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  • Galleries trust the French market

    According to the Art Market Report by Art Basel and UBS for 2023, France is the fourth largest market in the world after the United States, the United Kingdom and China, with a sales volume of nearly USD 5 billion in 2022, a historic record corresponding to a 7% market share. This dynamic is attracting more and more international players who are seduced by the artistic aura and multicultural offer of Pariser Platz. Most players in the French art market agree: in 2022, Paris has become the most attractive of the European capitals, despite an unstable geopolitical context due to the post-Covid difficulties, inflation and the uncertainties of the war in Ukraine. And although London remains the European stronghold for auctions, it has suffered from Brexit, which has prompted several gallery owners to turn to the French capital, such as David Zwirner, who will open a space in the Marais district from 2019. "Brexit is changing the situation," he told the Financial Times at the time. "My gallery in London will be a British gallery, not a European gallery. I am European and want to stay that way." Successful visibility: several of his artists were in the program of Parisian institutions, such as∙le∙s Franz West and Alice Neel at the Centre Pompidou, Gordon Matta-Clark at the Jeu de Paume, Anni and Josef Albers at the Musée d'Art moderne (MAM) in Paris or Joan Mitchell at the Fondation Louis Vuitton. In addition, the Art Basel/UBS report points to "a considerable increase in collectors in the 500,000 to 1 million dollar price range". France now appears to be perfectly positioned to appeal to this target group. The French capital is characterized by a cultural offering that has been second to none in recent years. The Louis Vuitton Foundation has set up shop, the Bourse de Commerce - Pinault Collection has moved in and the interest of major museums in contemporary art has increased. In addition, the Emerige Foundation of collector Laurent Dumas, which focuses on the French scene, will open an art center on Île Seguin in 2026. Paris is not only a first-class marketplace, but has also developed into a platform for exchange, conversation and experimentation with a strong international appeal.

  • Artificial intelligence to support human creativity and discovery

    SUPPORTING AND AUGMENTING HUMAN CREATIVITY OR THE DEMOCRATIZATION OF CREATIVITY Can we use artificial intelligence to support human creativity and discovery? A new trend known as assisted creation has important implications for creativity. On the one hand, collaborative platforms such as those developed as part of the European PRAISE music learning project (Yee-king and D'Inverno 2014) facilitate the acquisition of new creative skills. PRAISE is a social network-based learning platform that involves humans and intelligent software agents providing feedback to a music student on composition, arrangement and performance. Students upload their solutions to a learning unit (on compositions, arrangements or performances) provided by a tutor. Software agents as well as fellow students and tutors then analyze these solutions and provide feedback. In the case of a musical composition, for example, the agent may say: "Your modulation sounds very good, but you could try going up a major third in bars 5 to 8". During performances, other intelligent software agents compare the student's performances with those previously recorded by the tutor when he or she uploaded the learning unit to the platform. A camera records the student's movements and the software agents also provide feedback on possible incorrect postures. These types of tools, which accelerate the acquisition of skills, are leading to a phenomenon known as the "democratization of creativity". As early as 1962, Douglas Engelbart (Engelbart 1962) wrote about a "typewriter that would enable the use of a new text-writing process [...] It would allow ideas to be integrated more easily and thus redirect creativity more continuously". Engelbart not only predicted increased individual creativity, he also wanted to increase collective intelligence and group creativity by improving group collaboration and problem-solving skills. One basic idea is that creativity is a social process that can be enhanced by technology. If we project these ideas into the future, we could imagine a world where creativity is easily accessible and (almost) anyone can write like the great writers, paint like the great masters, compose high quality music and even discover new forms of creative expression. For someone who has no particular creative skills, it is a great relief to be able to acquire them through assisted creative systems. Although this futuristic scenario is still pure fiction, there are already several examples of assisted creativity. One of the most interesting is the assisted percussion system developed by the Georgia Institute of Technology (Bretan and Weinberg 2016). It consists of a robotic arm that enables percussionists to play with three hands. The 61-centimetre-long "intelligent arm" can be attached to the musician's shoulder. It reacts to human gestures and to the music it hears. For example, when the drummer plays the cymbals, the robotic arm plays the cymbals. When the drummer switches to the drums, the mechanical arm switches to the tomtom. Another result of great interest for assisted creativity is the genre-to-genre transfer of musical style and harmony developed at the SONY Computer Lab in Paris (Martin et al. 2015; Papadopoulos et al. 2016), which helps composers to harmonize a piece of music of one genre according to the style of a completely different genre. For example, to harmonize a jazz standard in the style of Mozart. CONCLUSIONS: APPARENT OR REAL CREATIVITY? Margaret Boden pointed out that even if an artificially intelligent computer were to become as creative as Bach or Einstein, for many it would only be apparent and not truly creative. I fully agree with her on the two reasons she gives for this rejection, namely the lack of intentionality and our reluctance to integrate artificially intelligent agents into our society. The lack of intentionality is a direct consequence of the "Chinese Room" argument (Searle 1980), according to which computer programs can only perform syntactic manipulations of symbols, but are unable to give them semantic content. It is generally recognized that intentionality can be explained by causal relations. However, it is also true that existing computer programs lack the relevant causal links necessary to show intentionality. But perhaps future, possibly anthropomorphic, "embodied" artificial intelligences, i.e. agents equipped not only with advanced software but also with various kinds of complex sensors that allow them to interact with the environment, will contain sufficient causal links to confer meaning and intentionality to symbols. As for social rejection, this is why we are so reluctant to accept that non-biological agents (or even biological ones, as in the case of Nonja, a twenty-year-old Viennese painter whose abstract paintings were exhibited and admired in art galleries, but whose work was devalued after it was revealed that he was an orangutan in the Vienna Zoo) can be creative, because they have no natural place in our human society and the decision to accept them would have far-reaching social consequences. It is therefore much easier to say that they appear to be intelligent, creative etc. than to say that they are. In a word, it is a moral problem, not a scientific one. A third reason for rejecting the creativity of computer programs is that they are not conscious of their achievements. While it is true that machines have no consciousness and may never think consciously, the absence of consciousness is not a major reason to deny the potential for creativity or even intelligence. After all, computers would not be the first unconscious creators; evolution is the first example, as Stephen J. Gould (1996) brilliantly points out: "If creation requires a visionary creator, how does blind evolution manage to create new things that are as great as we are?

  • Computer creativity in the visual arts

    AARON is a robotic system developed over many years by artist and programmer Harold Cohen (1995) that is able to pick up a paintbrush with its robotic arm and paint on a canvas without assistance. It paints people in a botanical garden by not only copying an existing drawing, but creating as many unique drawings on the subject as necessary. AARON has never seen a person walking in a botanical garden, but he has gained knowledge about postures and plants with the help of rulers. AARON's knowledge and the way he uses it is not comparable to the knowledge we humans have and use, because human knowledge is based on experiencing the world, and humans experience the world with their bodies, their brains, their reproductive organs, things that computers don't have. But just like humans, AARON has acquired its knowledge cumulatively. For example, once he understands the concept of a leaf cluster, he can use this knowledge whenever he needs it. For AARON, plants exist in terms of their size, the thickness of the branches in relation to their height, the rate at which the branches thin out as they grow, the degree of branching, the angle at which the branches sprout, and so on. The same principles also apply to leaf and cluster formation. By manipulating these factors, AARON is able to create a wide range of plant types and will never draw the same plant twice, even if you draw a series of plants of the same species. In addition, AARON needs to know what the human body is made of, what parts it has and how big they are in relation to each other. He also needs to know how the body parts move and what types of joints there are and how mobile they are. Since a body moves coherently and is not just a collection of independently moving parts, AARON also needs to know how the body's movements are coordinated, e.g. what the body needs to do to maintain balance. Conceptually, this is not as difficult as it may seem, at least for upright postures with one or two feet on the ground. It's just a matter of keeping the center of gravity over the base and, if necessary, using the arms to regain a balanced posture. He also knows about erasure, so that if the human body is partially covered, for example, only one arm and/or one leg can be seen. However, AARON knows that humans normally have two arms and two legs, so if he doesn't cover something, he always draws two limbs of each. This means that AARON cannot "break" any rules and will never "imagine" the possibility of drawing, for example, people with only one leg or other forms of abstraction. Consequently, AARON's creativity is very limited and anything but human. Nevertheless, his paintings have been exhibited at the Tate Modern in London and the San Francisco Museum of Modern Art. In a sense, then, AARON passes a kind of Turing test of creativity, for his works are of a quality that can be exhibited alongside those of some of the best human artists. Simon Colton's The Painting Fool (Colton et al. 2015) is much more autonomous than AARON. Although the software does not physically apply paint to a canvas, it digitally simulates numerous styles, from collage to brushstrokes. In Colton's words: The Painting Fool requires minimal instruction and can create its own concepts by searching for materials online. The software does its own research and scrolls through social media sites. The idea behind it is that this approach allows it to produce art that communicates something to the viewer because it is essentially drawing about human experience, about how we act, feel and discuss on the internet. In 2009, for example, The Painting Fool created his own interpretation of the war in Afghanistan from a newspaper article. The result is a juxtaposition of Afghan citizens, explosions and graves of war victims. Other examples of the application of computer creativity to painting and other visual arts are the works of Karl Sims and Jon McCormack. "Reaction Diffusion Media Wall" (Sims 2016) is based on the interactive simulation of chemicals reacting and diffusing to create dynamic patterns that correspond to the reaction-diffusion equations that govern biological morphogenesis. This work is on display at the Museum of Science in Boston. Earlier work by Karl Sims includes the use of advanced computer techniques to interactively develop images with his Genetics Images system (Sims 1994). Jon McCormack is also exploring how biological processes can be successfully applied in his project "Design After Nature" (McCormack 2014). In another project, Creative Ecosystems, he explores concepts and metaphors of biological ecosystems (McCormack and D'Inverno 2012) as a means of enhancing human creativity in digital art. There are many more examples from the field of visual arts. The ones mentioned here are not only representative, but in my opinion also the most important contributions in their field.

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  • Impressum und Datenschutzerklärung | DASARTI

    Imprint & Data Protection Declaration Ihr Impressum (englische Version) Im Folgenden finden Sie die Textdaten für die englische Version Ihres persönlichen Website-Impressums gemäß der von Ihnen getätigten Angaben. Sofern Sie in Ihrer Website einen Eingabe-Editor für Ihre Inhalte nutzen, können Sie den folgenden Text direkt herauskopieren und dort einfügen. Sofern Sie die Inhalte alternativ als HTML-Quellcode in Ihrem Website integrieren möchten, können Sie den anschließend aufgeführten HTML-Quellcode nutzen. Englische Textversion des Impressums für Ihre Website Site Notice Information pursuant to Sect. 5 German Telemedia Act (TMG) Das Art Institut - Olena Leitner, Thomas Rühle GbR Kaiserpassage 11-16 76133 Karlsruhe Represented by: Olena Leitner Thomas Rühle Contact Phone: 0174 3432985 E-mail: EU dispute resolution The European Commission provides a platform for online dispute resolution (ODR): Our e-mail address can be found above in the site notice. Dispute resolution proceedings in front of a consumer arbitration board We are not willing or obliged to participate in dispute resolution proceedings in front of a consumer arbitration board. HTML-Quellcode der englischen Version Ihres Impressums für Ihre Website. Den nachfolgenden Quellcode können Sie kopieren, um das Impressum auf Ihrer Website einzufügen. Hinweis: Einige Browser und PDF-Reader haben Probleme bei der vollständigen Darstellung des nachfolgenden HTML-Quellcodes. Wir empfehlen Ihnen für die Anzeige dieses PDF-Dokuments die Nutzung des kostenlosen Adobe Acrobat Reader DC (Download). Site NoticeInformation pursuant to Sect. 5 German Telemedia Act (TMG)Das Art Institut - Olena Leitner, Thomas Rühle GbRKaiserpassage 11-1676133 KarlsruheRepresented by:Olena LeitnerThomas RühleContactPhone: 0174 3432985E-mail: info@dasarti.comEU dispute resolutionThe European Commission provides a platform for online dispute resolution (ODR): Our e-mail address can be found above in the site notice.Dispute resolution proceedings in front of a consumer arbitration boardWe are not willing or obliged to participate in dispute resolution proceedings in front of a consumer arbitration board.

  • Events | DASARTI

    Events Upcoming Events No events at the moment With passion and determination, we take you on a journey into a universe where the spirit blows with every visit and every exhibition. Events Calendar June 2024 Today Mon Tue Wed Thu Fri Sat Sun 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 3 4 5 6 7 Photos See more on Instagram The Art Gallery is located right on the border between the two German states (Rhineland-Palatinate and Baden-Württemberg) and France and is just a short walk from the Karlsruhe State Art Gallery. Past Events Fri, Dec 08 Invitation to the opening of the new Art Cafe DASARTI in the Kultur-Kaiserpassage! / Karlsruhe, Germany Details Dec 08, 2023, 9:00 AM – 9:00 PM Karlsruhe, Germany, 1, Kaiserpassage Share Mon, Oct 23 Celebrating the Legacy of Gustav Mahler: An Austrian Cultural Extravaganza in Milan ! / Milan Details Oct 23, 2023, 7:00 PM – Oct 24, 2023, 10:00 PM Milan, Milan, Italy Share Sat, Jan 07 KARAOKE Christmas Party / Karlsruhe Details Jan 07, 2023, 7:00 PM – Jan 08, 2023, 1:00 AM Karlsruhe, 1, Kaiserpassage; Karlsruhe, Germany 76133 Share Thu, Jan 05 The Creative Workshop for New Year's Eve: Art with Acrylic Paints / Karlsruhe Details Jan 05, 2023, 7:00 PM – 11:00 PM Karlsruhe, 1, Kaiserpassage; Karlsruhe, Germany, 76133 Share Thu, Dec 22 The Exhibition "WIR" / Karlsruhe Details Dec 22, 2022, 7:00 PM – Jan 22, 2023, 10:00 AM Karlsruhe, 1, Kaiserpassage; Karlsruhe, Germany, 76133 The exhibition of German and foreign artists (from the USA, Iran, Ukraine and Austria) is organized by the DASARTI Art Gallery with the support of Karlsruhe entrepreneur Thomas Rühle. Share Fri, Nov 25 The Exhibition "KRAFT" / Karlsruhe Details Nov 25, 2022, 10:00 PM – Dec 11, 2022, 5:00 PM Karlsruhe, 11, Kaiserpassage; Karlsruhe, Germany, 76133 DASARTI Gallery invites you to the opening of the Exhibition "KRAFT" on November 25, 2022 ! Share Thu, Jun 23 Guided Exhibition with Yelena Sindyeyeva (O.Leitner), Olesia Rybchenko and Valeriia Rybchenko (T) / Karlsruhe Details Jun 23, 2022, 1:00 PM – Jul 15, 2022, 9:00 PM Karlsruhe, 11, Kaiserpassage; Karlsruhe, Germany, 76133 The Exhibition "The Ray of Light" was compiled from the works of young artists of Ukrainian origin. The participants of the exhibition are Yelena Sindyeyeva, Olesia Rybchenko and T. They have tried different styles and used different media in their creative practice. Share Thu, Nov 04 The Exhibition “LOVE LETTERS” by Harald Häuser / Karlsruhe Details Nov 04, 2021, 7:00 PM – 11:00 PM Karlsruhe, 11, Kaiserpassage; Karlsruhe, Germany 76133 We are pleased to invite you to our exhibition “Love Letters” by Harald Häuser. This event will take place at the DASARTI Gallery and will be held on November 4, 2021 at 7:00 p.m. The visitors to the exhibition will certainly enjoy it ! Share Tue, Sep 21 The Exhibition “Blueprint” by Hans Peter Adamski / Karlsruhe Details Sep 21, 2021, 7:00 PM – 10:00 PM Karlsruhe, 1, Kaiserpassage; Karlsruhe, Germany, 76133 We cordially invite you to the opening of the exhibition “Blueprint” by Hans Peter Adamski! Share Fri, Jun 11 Art Picnic with Open-Air in Bern / Bern Details Jun 11, 2021, 1:00 PM – 5:00 PM Bern, Bern, Switzerland The DASARTI Gallery is about to organize the Art Picnic with Open-Air in Bern (Muri district). Share DASARTI is a truly unique company in Karlsruhe and represents a focus for art enthusiasts and investors. Our goal is to enrich and develop the cultural life of the city and also to renew and redesign the Kaiserpassage in the heart of the city. As part of our commitment we created the company which includes 4 art units: the gallery, school, club and cafe.

  • Contact | DASARTI

    Contact Us Art Gallery 11-16, Kaiserpassage Karlsruhe 76133 Tue. 14.00 - 19.00 Thu. 14.00 - 19.00 Fri. 14.00 - 19.00 Sat. 12.00 - 17.00 Closed on Sun, Mon, Wed and public holidays Art-Cafe 1, Kaiserpassage Karlsruhe 76133 Mon - Sun. 09.00 - 22.00 Art Club 1, Kaiserpassage Karlsruhe 76133 During the events Art School 1, Kaiserpassage Karlsruhe 76133 During the events Social Media Phone +49 174 343 29 85 E-Mail Contact Us SEND Thanks for submitting!

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