Anicka Yi Posted on 13th December 202116th June 2022 by nr NR · WorldPublished · Online Feature · Anicka YiWords · Nicola Barrett “If I had to guess I would say I was smelling the Machine Age, but honestly it was hard to tell” I decided to binge Foundation recently, the Apple Original series based on Issac Asimov’s famous sci-fi novels. It’s a fantastic piece of television but in it there are a few throwaway lines that mention ‘the robot wars’. The series is set millennia in the future, long after humans have populated the galaxy, but that simple phrase sets the imagination whirring. Quite often when scrolling social media you come across videos of robots that scientists are working on, some humanoid, some not. However one thing is constant, and that is somewhere in the comments people are joking that these robots will one day turn on us, and ‘the robot wars’ will become reality. This sentiment is unsurprising, especially from a generation brought up on media such as Black Mirror. But what if they didn’t turn on us? What if the ‘robots’ or the ‘machines’ become part of the ecosystem, benign artificial beings that live in the wild and evolve on their own? Anicka Yi’s installation in Tate Modern’s Turbine Hall explores such a possibility. As you enter the space you spot them, flying high above the crowds of visitors, like strange sea creatures with gently waving tentacles and whirring propellers. They come in a variety of pinks and yellows and some are transparent. Yi calls them aerobes, and in addition to sea creatures draws inspiration from mushrooms. The hairy, bulbous aerobes are called planulae, whilst the ones with tentacles are called xenojellies. “Combining forms of aquatic and terrestrial life, Yi’s aerobes signal new possibilities of hybrid machine species.” Yi collaborates with a team of specialists using artificial intelligence to pilot these aerobes, and they all follow unique flight paths generated by ‘a vast range of options in the systems software’. The machines use electronic sensors placed in various locations around Turbine Hall as a stand-in for their senses and react to changes in their environment inducing visitors heat signatures. “This sensory information affects their individual and group movements, meaning they will behave differently each time you encounter them.” Another thing you might notice upon entering the Turbine Hall is the smell. When I visited it smelled swampy, almost like a peat bog mixed with the smell of petrol and metal. This is intentional, another part of Yi’s instillation are smellscapes. Based on different times in history these smellscapes change from week to week. There are marine scents from the Precambrian period, coal and ozone from the Machine Age of the 20th century, vegetation from the Cretaceous period, or spices that were used during the Black Death plague of the 14th century. If I had to guess I would say I was smelling the Machine Age, but honestly it was hard to tell. Overall the exhibition does feel a little sparse. The Turbine Hall is a huge space and it feels like the number of aerobes in comparison are rather small. One feels that in the world that Yi is visualising that these aerobes come in great swarms that fill the skies like flocks of sparrows. Reality is a little different, understandably but the concept remains and upon leaving the space you find yourself wondering what the world would be like if it was populated by herds of roaming robots or packs of floating synthetic aerobes. Credits Images · ANICKA YIInfo · https://www.tate.org.uk/whats-on/tate-modern/hyundai-commission-anicka-yi Photos Anicka Yi, In Love With the World, Hyundai Commission, Tate ModernAnicka Yi, In Love With the World, Hyundai Commission, Tate ModernAnicka Yi, In Love With the World, Hyundai Commission, Tate ModernAnicka Yi, In Love With the World, Hyundai Commission, Tate Modern About Founded in London in 2016, NR is an independent bi-annual print publication dedicated to showcasing diverse content in the realms of art, culture, design, fashion, music and beyond. Based in Milan since 2021, NR aims at providing in print and online, an archive of features and conversations between emerging and established creatives with a focus on empowering voices. 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Made with sustainability in mind, nr.world is cleaner than 70% of web pages testedLegal About Founded in London in 2016, NR is an independent bi-annual print publication dedicated to showcasing diverse content in the realms of art, culture, design, fashion, music and beyond. Based in Milan since 2021, NR aims at providing in print and online, an archive of features and conversations between emerging and established creatives with a focus on empowering voices. Through the exploration of themes that transcend boundaries, challenge norms, and inspire change, NR aims to elevate the cultural conversation and celebrate the beauty of creativity in all its forms.Creative Director Jade Removille Editor-in-ChiefJade Removille Graphic DesignCountersubjectContributing writersNicola BarrettMariana BerezovskaAndrea BrattaEllie BrownMatthew BurgosKayla Curtis-EvansCassidy GeorgeBilly De LucaJuule KayDara KhakpourArielle Lana LeJardeLindsey OkuboLorenzo OttoneJade RemovilleFederico SargentoneSara van Bussel Distribution New Distribution HouseWhiteCirc Ltd Distribution Enquiriesinfo@nr.world Publisher NR World Explore InstagramSoundcloudResident AdvisorArchiveNR 17NR 16NR 15 StoreContact Stockists Boutique MagsWorld Magazines, SeoulTerminal 27, Los AngelesAssembly, New YorkVillage Books, LeedsVillage Books, ManchesterDover Street Market, LondonGood News, LondonMagCulture, LondonShreeji News, LondonNews & Coffee, BarcelonaOdd Kiosk, BarcelonaIMS, HasseltCowgirl Gallery, MalmöOFR, ParisPalais de Tokyo, ParisRosa Wolf, Berlin Avril50, PhiladelphiaBrot Books, BratislavaDorbeetle, Hangzhou © NR 2022 All Rights ReservedNR is the property of NR WORLD S.r.l. 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