Holly Herndon & Mat Dryhurst
THE CALL
04 Oct 2024 - 02 Feb 2025
© Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024
© Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024
© Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024
© Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024
© Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024
© Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024
Serpentine is delighted to present The Call, the first UK solo exhibition of Berlin-based artists and musicians Holly Herndon and Mat Dryhurst, two of the most influential artists working with artificial intelligence today. Presented at Serpentine North from 4 October 2024 to 2 February 2025, the exhibition will address current societal concerns with AI, and platform musical ensembles from across the UK in a participatory experience for the public.
Serpentine Arts Technologies’ commitment to understanding the ways in which artists interrogate and experiment with AI systems has been integral since the department’s inception in 2014. Major AI projects that have emerged from the programme include Cécile B Evans (2014-2019), Ian Cheng (2018), James Bridle (2016 – 2021), Jenna Sutela (2019), Pierre Huyghe (2018 – 2019), Hito Steyerl (2019), Daisy Ginsberg (2022 – 2024) and Refik Anadol (2024). All these pioneering projects have bridged the virtual with the physical worlds.
Centred on the collective creation of new vocal datasets, governance frameworks and polyphonic AI models, The Call positions the process of data collection and AI model-training as artmaking. This results in an experience of human and machine voices in which the audience becomes entwined with, and at times part of, the choir.
For Herndon and Dryhurst, AI is to be approached as a ‘coordination technology’. For millennia, group singing and its associated techniques, such as call and response, have been rituals for mass communication, enabling us to build spaces and structures for gathering, processing, transmitting information, and creating meaning in social and civic life.
Navigating today’s AI systems requires similar coordination. A central component of the exhibition are newly commissioned choral AI models trained in collaboration with choirs throughout the UK. To train the AI models, Herndon and Dryhurst composed a songbook of hymns and singing exercises which were sung by fifteen ensembles and captured by a multi-channel recording protocol as part of a choral dataset tour in Spring 2024, from Belfast to Leeds, from Bristol to Beith, and many other cities.
The Call will both show how AI can enhance the power and artistry of the voice, and envisage new cultural, legal, and technical methods necessary to build AI systems collaboratively and ethically.
The Call is an exhibition and R&D project curated and led by Eva Jäger, Arts Technologies Curator and Creative AI Lead, with Ruth Waters, Arts Technologies Producer
Serpentine Arts Technologies’ commitment to understanding the ways in which artists interrogate and experiment with AI systems has been integral since the department’s inception in 2014. Major AI projects that have emerged from the programme include Cécile B Evans (2014-2019), Ian Cheng (2018), James Bridle (2016 – 2021), Jenna Sutela (2019), Pierre Huyghe (2018 – 2019), Hito Steyerl (2019), Daisy Ginsberg (2022 – 2024) and Refik Anadol (2024). All these pioneering projects have bridged the virtual with the physical worlds.
Centred on the collective creation of new vocal datasets, governance frameworks and polyphonic AI models, The Call positions the process of data collection and AI model-training as artmaking. This results in an experience of human and machine voices in which the audience becomes entwined with, and at times part of, the choir.
For Herndon and Dryhurst, AI is to be approached as a ‘coordination technology’. For millennia, group singing and its associated techniques, such as call and response, have been rituals for mass communication, enabling us to build spaces and structures for gathering, processing, transmitting information, and creating meaning in social and civic life.
Navigating today’s AI systems requires similar coordination. A central component of the exhibition are newly commissioned choral AI models trained in collaboration with choirs throughout the UK. To train the AI models, Herndon and Dryhurst composed a songbook of hymns and singing exercises which were sung by fifteen ensembles and captured by a multi-channel recording protocol as part of a choral dataset tour in Spring 2024, from Belfast to Leeds, from Bristol to Beith, and many other cities.
The Call will both show how AI can enhance the power and artistry of the voice, and envisage new cultural, legal, and technical methods necessary to build AI systems collaboratively and ethically.
The Call is an exhibition and R&D project curated and led by Eva Jäger, Arts Technologies Curator and Creative AI Lead, with Ruth Waters, Arts Technologies Producer