Perched atop the mountain’s summit, where humanity has long sought to touch the divine, the exhibition exposes the physical-world foundations of Artificial Intelligence as it transcends earthly heights.

In the hidden workforce of artificial intelligence, every click matters. Ilse Kind's work draws from her experience as an annotation worker, a silent witness to the unpredictable, repetitive, and underpaid labor shaping machine intelligence. Bound by confidentiality, she captured what was allowed: the clicks of her trackpad, the rhythm of her heartbeat as she worked. In collaboration with MYNRGY, these sounds are amplified into a soundscape, revealing the unseen conditions of this digital labor. 

Lifetime Approval Rate 96%, a video work at the heart of the exhibition, shows annotation clicks on a trackpad while exposing the fragmented nature of AI training data—bizarre juxtapositions of medical photographs, miniature army models and cowboy toys. Trained on this erratic material, AI reveals its limits most clearly in its attempts to recreate human hands—producing deformed, anatomically flawed gestures that expose its dependence on this hidden workforce. These glitches take sculptural form in Hand 14, Hand 21, Hand 45, and Hand 71, each shaped by Kind’s own hands yet assembled through the logic of diffusion algorithms, bridging the digital and the physical, machine learning and human labor. 

Throughout history, mountains have symbolized enlightenment and the pursuit of divine power. In this elevated setting, Kind’s work reimagines these aspirations within the context of technological progress at every cost. The summit embodies humanity’s drive for godlike creation- artificial intelligence as a modern Prometheus, reaching toward omnipotence, yet still bound by the unseen hands that shape it.



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In the gaze of algorithms, human bodies are sculpted by data flows. Surveillance systems track how we move and express, while moulding us into simplified, predefined forms. These systems prioritize basic emotional states, fueling emotions like happiness. Treated as malleable data containers, BLOBs (Binary Large Objects), we are reduced to the data we produce or lack. Simplified to analyzable shapes, we are left with only the most basic expressive features."

In this installation, the clay sculpture embodies this condition. Shaped in a predefined "happy" pose to satisfy the pose recognition system, its survival depends on water. A feedback mechanism irrigates only when its form aligns with the algorithm's expectations. Yet, this act of validation, meant to preserve, gradually strips it of its identity. Too much water risks dissolution, softening the figure, while too little causes it to dry out and crumbles away, returning back to soil. Here, the act of being seen becomes both a lifeline and a form of erasure, caught between becoming and being in systems that prize visibility over human complexity.  


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