Nikita Diakur's exhibition presents an intriguing selection of works from several of his projects started in 2014, like "Ugly Project" and, most recently, "Studio Footage." Diakur is looking to create artworks that challenge the prevailing norms of polished CGI videos by embracing the aesthetics of the chaotic and the malformed. Diakur's unique approach leverages dynamic computer simulation to create a world that is deliberately rough around the edges, reflecting his intentions to comment on the unpredictability and imperfection inherent in life and digital creation.

The works range from bizarre urban environments to characters that defy conventional design principles, each serving as a testament to Diakur's innovative use of software glitches and errors to craft narratives. This method not only highlights the unpredictable nature of computer simulations but also brings an element of spontaneity and personal touch to the animation, akin to the unpredictable outcomes in real-life filmmaking. This embrace of randomness and the acceptance of the 'ugly' or imperfect offers a critical anthropological observation of the digital age's obsession with perfection and control, urging viewers to find beauty and meaning in the chaos and to reconsider their relationship with digital media.

Diakur's work is a significant contribution to digital art, inviting a reevaluation of our expectations and perceptions of beauty, narrative, and the artist's role in the age of advanced technology. His practice encourages a dialogue on the essence of creativity in digital spaces, pushing the boundaries of traditional animation and challenging viewers to embrace the unexpected.

*Curatorial note

This exhibition is one of our recent conceptual expansions of the Daily Program outside of AI video and into Contemporary Video Art. In our curatorial approach to contextualizing AI Video, this and other exhibitions help us understand how new AI digital tools are directly linked to previous tools. From embracing randomness to including glitches and unfinished images, these aesthetic motifs precede AI video production. We see the interconnections between the tools as an opportunity to better understand new video creation with synthetic images. We see the future of Contemporary Video Art as one of mixed media, where all tools converge to create more profound gestures that comment on our society and its relationship to technology.