“Machine(s) of Loving Grace”: stories of a Cybernetic Ecology

At the Gratosoglio district in Milan, in the spaces of the former Ringhiera theatre, an exhibition opened during Milano Arch Week explores the local and global implications of new technologies on the natural environment.

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto Luigi Savio

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Luigi Savio

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Luigi Savio

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Luigi Savio

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Foto  Piercarlo Quecchia

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Nina Bassoli

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Nina Bassoli

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Nina Bassoli

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Nina Bassoli

“Machine(s) of Loving Grace” Teatro Ringhiera, Via Boifava 17, Milano, 2019

Photo Nina Bassoli

In 1967 the American author Richard Brautigan published the poem All Watched Over by Machines of Loving Grace in a collection that has the same title. Following the wave of enthusiastic confidence in the technological development of those years, Brautigan describes a technological utopia, where machines improve and protect man in a new relationship with the natural landscape. There is no longer any distinction between nature and technology: both elements live in a mutual harmony that allows man to be finally free.

During Milano Arch Week 2019, in a room of the municipal building of the former Ringhiera Theatre, curators Francesca Luci, Margherita Marri, Andrea Mologni (CAPTCHA) and Luigi Savio (Abnormal) presented “Machine(s) of Loving Grace”: an enormous device that exposes, through the regular and hypnotic motion of its rollers, the words of Brautigan translated into Java language, printed on a long white textile that moved slowly. The text, which is transformed into a machine code, takes on an incomprehensible and fragmentary guise, dramatizing analogically the condition of absolute impenetrability of the technological infrastructure supporting today’s system of knowledge.

“Machine(s) of Loving Grace”, former Ringhiera theatre, Milan, 2019. Photo Piercarlo Quecchia

This visionary scenario of the past becomes an inspiring point of view from which to look at the completely anthropized contemporary world. Data centers, fulfilment centers and automated greenhouses, anonymous boxes inhabited by machines alone and generated by computational geographies now redraw huge portions of land, deserving the definition of landscapes. In these new landscapes automation becomes ontologically comparable to nature – produced by man and autonomous – in a vision that recalls the cybernetic ecology of Brautigan.

A precious collection of material from various contributors – architects and artists who work on the subject – is exhibited around the large machine.  Part of this material is presented in paper format which is possible to consult and take home. The curators have asked specific questions to the various contributors reporting their answers in writing . A different section, in video format, is projected on the machine used as a display. 

Christoph Morlinghaus, Emsflower Baskets, ManMade Landscape Series Image part of a photography serie investigating man-made landscapes, from the computer boards micro scale, to the huge automated greenhouses.  

Christoph Morlinghaus (German, b.1974) is a photographer whose work has been exhibited in solo and group shows statewide and abroad and is included in museum collections as well as private and corporate collections. After having lived and worked in London, New York, Bogota and Miami he now spends his time in the European Union. He works almost exclusively on 8x10’’ large format film and his print-sizes vary from 8x10’’ contact prints to 72x96’’ mural analog prints. Morlinghaus likes to photograph ‘anything that does not move’. 

Christoph Morlinghaus, MotherBoard2, Motherboard Series Image part of a photography serie investigating man-made landscapes, from the computer boards micro scale, to the huge automated greenhouses.

Christoph Morlinghaus (German, b.1974) is a photographer whose work has been exhibited in solo and group shows statewide and abroad and is included in museum collections as well as private and corporate collections. After having lived and worked in London, New York, Bogota and Miami he now spends his time in the European Union. He works almost exclusively on 8x10’’ large format film and his print-sizes vary from 8x10’’ contact prints to 72x96’’ mural analog prints. Morlinghaus likes to photograph ‘anything that does not move’. 

Christoph Morlinghaus, Hermes Hochregal, Industry Series Image part of a photography serie investigating man-made landscapes, from the computer boards micro scale, to the huge automated greenhouses.

Christoph Morlinghaus (German, b.1974) is a photographer whose work has been exhibited in solo and group shows statewide and abroad and is included in museum collections as well as private and corporate collections. After having lived and worked in London, New York, Bogota and Miami he now spends his time in the European Union. He works almost exclusively on 8x10’’ large format film and his print-sizes vary from 8x10’’ contact prints to 72x96’’ mural analog prints. Morlinghaus likes to photograph ‘anything that does not move’.  

Laida Aguirre, Image of the Exhibition, "Careful Crates – a culture of shipping" at Taubman College of Architecture + Urban Planning Gallery A Mixed media project consisting of a series of designed crates, set on a stage-set reminiscent of the interior of a warehouse environment. An alternative entry point onto the otherwise opaque topics of global trade and the data-thinking mindset of commercial logistics.

Laida Aguirre is an architectural designer and educator. She was the 2017-2018 William Muschenheim Fellow at the University of Michigan where her research ‘Careful Crates’ focused on the architectural and cultural effects of shipping. Her work has been exhibited at Storefront for Art and Architecture, A+D Museum, Berlin Art Week, Harvard Graduate School of Design, Oya in Oslo, and has been published in Pin-Up Magazine, POOL, and Art Papers. She is currently director of stock-a-studio, a contemporary architectural practice that explores architecture as a material and cultural agent.

Laida Aguirre, Global Boxes, Image of the Exhibition, "Careful Crates – a culture of shipping" at Taubman College of Architecture + Urban Planning Gallery A Mixed media project consisting of a series of designed crates, set on a stage-set reminiscent of the interior of a warehouse environment. An alternative entry point onto the otherwise opaque topics of global trade and the data-thinking mindset of commercial logistics.

Laida Aguirre is an architectural designer and educator. She was the 2017-2018 William Muschenheim Fellow at the University of Michigan where her research ‘Careful Crates’ focused on the architectural and cultural effects of shipping. Her work has been exhibited at Storefront for Art and Architecture, A+D Museum, Berlin Art Week, Harvard Graduate School of Design, Oya in Oslo, and has been published in Pin-Up Magazine, POOL, and Art Papers. She is currently director of stock-a-studio, a contemporary architectural practice that explores architecture as a material and cultural agent.

Liam Young, Frame of New City: Machines of Post-Human Production Videos part of New City, a series of animated skylines of the near future: am exaggerated version of the present, in which we can project new cultural trends, environmental, political and economic forces

Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today and Unknown Fields. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is a BAFTA nominated producer and his work has been collected by institutions such as the Metropolitan Museum of Art, the Victoria and Albert Museum and MAAS in Sydney. He has taught internationally at the Architectural Association, Princeton University and now runs the ground breaking MA in Fiction and Entertainment at Sci Arc in Los Angles. 

Liam Young, Frame of New City: Taobao Village Videos part of New City, a series of animated skylines of the near future: am exaggerated version of the present, in which we can project new cultural trends, environmental, political and economic forces

Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today and Unknown Fields. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is a BAFTA nominated producer and his work has been collected by institutions such as the Metropolitan Museum of Art, the Victoria and Albert Museum and MAAS in Sydney. He has taught internationally at the Architectural Association, Princeton University and now runs the ground breaking MA in Fiction and Entertainment at Sci Arc in Los Angles. 

When the curators asked what is the relationship between nature and computational geography in the Anthropocene era, one of the contributors – German photographer Christoph Morlinghaus – answered: “The problem with the Anthropocene is, of course, the alteration of Earth’s climate, geography and biodiversity and we will probably never see harmony between mammals and computers or pines and electronics outside of virtual reality. Unless we change our economic order where money buys natural resources.”

The exhibition gives the visitor the opportunity to face these themes and becomes a great container of research from which to draw on.

  • “Machine(s) of Loving Grace”
  • Francesca Luci, Margherita Marri, Andrea Mologni (CAPTCHA), Luigi Savio (Abnormal)
  • Nina Bassoli, Azzurra Muzzonigro, Associazione Atir
  • Niil Petruccioli
  • (ab)normal; Neerja Bathia e Victor munoz corso the territorial city presso uta, cappa; Michele Borzoni; Captcha; Paul Cournet e Negar Sanaan Bensi corso datapolis presso tu Delft; Camilla Franchini; Kateřina Frejlachová, Miroslav Pazdera, Tadeáš Ríha, Martin Spičák; Jesse lecavalier; Clare lyster; Tommaso Maserati; Christoph Morlinghaus; Noumena; Matthew Stewart; Liam Young; Laida Aguirre
  • Teatro Ringhiera, Via Boifava 17, Milan
  • Monday/Thursday 5p.m/8 p.m. Saturday/Sunday 12 a.m/8 p.m. Open till the 2nd of June
“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto Luigi Savio

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Luigi Savio

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Luigi Savio

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Luigi Savio

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Foto  Piercarlo Quecchia

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Nina Bassoli

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Nina Bassoli

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Nina Bassoli

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Nina Bassoli

Teatro Ringhiera, Via Boifava 17, Milano, 2019

“Machine(s) of Loving Grace” Photo Nina Bassoli

Teatro Ringhiera, Via Boifava 17, Milano, 2019