ENTRAUSCHEN -
DeNoise

In 2026 and 2027, the Goethe-Institut Brussels will highlight artistic discourses that develop alternative, resistant and emancipatory visions of the future on artificial intelligence.

ENTRAUSCHEN – DeNoise Graphic Design: Our Polite Society

About the project

Art and Artificial Intelligence

Hardly anything has transformed our relationship with images as radically as digital technologies. Generative artificial intelligence is reshaping our understanding of images and our production of them in terms of truthfulness, fiction and authorship. It has provided us with new metaphors and aesthetics through which we decode the world and life.

Halfway through the digital revolution, we must recognise that crucial technological developments lie in the hands of a handful of tech billionaires, who are often associated with anti-democratic and neo-fascist tendencies. What narratives exist beyond these?

The programme title ‘DeNoise’ refers to the technical process of text-to-image AI, such as Stable Diffusion, which generates new images from chaotic noise through gradual removal - denoising. The title also calls for a clearer perspective on a complex situation. In 2026 and 2027, the Goethe-Institut Brussels will present artistic and intellectual discourses that contextualise these developments and tell of resistant and emancipatory futures.

How do artists help to demystify AI and empower us through AI literacy? We will examine the impact of this new medium on creative professionals and on our lives across three areas:

new artistic aesthetics
the impact on contemporary working conditions (for creative professionals and data workers)
the impact on the contemporary media ecosystem in relation to disinformation

We aim to shed light, from an imaginative and emancipatory perspective, on what AI has been so far and what it can become in the future.

As part of this programme series, the Goethe-Institut Brussels is initiating collaborations with Belgian and European partners. This is giving rise to cross-disciplinary events, such as art exhibitions and festivals, workshops, film screenings and round tables for people with an interest in art and culture who wish to explore the technological changes taking place in our societies.

Events

21.10. –21.02.2027 //sabotage

iMAL Art Center for Digital Cultures & Technology, Brussels | Exhibition

Loop Labour, Gisela Carbajal Rodríguez & Felix Klee Gisela Carbajal Rodríguez & Felix Klee

Events

Participants

The pseudo-marxist media guerilla Total Refusal is a collective of artists, researchers, and filmmakers who upcycle the resources of mainstream video games to create political narratives in the form of videos, interventions, performances, and lectures. The collective's themes are informed by critical game studies and social theory in an attempt to promote and popularize a counter-hegemonic left. Their work has been screened at over 400 film and art festivals and exhibited at various spaces. Since their foundation in 2018, Total Refusal have been awarded with more than 70 prizes and honorary mentions.
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Total Refusal
Régine Debatty is a curator, art critic and the founder of the award-winning blog We Make Money Not Art. Since 2004, she has been writing and lecturing internationally about the way artists, hackers and designers use science and technology as a medium for critical discussion.
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We make money not art
Gisela was born in Aguascalientes, Mexico. She studied audiovisual arts at the Universidad la Concordia, where she graduated with honors in 2009. In 2012, she studied documentary film directing at the University of Television and Film Munich. Her films have been shown at Digital Art Center Taipei, Museum of Modern and Contemporary Art Rijeka, the Guanajuato International Film Festival, DOK Leipzig, International Short Film Festival Oberhausen, and BOGOSHORTS, among others.
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Felix Klee is an artist, filmmaker and researcher based in Munich. His interdisciplinary practice investigates the entangled stories and histories of human and nonhuman animals. His work specifically looks at how technology shapes these relationships when capitalist production systems overlap with the lifeworlds of nonhuman animals. In his practice he combines a vast array of mediums ranging from documentary film, 3D and traditional 2D animation, modded computer games and painting to analog tabletop roleplaying games.
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Website
Régine Debatty is a curator, art critic and the founder of the award-winning blog We Make Money Not Art. Since 2004, she has been writing and lecturing internationally about the way artists, hackers and designers use science and technology as a medium for critical discussion.
Thibaud Leplat (France, 1997) is a French curator and writer based in Brussels. A graduate of the CARE Master’s programme at the Royal Academy of Fine Arts in Brussels, his work explores the intersections between artistic practices and research. From this perspective, he is interested in the fluidity between exhibitions, public programmes, education and writing. He is currently an associate curator at Komplot (Brussels), where he helps to develop the artistic programme and coordinate the organisation.
(a very deep) fatigue
Fanny Testas (France, 1994) lives and works between Paris and Brussels. An independent curator, she studied at the University of Paris 8 Vincennes–Saint-Denis, then at the Royal Academy of Fine Arts in Brussels. Having worked in the arts for ten years, she collaborates with numerous artists and is involved in cultural venues, events and cultural media in France and abroad. Alongside this, she develops projects aimed at passing on and sharing knowledge with a variety of audiences. In 2026, she is in a curatorial residency with Line Gigs at the Maison Populaire in Montreuil, where they are developing the exhibition series ‘Amitiés Amours Affinités’
Elevages d'absences - Fanny Testas
Temitayo Olalekan (Nigeria, 1994) is a curator based in Marseille. He holds two master’s degrees from the University of Aix-Marseille and the École des Beaux-Arts de Marseille in France, as well as a diploma in curatorial studies from KASK & Conservatorium in Belgium. His research, entitled Curating the Inhuman, examines how artistic and social practices interact with and challenge dominant constructions of ‘the human’ and ‘the inhuman’. He regards these constructs as the result of a historical process linked to coloniality, ecological extraction and regimes of knowledge, which continue to shape contemporary life and its inequalities.
eye the treshhold