BEN SCHOENEKASE A N A R T I S T N A M E D B E N P O R T F O L I O
BEN SCHOENEKASE ANARTISTNAMEDBEN
BIO BORN 1995 BASED IN DALLAS / CHICAGO
2020 - SCHOOL OF THE ART INSTITUTE OF CHICAGO, MFA 2018 - TEXAS A&M UNIVERSITY, ENDS ANARTISTNAMEDBEN.com FASHIONisBS.com
ARTIST STATEMENT WORK THAT OPERATES IN THE abnatural AS A NON-SPECIFIC MEDIA WHICH DENIES THE NICHE AND KITSCH FOR A conjoined, synthetic sentience. BY OBJECTIFYING HUMANS AS ANIMATED avatars, THE WORK UNVEILS AN ITERATIVE third space CORRELATING TO PHYSICAL recall.
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{IASFTOH}
COLLABORATION FASHIONisBS MARCH 2019 - ONGOING
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MOTIVATION FROM 1995
SOLO SCHOOL OF THE ART INSTITUTE OF CHICAGO AUGUST 2018 - MAY 2019
PATIENT #148685
SOLO SCHOOL OF THE ART INSTITUTE OF CHICAGO MAY 2018 - MARCH 2019
PASTORAL LANDSCAPE COLLABORATION TEXAS A&M UNIVERSITY JANUARY 2018 - MAY 2018
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{IASFTOH} COLLABORATION FASHIONisBS MARCH 2019 - ONGOING
Collaborative Work --- CEO/Creative Director Sephorah Belizor, Ben Creech, Daniel Eynon, Emily Majors, Paul McCoy, Tyler Nechamkin, Nolan Summerhill, Sherman White, Bekwele Wodi I AM SO FUCKING TIRED OF HUMANS. Really? Yes. The first show of my fashion label, FASHIONIisBS /// FiBS, the work defines the satirical problematic of humans designing robots and designing clothes for said robots. Therein, training a human to “design-like-a-robot.”
Through introducing definitions of abnatural¹ and asymptotic realism², a series of “bot” designs dissuade the viewer from the association to human psychology and the pursuit of robot-human likeness. Thus, creating the bots: WALKING, SENSING, LEARNING, FLYING, AND HOVERING, is an active conjunction of these questions to instill the problematic of likeness immediately. By framing the conversation for the designers and curating a show around these paradoxes, the robots adorn makeovers similar to the aesthetic desirabilities of the humans that design them. Again, designing “like a robot” is the problematic that exists in contemporary robotics and AI-driven aesthetics made accessible through the materialization of design critique and quick-witted, fast fashion. Although holding a Mandelbrot set of potential variations and philosophies, the first show is an assimilation of this ideology into a realm of questions and answers through disjointed Roland Barthes.
¹ A state of being, the uncanny synthesis of natural and machine which obscures the natural order of rationalism for abstraction in the visual world. ² An equation that equals the point of impossibility on both maxima of the range of realism where the work is inaccessible as purely X or Y, through any instrument of mediation between the conscious, subconscious, and the “body.”
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WHAT QUESTIONS MAY NOW BE ASKED OF THE ROBOTS?
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What would a robot want to look like? Act like? Would an AI replicate human dress and actions? What is desire? What is the desired silhouette of the robotic culture? What is the relationship of humans to robots? Is it respectful or is it domineering? Is it beautiful, horrifying, simple, incomprehensible? Are there tasks that humans have to have robots for? Are there tasks that robots have to have humans for? Does this make one subservient to another or equally positioned? Symbiotic? What is the stage between the AI synthetic and conscious transfer? Is there an uncanniness in the resistance to death and disembodiment, or is that the most human thing to try to defy death? What would be created by a vast, categorically obscene shift in the landscape without pausing for reconciliation? What if new technology was so advanced that skipping over disbelief is inherent? What typologies of current, past, and future articles would be created artificially if humanity were subjugated to flattening time? At what point is this classicism versus appropriation? What is the aesthetic of the Eisenmanian virus in a purely virtual space versus a purely physical space? What is minutia to us and impossible for robots? What does it mean to smile, loathe, weep, beg, etc. To a robot? Where are the joints? Points of weakness? Points of shame? Emphasis? What does it mean to sexualize a non-biological thing? Is there a desire for replaceability and planned obsolescence within the fashion article? Would a robot desire changing clothes? What is the purpose of changing clothes if sweat and body odor are null and void? What is the scale of the robot wardrobe? What defines the clothes worn versus body embellishment selected? In an effort to define the choices of the robot, the human shows its intentionality in the questions being asked to (and not for) the robot. Thus, the flaw continues to rear its inherent negligence. Future iterations will exercise further pursuits to dissolve human rationale through 3D-modeling GAN softwares and self-reflexive choice by the robot where the reflection of human intention is no longer a question but the only question.
WHAT IS HUMAN-ENOUGH TO DRAW FROM THE DESIGNS TO BE REINSTALLED INTO THE HUMAN CONDITION?
ROBOTS ROBOTS ROBOTS ROBOTS ROBOTS WALKING―087W-SSMMXX SENSING―083S-SSMMXX LEARNING―076L-SSMMXX
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MOTIVATION FROM 1995
SOLO SCHOOL OF THE ART INSTITUTE OF CHICAGO AUGUST 2018 - MAY 2019
Am I a psychopath? Maybe a sociopath? Maybe I am just a troubled soul. Driven by this counseling and lack of personal care, I find my upbringing to be the greatest problematic to my current existence. There is no epistemological frame for a tween with dial-up Internet.
I am the antithesis of the Millenials and the Gen-Z. I am neither and both. I am always between and in-between the generations as a mediator of dogmatic reproach toward the dueling sides. BEANIE BABIES, GAMEBOY, COLORING BOOKS. SLEEP APNEA, SOCIAL MEDIA ADDICTION, GAMER CULTURE. SOCCER, ART, CHEMISTRY. SON OF… WRITERS, TEACHERS, ENGINEERS. CONSERVATIVE TEXAS, HYPER-CONSERVATIVE KANSAS, OTHER.
Motivation from 1995 is an exercise in defining what my generation finds to be canonical. We are old enough to value tradition and understand the roots of historical precedent while displaced enough to challenge them from an outsider perspective. Overwhelmed by college debt and a longer lifespan within the workforce, what defines the parenthesis drawn by sociologists and anthropologists? I am leader of the lost boys. We are the crossover generation that exists in eternal limbo.
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I must draw uncomfortable conclusions about where I place my ideological beliefs before the complete restructuring of economic, social, and political foundations. Everyone in my position is an accelerationist waiting for what is next rather than being allowed to change what is. We have the training and discipline but are still handheld and taken lightly by the YouTubers of now and the babyboomers of earlier. Therein, Motivation from 1995 is an investigation into the discourse of displacement as an aesthetic estrangement of cultural and generational refugee art.
We are the Utopian society of no place and of no definition struggling for a reality to hold onto. What is real never has been true and what is fake never has seemed so believable? What are we?
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PATIENT #148685
SOLO SCHOOL OF THE ART INSTITUTE OF CHICAGO MAY 2018 - MARCH 2019
Damaged goods and superhero. I am a human+, and I wouldn’t want it any other way. I am a broken back, an object of scientific experimentation, a survivor of the knife, a former soccer player, and a member of a generic society.
Rods and screws frequent my biological registers and exist within my ecosystem. They change nothing about me. They change everything about me. A silent handicap, but it is no handicap, more of a superpower. I have no ability to explain what I am: Patient #148685. The number assigned to the body of Ben Schoenekase, Patient #148685 studies experimental procedures and the generation of lifesaving procedures with potential super-human capacities. Although I do not exhibit any likeness to superman, the fact of my current ability to stand is a testament to the medical advances of human-robot relationships. Therein, what would I want done if money were no object? What would the future be capable of contributing to the body if my status is normalized? Is there an idealized anatomy that exists between the synthesis of robot and human? HARDWARE WAS PUT INTO MY SPINE. GLASSES ARE SOFTWARE FOR THE EYES. A BODY IS WIRED TO A WHEELCHAIR.
By stacking and collaging time, growth, and anatomy, simple diagrams change our relationship to comic book characters and the medical field as a whole: X-Rays. Prosthetics, synthetic anatomies, and emerging technologies converge on a problematic of replicating human for the inexactitude of nature. “I feel like Hugh Jackman in X-Men Origins: Wolverine.”
3 3 3 L4/L5/S1 L4/L5/S1 L4/L5/S1 3 3 3 L4/L5/S1 I am a product of the operating table which has changed everything about the way I function and think about the body, life, and the relationship that each of us holds with our personal nature. Thank you, doctor, but who do I refer to as such: robot or human?
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Collaborative Work --- Group Leader Reuben Posada, Steven Gideon, Joey Reich
COLLABORATION TEXAS A&M UNIVERSITY JANUARY 2018 - MAY 2018
A critique of the farmland as a place of extreme advancement throughout historical achievement. Ironically, the hyper-conservative tropes typically associated with “the farm” are confronted with technological adaptation and abundant assimilation. Farm, ranch, pasture, and food production as a whole must be the breeding ground of innovation.
Pastoral landscape is the restructuring of the farmer from physical laborer to white-collar worker as the verticality of space becomes critical. A drone labor force questions the construction of new architectural typologies. The farmer is an operator of emerging machines to feed the world’s growing population. Deconstruction of the dirt and land schema, the restructured landscape is syntactically similar to similar advancement of the irrigation system or the mechanization of crop yield.
What is the pastoral? How has it changed in etymology versus current stigma? The pastoral farmland must be grounds for scientific discovery and research as a mode of accounting for human consumption and overpopulation. Tropes and canons of former definitions have no established value in a world of pure necessity. The farm is the sanctuary. Water, being the most precious resource to life and farm ecology, must be used deliberately, sparingly. Land, being the most limited in scale/scope for population expansion, must be used appropriately. Thus, the architecture of future suburban and farm lands intersect at the moment of elevation off of an earth-bound condition. To stave off mass starvation, the simple farmer must remain cutting-edge.
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LISTS,LISTS,lists,LISTS BUT...
WHICH
ARE
ANTITHETICAL?
JEREMY BLAKE TAKASHI MURAKAMI TOBIAS KLEIN A W S K JEFF KOONS ADRIAN VILLAR ROJAS URS FISCHER AI WEIWEI FRANK STELLA KEHINDE WILEY BRYAN CANTLEY ABIGAIL GLAUM-LATHBURY PERRY KULPER CHIHARU SHIOTA LINDEN GLEDHILL THEO JANSEN KIM JUNG GI SAMUEL BURGESS-JOHNSON MARK BRADFORD YOANN BOURGEOIS GERHARD RICHTER JEAN-MICHEL BASQUIAT ERWIN WURM LOUISE BOURGEOIS MAX ERNST NJIDEKA AKUNYILI CROSBY TOMMA ABTS GIUSEPPE ARCIMBOLDO PAUL CHAN FELIPE PANTONE MEOW WOLF ENZO MARI ERIK PARKER JACKIE SACCOCCIO AIKO HACHISUKA TADASHI KAWAMATA PORTIA MUNSON MR. (MISTER YANEN) FRAN SIEGEL JULIE MEHRETU DOREEN GARNER DIANA AL-HADID JEN MANN TIM LEWIS JAMES JEAN JAN OLE SCHIEMANN JOSE PARLA SO YOUN LEE DANIEL ARSHAM POSE/JORDAN NICKEL EMILIE DUVAL JOSE LUIS CARRANZA CHADWICK HEATH MOORE YUKIE ISHIKAWA FANETTE MELLIER HANNAH WILKE ALLYSON VIEIRA EKATERINA POPOVA ERIC LACOMBE JOAN SEMMEL PAOLA PIVI ROMARE BEARDEN TIZIANO MARTINI MARINA BRONEVICH MARKUS AKESSON HEDI XANDT ANDREY ZLOBIN ELLIOTT HUNDLEY JENNY SAVILLE DAN LAM HOWARD SHERMAN JANAINA TSCHÄPE PER KRISTIAN NYGÅRD KRIS KUKSI BEN FROST DEATH BURGER
DAVID SALLE MARIA HELENA VIEIRA DA SILVA KATHARINA FRITSCH SHIMAMOTO SHOZO GUSTAVE CAILLEBOTTE JAN HARMENSZ MULLER X U G U YOSHIDA HODAKA JIM NUTT GLADYS NILSSON KURT SELIGMANN CHRISTOFFEL JEGHER FRANK MALINA IAN CHENG LEE JUNGDONG CAI GUO-QIANG GUO XI JOE REIHSEN MIRIAM SCHAPIRO CHUN KWANG YOUNG DEVAN SHIMOYAMA LISA CORINNE DAVIS JUAN ROBERTO DIAGO WANDA KOOP MARKUS LINNENBRINK TOM LADUKE CHRISTIAN REX VAN MINNEN MATTHEW BRANDT ANTONIS DONEF CATHERINE WAGNER JUDY PFAFF AES + F MARCO BRAMBILLA CARLA GANNIS LORNA MILLS AMILA ULMAN BARBARA PROBST NICK CAVE PAUL SEPUYA KARA WALKER ORI TOOR LYNDA BENGLIS PATI HILL PELLE CASS SHAHRYAR NASHAT PAVEL TCHELITCHEW CHRISTINA QUARLES WIFREDO LAM HANS BELLMER GEORGES VANTONGERLOO FRANTISEK KUPKA SUE WILLIAMS RICHARD HAWKINS MARTHA ROSLER TOYIN OJIH ODUTOLA CHRISTOPHER WOOL JACQUELINE HUMPHRIES EDOUARD VUILLARD CARL WILHELM KOLBE THE ELDER C A M A L E T T O ANNE ALLEN JOHN BAPTIST JACKSON MASTER IB WITH THE BIRD GIOVANNI DI PAOLO FREDERICK HENRICK CHARLES EDWARD BAUDEN RAY K. METZKER MARGARET BOURKE-WHITE YINKA SHONIBARE CBE ANTHONY HOWE SHINRO OHTAKE KOJI TATSUNO 2 VICTOR VASARELY MICHAEL ASHER BOYD RICE ALBERT EARLING JOHNATHAN MIES KATIE PETERSON GLENN LIGON
ARTHUR JAFA McQUEEN STEVE E C N T R O C K TILLMAN WOLFGANG MOSSE RICHARD WOUD-BINNENDIJK GEMMY WANGECHI MUTU MUNIZ VIK JENKINS LAVAUGHAN HALVORSON JOSEPHUNE GIBSON JEFFREY PAE WHITE SYJUCO STEPHANIE FRANKLIN WILLIAMS NATHALIE DU PASQUIER NISHIDA JUN EMILE BERNARD HYMAN BLOOM ADOLF ULRIK WERTMÜLLER JAN VAN HUYSUM II JAN PORCELLIS VAN MEENE HELLEN KAY NIELSEN KAHN NICHOLAS GANSON ARTHUR PETERHANS WALTER THIEL TAMIKO MEHRETU JULIE EDWARD WESTON P U T N I K O ! S MARTIN ARNOLD BILL VIOLA RAFAEL LOZANO-HEMMER WENDELL CASTLE CONRAD EGYIR & PATRICK QUARM DORMAN JOSH ÁLVAREZ BRAVO LOLA ASAWA RUTH ANNI ALBERS HICKS SHEILA GENTENAAR PETER PAUL CÉZANNE CAILLEBOTTE GUSTAVE ANTONIO VIVARINI HENRI DE TOULOUSE-LAUTREC ANQUETIN LOUIS CLAIRE ZEISLER GUERMONPREZ TRUDE LENORE TAWNEY YVONNE PACANOVSKY BOBROWICZ STEIN ETHEL ANDRES SERRANO AIMÉE BEAUBIEN LEE JUNGDONG JORGE DE LA VEGA ANTÔNIO HENRIQUE AMARAL FELIPE EHRENBERG GERCHMAN RUBENS TALLER 4 ROJO CARLOS IRIZARRY LANCE WYMAN GIMÉNEZ EDUARDO NICK KNIGHT BESHTY WALEAD KENTARO KAWABATA DANIEL RICHTER SACCENTI TIM C R O S S L U C I D JEAN DUBUFFET FABIAN OEFNER ANDRES REISINGER McLAUGHLIN JOHN REBECCA LOUISE LAW SAUL PETER EDUARDO BASUALDO KORAKRIT ARUNANONDCHAI LAXNESS STEFAN ATTIA KADER ALBERTO GIACOMETTI F. WILLIAMS ROBIN
CHARLES JOHN FABIAN MANFRED HANS MATTHEW WILLIAM IAN BRENT DAVID TARA MARK KOHEI FABIO JUDITH WAYNE PASCAL K I ARCANGELO NICOLAS JIM JORDAN BERLINDE JERED TAKASHI CARRIE LAURIE JEAN-PIERRE NERI JOANA TOM VILLU FRANCISCO NICOLE MARTIN REFIK COLLIN JEN MARK CYRIL DÁNIEL LORNA M A L PHILIP CLAUDIA REBECCA NATE DUSTIN FELICIA E S P A D ROSA JACOB DOUG SETH FÉLIX MALIN KAYLA MARK ANNA DANNY SHINRO 3 JANA DYLAN JULIAN DEMSKY JANET MARIO HIROTOSHI JEFF DANA SARAH JAUME N U SIMON DAMIEN DOUG RALPH SAM FLORENCE
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