Kevin Abosch.Parallax

Palazzo Citterio hosts Parallax, a generative video work by conceptual artist Kevin Abosch, among the international pioneers in the use of artificial intelligence in art. With an approach that fuses art and technology, Abosch explores new visual and conceptual languages, redefining the role of the image and the relationship between viewer and work.

Project realized in collaboration with the National Museum of Digital Art
Curated by Clelia Patella

Conceived specifically for the ledwall of Palazzo Citterio, Parallax is inspired by the historical presence of the Brera Astronomical Observatory, a symbolic place of scientific exploration and tension toward the invisible. The work fits ideally into this context, like a new digital “specola”: no longer oriented toward the sky, but toward the depths of perception and imagination.

The title of the work recalls the phenomenon of parallax: in astronomy, the apparent displacement of a celestial body relative to the background, observed from two different points on the earth’s orbit. A principle that has been fundamental to measuring the distance of stars. Abosch transforms this perceptual gap into a poetic and conceptual key: what changes with the point of view is not only the image, but the very sense of reality. The work invites the viewer to question his or her own way of looking and the inner narratives it generates.

In the video, structures suspended between the organic and the technological slowly rotate, evoking fragments and relics that emerge as visions of an archaeology of the future. They are images charged with ambiguity: at once familiar and foreign, they evoke what has been and what could be.
The viewer is confronted with something he cannot fully decipher: and in this nonknowledge he is called upon to generate meaning. The work, then, does not merely be looked at, but asks for an interpretive effort, inviting the viewer to an active and imaginative experience.

As in Stanley Kubrick’s 2001: A Space Odyssey, the work stages a transformative journey: man observes his own deformed, hybrid, perhaps already beyond-human reflection. The avatar is no longer just simulacrum, but a new form of consciousness. Artificial intelligence is a new interface with time, perception, the self.

The work reflects on our relationship with technology and identity in an age of transition, questioning the boundaries between human and artificial, vision and knowledge, body and code.

Kevin Abosch (1969) is an Irish conceptual artist working with traditional and generative media, particularly photography and machine learning (AI).
His work challenges conventional notions of identity and value, posing ontological questions and answering sociological dilemmas.
In 2024, Abosch directed “AM I?”, the world’s first feature film generated entirely through artificial intelligence.
His work has been exhibited in civic and cultural institutions around the world, including the Hermitage Museum (St. Petersburg), the National Museum of China, the Redbrick Museum (Beijing), the National Gallery of Ireland, the Jeu de Paume (Paris), the Irish Museum of Modern Art, the Museum of Modern Art in Bogotá, and the ZKM (Zentrum für Kunst und Medien).