieve any image goal. Phenomenal.

LN: I was never a friend of "slogans", "naming", "artificial grouping," or arrogant claiming. At the end of the day, I'm a "multi-genre artist".

LN: My NFT journey started in March 2021. At that time, 3D image series and 3D animation loops were created. I met a few artists, curators, and collectors in the NFT space who reflect similar values. This has to be described as a rarity in the great sea of NFT mediocrity.

My artistic practice has not changed, but a kind of additional engine has been started. The small opportunity to contribute to the small, real-quality part of the NFT space with your own work is empowering.

LN: EMP LAB is a glimpse into a large science complex that represents the big brain of AI. At least, that's how I imagine it. Many small groups are working in multidisciplinary ways to try to answer the question of the exhibition: What are the promises of AI? The AI draws from a great wealth of knowledge and imagines itself. There are young groups that playfully work on synthetic-organic interfaces. There are holodeck levels on which final haptic tests are carried out. There are sleep labs where mind expansion and awareness reign supreme. For md, working with AI is an alchemical process. Diverse and nuanced ingredients result in the expected or even more surprising results and artworks. It is supremely satisfying to take up a narration of your own.

LN: I recognize in all the pictures in this series a deep concentration and sublime intensity of the respective work done. A lot of awareness, a lot of knowledge, and a lot of truthfulness. And if we see a kind of quiet intimacy, especially in the Sleep Lab images, then maybe the AI is processing the terminology of "finitude" in those moments.

LN: I am fascinated by the rapid progress that you can hardly keep up with. Besides that, it's hard for me to imagine in a halfway comprehensive way how and where all AI will soon be visible and active.
Two months ago, I briefly thought about how helpful AI and related imaging might be for therapeutic purposes. I'm excited and curious.