{"id":29209,"date":"2024-06-06T14:46:42","date_gmt":"2024-06-06T12:46:42","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/recharge\/"},"modified":"2024-09-17T16:23:55","modified_gmt":"2024-09-17T14:23:55","slug":"recharge","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/recharge\/","title":{"rendered":"Recharge"},"content":{"rendered":"\n
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Recharge<\/h1>\n\n\n\n

Dries Depoorter<\/h2>\n\n\n\n

2024<\/p>\n\n\n\n

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

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\u00a9 Pieter Kers<\/figcaption><\/figure>\n\n
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Set-up includes a chair where you can relax and charge your phone. \nHowever, your phone will only charge when your eyes are closed.<\/p>\n<\/div>\n<\/div>\n\n

Artists<\/h4>\n
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\n \n \n \n \"\"\n \n \n <\/a>\n <\/div>\n <\/div>\n
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Dries Depoorter<\/a><\/h2>\n
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Belgian artist Dries Depoorter, based in Ghent, combines technology and art to create pieces that highlight modern concerns like privacy, artificial intelligence, surveillance, and social media. With a strong background in electronics, Dries has become a notable figure in the digital art world.\u00a0<\/span><\/p>\n

His diverse portfolio includes innovative apps, interactive installations, websites, and games.<\/span><\/p>\n

In his recent project, “The Follower,” Dries Depoorter employs open cameras and AI to unveil videos showing how Instagram photos was captured.<\/span><\/p>\n

A standout project of his, “Die With Me,” is a unique chat app that’s only accessible when a user’s phone battery is below 5%. Another intriguing project,\u00a0<\/span><\/p>\n

“The Flemish Scrollers,” uses AI to automatically tag Belgian politicians when they use their phones during daily livestreams.\u00a0<\/span><\/p>\n

Along with his other works, have gained international attention, solidifying Dries’ position in the global art scene.<\/span><\/p>\n

He has showcased his work at prestigious venues like the Barbican in London, Art Basel, Mutek Festival in Montreal, and Ars Electronica. Additionally, Dries has given talks for organisations such as TEDx, MoMA, and SXSW.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n","protected":false},"featured_media":26646,"menu_order":0,"template":"","edition":[116],"type_oeuvre":[28,95],"class_list":["post-29209","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/29209","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/26646"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=29209"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=29209"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=29209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}