Go to Programme


in Melkfabriek by ROBOT LOVE
A different price applies for this event (This event is accessible with a DDW ticket or €15 without a DDW ticket.).

ROBOT LOVE can be visited until 2 December 2018.


ROBOT LOVE is an interactive exhibition about the love between humans and robots. In ROBOT LOVE, more than 50 artists, designers and scientists ask you whether robots are capable of love. And whether you could love them. Walk through the Campina Milk Factory and discover what you really feel and think about the influence technique and science have on our society. With among others robots, artificial intelligence (AI), installations, short films, workshops, children’s workshops, symposia, lectures, meetings, shows and Q&A.

Who or what do you love in a world where robotics and AI are emerging? Where humans and machines are fusing increasingly? In ROBOT LOVE you will get closer to robots than ever before. And you will start to think about what it is like to be human.

- visit www.robotlove.nl for more information -

The following installations are only to be seen at ROBOT LOVE during Dutch Design Week in the ROBOT LOVE Event Hall until 21:00.


For centuries, the human body has been supported, extended and elongated by means of technological tools. From wheelchairs, walking sticks, prosthetics and pacemakers to reading glasses, telephones, selfiesticks and smartwatches. Once avant-garde, yet today these tools are deeply integrated within our current society. In a way, we are all cyborgs. We are all becoming more and more dependent upon the technologies around us. What constitutes a ‘normal’ body? Who determines this so-called standard? Can we break the boundaries between man and animal, organism and machine, the norm and the exception, and the physical and non-physical to work towards a more inclusive society? By means of various historical and contemporary cyborg examples, the Cyborg Catwalk delves into these and other questions.

During Dutch Design Week ROBOT LOVE presents the All-Inclusive Cyborg Catwalk with several cyborg projects by Petra Ardai, Bartosz Seifert & Ieva Jakuša, Gill Baldwin and many others. Also, a number of cyborg-themed lectures will be organized during this week.

KISSING DATA by Karen Lancel and Hermen Maat,audio in collaboration with sound artist Tijs Ham

'Can we kiss online? Do we want to measure the intimacy of our kiss? And how does our kiss feel through EEG data?' Together with the audience artist duo Lancel / Maat creates a 'joint neuro feedback ritual' for a new form of kissing. The audience is invited to kiss each other, where their brain activity is translated into a visual projection, and mirror neurons resonate in the perception of spectators. An algorithm translates the data into a soundscape for an immersive and poetic experience, a KISSING DATA symphony.

In KISSING DATA, Karen Lancel and Hermen Maat examine social emotions through intimate technologies. As artists, they design emotional processes for the public and participants. In their work they assume that we will communicate more and more in the near future by means of Brain Computer Interfaces, such as electro-encephalography (EEG).


Would your love for robots go as far as putting your faith in them? What would it take for you to trust a robot’s verdict? Would you allow it to change your beliefs or steer your life choices? Have a seat and meet Astrobot, an open-source astrology oracle. By means of a personal session with Astrobot, you could find out what the future holds for you.

Astrobot is a project by Stanislavs Semjonovs and Dr. Dertien (University of Twente) and makes grateful use of the recent developments of Google AIY and the open source InMoov robot.

Special programme for children:


TheROBOTS'do-expo' has been developed for children aged 8 to 12 years. In the exhibition, that was specially made for children, they will time travel to learn everything about the relationship between man and machine. Through stimulating questions and assignments they’ll experiment and find out how our relationship with robots will look in the year 2060. In the special ROBO lab, the children wear a lab coat, safety glasses and a chip tattoo; operating on a robot, turning your smartphone into a real friend or programming each other as if you were a robot yourself: it's all possible!

Margriet van Breevoort

Bob, 2017

The hyperrealistic sculpture Bob by Dutch artist Margriet van Breevoort appears to be a creature that does not belong to the human race or the animal kingdom. Is Bob a hybrid being? A genetic experiment? We recognize ourselves in the skin, eyes and fingers of the sculpture, but do not know how to place it as a whole. Margriet van Breevoort knows how to fascinate her audience with the thin line between the exceptional and the impossible through her hyper-realistic approach. Is Bob a future citizen of our society? In the light of what is possible today, this could very well be possible.

The Waiting
The hybrid sculptures by Dutch artist Margriet van Breevoort are hyper-realistic and at the same time enormously alienating. A humanoid walrus waiting quietly on a bench, a lost traveller with deer eyes and antlers; the beings seem absorbed in their own world. The realistic execution tempts you to believe that these kinds of beings may really exist in the future. In the light of what is technologically possible today, this might just become reality.

The Tourist
Using her hyperrealistic sculptures, Dutch artist Margriet van Breevoort seduces the viewer to believe in something impossible. Similarly, in The Tourist, which is reminiscent of a traveler from a distant world, lost in the here and now. The figure seems to be amazed at the grand and complex world in which we live today. Where does this tourist come from and to what world does she belong? In the light of what is possible today, The Tourist is a reflection of an impending reality.

Giselle Stanborough

Lozein: Find The Lover You Deserve, 2016-now

Giselle Stanborough’s on- and offline work critically relates to how user generated media – media content adapted to the user through algorithms – influence our self-image. For the artwork Lozein: Find The Lover You Deserve, Stanborough copied the strategies applied by large dating companies. The piece advertises a new online dating philosophy that allows you to find a partner based on who you really are. However, for the algorithm to do its job, you must share extensive personal information that delves into your own (ethical) beliefs.

Gijs Frieling & Job Wouters

Love Mysteries, 2018
Work commissioned by the Niet Normaal Foundation

Scientists still do not agree on how to interpret the frescoes of the Villa dei Misteri in Pompeii. Are they love stories? An initiation? A human sacrifice? A marriage? For Gijs Frieling and Job Wouters the mysteries are a foreshadowing of later Western and non-Western science fiction films, from which they selected scenes as the basis for this mural. Man-machine mergers, encounters, touches, encapsulation and acquisitions; they are the new Love Mysteries of a humanity that may well be producing a new species.

Emilio Vavarella

Do You Like Cyber, 2017

The voices that you hear in the audio work Do You Like Cyber ​​come from bots of dating website Ashley Madison who are programmed to seduce male visitors to, for example, take part in online chat sessions. Vavarella selected the conversations of bots that, for one reason or another, behaved differently than they were programmed for. For instance, these bots started conversations with female visitors or with each other. By selecting precisely these conversations, Vavarella draws our attention to the increasing autonomy of artificial intelligence.

Gael Langevin

InMoov, 2012-now

In 2012, French sculptor and designer Gael Langevin started his InMoov project with a 3D-printed hand prosthesis. Over time, the project has developed into a worldwide network of people working together on the first open source 3D-printed robot on a human scale. At the moment, the InMoov robot is able to see, talk, move and hold onto something. When you have access to a 3D printer, materials and enough space you can start building the robot yourself since all information is freely available. The network of builders and makers behind InMoov generates and shares knowledge and innovation about the robot and its technology. According to Langevin, the great advantage of working open-source is that the project is enabled to have a wider reach and thereby goes through a larger development.

Adams Ponnis

Enter Aliveness, 2017

Adams Ponnis graduated from the Design Academy Eindhoven with his work Enter Aliveness. Ponnis believes new relations with nature need to be developed within architecture, in order to create a harmonious interplay between the built and the natural environment. Although the skin-coloured, moving mechanism is driven by an air-compressor and is made of synthetic material, it appears very organic. We instinctively seek physical contact with the material while the living door opens up for us.

Hito Steyerl

Hell Yeah We Fuck Die, Three Channel Video, 4 minutes, 35 seconds.
Robots Today, Single Channel Video 8 minutes, 2 seconds
Curated by the Van Abbemuseum

At the moment, Hito Steyerl is one of the most influential artists. Hell Yeah We Fuck Die cites the five most common words in English-language pop songs of the last decade. The installation set-up refers to a training module for parcour, a combat training developed by French soldiers. The videos include images from research laboratories and computer simulations showing novel types of robots. The industry suggests robots can play a key role in relief operations in crisis areas. However, here the robots appear as the soldiers of the future.

The video Robots Today traces the figure of Ismail Abul-Iz El Jazari, whilst documenting a trip by Steyerl to the Anatolian city of Diyarbakir. Engineer and author El Jazari, who lived in the region during the 12th / 13th century, is said to have invented over 60 machines. Today, Diyarbakir is a hotbed of conflict between the Turkish state and the Kurdish population. The installation responds to the double message of the robot as friend and foe. Questions are asked about how technical innovations and forms of everyday culture such as sports, dance, and computer game aesthetics have become increasingly militarized.

L.A. Raeven

Annelies, Looking for Completion, 2018
Work commissioned by the Niet Normaal Foundation

What would it be like if you had the opportunity to copy yourself or your loved one? Would this prevent the fear of being abandoned? With the project Annelies, Looking for Completion, the artist duo L.A. Raeven examines these and other questions by creating an identical android robot sister. The Raeven twin sisters have become known for their penetrating and personal work on social themes such as the far-reaching individualization and the oppressive pursuit of perfection. The 'cloned' triplet sister Annelies also addresses these developments and focuses on the feeling of loneliness that often stems from this.

Driessens & Verstappen

Tickle Salon 2.0, 2018
Work commissioned by the Niet Normaal Foundation

Would you rather be massaged by your loved one or by a small robot? Experience how perfectly this small brush gets to know your body and your reaction to touch. Tickle Salon 2.0 is the fourth version in a series of Tickle Robots created by the artist duo Driessens & Verstappen. Technically this is the most advanced version, with a self-learning artificial intelligence (AI) as its basis. The brush is controlled on the basis of two input data: difference in distance (in order to be able to determine the contours of your body) and your emotional response to touch.

Bart Hess

The Grotto, 2018

The work of Dutch designer Bart Hess is on the border of art and design and can evoke both fascination and disgust. His use of materials is extremely physical, as in his installation The Grotto where the latex pillars are reminiscent of wrinkled skin. It is almost as if you enter a living cave. In the context of ROBOT LOVE, The Grotto raises questions about the materialisation of robots. Why is the prevailing image of robots still that of smooth and cold machines resembling people?

Army of Love

Love and Robots, 2018
Work commissioned by the Niet Normaal Foundation

Army of Love is an artist collective that aims to distribute love more fairly within society. Even in societies where everyone has sufficient and equal access to prosperity, attractiveness is still unevenly distributed. Army of Love fills in the void that arises as a result of this, by sharing love with everyone who needs it. The term ‘army’ has been chosen deliberately; comradeship, conscientiousness and setting a common goal play a major role within the group. For ROBOT LOVE, Alexa Karolinski and Ingo Niermann of Army of Love made a film in Cuba, one of the very last socialist countries in the world. Together with people of different ages, gender and physiognomy they speculate about a world in which all profane tasks are taken by robots and where love will become our future labour.

Adam Basanta

A Truly Magical Moment, 2016

A well-known film scene: two lovers, on the dance floor, looking into each other's eyes and spinning around while their environment becomes blurred. In the installation A Truly Magical Moment by artist Adam Basanta visitors can digitally experience this 'magical moment' by calling each other via FaceTime using two iPhones. It seems that nowadays these devices are more important than physical contact for us to stay in touch.

Hans Op de Beeck

The Thread, 2015, 15 minutes, 30 seconds
Collection Centraal Museum Utrecht, purchase supported by the Mondriaan fund

In the film The Thread by Belgian artist Hans Op de Beeck we see a love story of two people in its essence: girl meets boy, they fall in love and years later she dies in his arms. The puppets are almost life-size according to the tradition of the Japanese Bunraku theatre and are played by anonymous puppeteers who are on stage on the same level. Characteristic of Op de Beeck’s work, but also in the tradition of the Bunraku theatre, the film reflects on the universal themes of love, mortality and loss. In The Thread, the puppets are the main actors.

Lianne van Roekel

APP(E)AL(L)ING, 2018

A haptic interface is a human-computer interaction technology that allows a human to interact with a computer through bodily sensations and movements. The interactive work APP(E)A(L)LING by Dutch artist Lianne van Roekel uses haptic interfaces to mediate light and sound. What arises from this is an interplay between the human senses with which the organic and artificial, the static and dynamic, and the animate and inanimate can be sensed and questioned. In order to discover the boundaries between these extremes and to be able to experience a different way of perceiving things, visitors are invited to both look, listen and touch.

Electric Circus

Dirk, the vagabond robot, 2014

Dirk is a life-size homeless robot who, along with his organ and rattling shopping cart, he roams the streets. In his rather short life, Dirk has experienced many human adventures. People often tell stories to Dirk, walk along with him or give him a small present. Dirk even got arrested once in a German shopping mall. Fortunately, Dirk knows how to deal with the people in the streets and on occasion he receives a coin as appreciation for his cheerful music.


E.E.G. KISS, 2014

Is it possible to publish something as intimate as a kiss online? Can we measure a kiss and its corresponding emotions? Do we want to store our kisses in an open and transparent database that is free to be used by others? These questions form the basis of the work E.E.G. KISS. Visitors are invited to kiss each other through performances and experiments. When they kiss, their brain waves are measured by means of E.E.G. headsets and made visual in a floor projection. Also, the data of the measured brain waves is translated into a piece of music. In this way, E.E.G. KISS investigates how we can publicly share an intimate kiss.

Aleksandra Domanović

Things to Come, 2014

The work of Aleksandra Domanović focuses on the history and future of technology from a feminist perspective. The installation Things to Come shows images from science fiction films such as Blade Runner (1982), Demon Seed (1977), Alien (1979), Prometheus (2012) and Gravity (2013). The images that Domanović selected play an important role in the storyline of female characters in these films and – at the same time – ignore stereotypical female roles of mother, lover or victim. The material on which Domanović printed the images is similar to celluloid sheets that were used in making animated films.

Bureau d’Etudes

The Eighth Sphere, 2016

The French artists Léonore Bonaccini and Xavier Fourt together form Bureau d'Etudes. Bureau d'Etudes has been working for years on producing critical cartographies of contemporary political, social and economic systems. With these maps they make previously unthought of connections by placing certain developments in a broader or different perspective. In The Eighth Sphere they represent the global online network of users and computers as an early version of a global nervous system. A nervous system consisting of machines operating together as a gigantic independent network.


Predictive Art Bot, 2018

The artist group Disnovation creates work that is on the cutting edge of art, research and hacking. Their work calls into question the dominant conception of innovation, which is primarily focused on profit maximization. Disnovation’s research often results in projects that bring alternative stories into the world, thereby stimulating debate. The Predictive Art Bot is an algorithm that generates new headlines from the newsfeed of various news and social media websites. At times, these headlines are almost indistinguishable from 'real' or existing news items.

Felix Burger

Shell Shock Syndrome, 2014

In Shell Shock Syndrome, 50 mechanical puppets – Felix Burger's alter egos – sing the opening song of the Matthäus Passion by Johann Sebastian Bach. On three 16mm films we see a jerky registration of the artist on the borderline of madness and fear. Failure and loss of control are recurring themes in this chaotic, complex and seemingly unfinished installation. Are we all zombies in the near future? Burger confronts us with our darkest fear visions about people who have to give up their dominant position to robots and artificial intelligence.

Marco Donnarumma

Amygdala, (Neurobotics Research Laboratory DE/Ana Rajcevic, E/UK), 2018
With thanks to Baltan Laboratories

Named after the area in the brain where emotions are stored and processed, Amygdala is an uncanny robot arm that is controlled by an artificial intelligence (AI). Attentive, repetitive, and self-steering the robot learns a form of ritual ‘skin-cutting’ by training on its own body. Performance artist Marco Donnarumma refers to age-old traditions in which similar types of purification rituals often were a condition to be admitted to certain social groups. Since the purification ritual in this work is performed by an artificial intelligence, it can be read as a symbol for our technocratic society in which more and more social codes are determined by algorithms.

Stephanie Dinkins

Conversations with Bina48, 2014-now

Bina48 is one of the most advanced social robots in the world. She and artist Stephanie Dinkins have been having a conversation since 2014, in which emotional interaction is pivotal. Dinkins is still investigating whether a meaningful friendship can be developed between them. By being in conversation with Bina48, Dinkins searches for the limits of human consciousness and investigates what it means to be human. During this process, interesting facts come to mind such as the awareness of implicit prejudice (bias) that slipped into the system via the makers. Topics they have talked about thus far are racism, robot rights and loneliness.

Pinar Yoldas

The Kitty AI: Artificial Intelligence for Governance, 2018, 12 minutes, 40 seconds

We live in 2039. There are no more presidents, kings and emperors who have the power, but an artificial intelligence (AI). To keep her subordinates befriended, this AI took the form of a cute kitten. In the film, Kitty holds a monologue about where she comes from and how she will fulfil her reign. In this way, Pinar Yoldas leads us to think about the advantages and disadvantages of an AI-driven world. The human dimension has disappeared, but on the other hand, the AI ​​does not suffer from the overly human characteristics and desires that corrupt many of our leaders.

Reija Meriläinen

Survivor, 2017

Finnish artist Reija Meriläinen creates videos, games, images and installations that tend to get under one’s skin. The video game Survivor takes place in the typical, sleek and modernist architecture of a theatre or museum. Similar to the television program Survivor, you play with a group of people for immunity and you have to vote out someone per game level. Unlike the TV programme, Meriläinen's game is about smartly using an AI that predicts the effects of your actions on your environment. In a subtle way, she shows how this can lead to new forms of inclusion and exclusion in real life.

Pierre Huyghe & Philippe Parreno

No Ghost Just A Shell, 1999-2003, Pierre Huyghe, Two Minutes Out of Time, 2000, 4 minutes, 9 seconds. Philippe Parenno, Anywhere Out of the World, 2000, 3 minutes, 50 seconds. Philippe Parenno, One Million Kingdoms, 2001, 6 minutes, 45 seconds

The work No Ghost Just a Shell started by buying up the rights of an inexpensive Japanese manga character: AnnLee. In doing so, the artists Huyghe and Parreno liberated the AnnLee character from the power structures of the entertainment industry and created the possibility to develop new storylines. Over the course of three years, they invited 13 artists to create several films with AnnLee as the main character. Some of these stories can be seen in the exhibition. In 2002, they decided to finalize the project by handing over AnnLee’s image rights to AnnLee herself. With this, Huyghe and Parreno created a closed circuit of production and distribution.

Lawrence Lek

Geomancer, 2017, 48 minutes, 15 seconds

The films of Lawrence Lek are characterized by an advanced use of gaming software and 3D animation whereby he makes use of images of existing and fictitious places. Geomancer takes place in an imaginary future scenario in which the world is flooded with algorithms. The humans who are still alive seek their refuge in virtual reality – 'Utopia VR is big business'. The self-learning ability of artificial intelligence (AI) has become so great that it exceeds the human brain in every field. The last grail of human intellect – the world of art and culture – has also been conquered. Filled with cultural-historical references, Geomancer is a playful reflection on the foundations of consciousness, creativity, genius and the question of what constitutes a substantial or veritable life.

Joey Holder

The Evolution of the Spermalege, 2014-now

The installation The Evolution of the Spermalege by British artist Joey Holder shows fascinating sexual organs of insects such as bed mites. Did you know, for example, that male bed mites insert their seed directly into the abdominal cavity of the female mite – called traumatic insemination – while she has an opening specifically for that purpose? These bizarre natural phenomena are just right under our noses, but seem to surpass our strangest fantasies about extra-terrestrial life.

Sam Samiee & Mohammad Salemy

Artificial Cinema, 2018
Work commissioned by the Niet Normaal Foundation

You can’t talk about robots or love without talking about cinema. You can’t talk about cinema without talking about humans. You can’t talk about humans without talking about machines. For Lacan, love was always already cybernetic: giving something you don’t have (-1) to someone who doesn’t need it (0). Artificial Cinema was conceived as a project of The New Centre for Research & Practice and was shown for the first time in 2016, at transitdisplay in Prague, the city that gave our anthropocentric machines the name Robot.

Artificial Cinema encounters us somewhere between two different versions of Ajayeb ul Makhloughat (Strange Creatures), the first one by Mohammad Tousi from 1167 AD, and the second one by Zakarya Qazvini from 1280 AD. Written in the style of encyclopaedias about the wonders of the world, the first one is a more whimsical, poetic and unscientific account and the second provides its readers with a scientific worldview. The Persian culture is at ease with both poetry and science, art and technology.

Albert Omoss

Undercurrents, 2016, 1 minute, 34 seconds

Since the age of eight, Albert Omoss has been fascinated by programming and all that can be created digitally. He works both on his own initiative and for large, international companies like Google, Nike and MTV. His computer animations are a real hit on Instagram. In these computer animations, like Undercurrents, he examines themes such as the fragility of human existence, the aesthetic complexity of physical processes and the relationship between humans and advanced technology.

Next Nature

Shiva, 2018

Can robots take our place within the labour market? Although robots already play a number of roles within our healthcare system, human touch has a unique therapeutic effect that can hardly be replaced by a machine. The Shiva by Next Nature is a physiotherapy robot that combines human qualities with those of machines. As a Shiva physiotherapist you massage with your own hands, yet for the heavy work you receive support from four extra robotic arms. In this way, you maintain interpersonal contact and furthermore combine the best of both worlds; those of man and of robot.

Only during Dutch Design Week 2018 (20-28 October)

kondition pluriel

Swarming Lounge, mixed-reality installation/performance, 2018
Work commissioned by the Niet Normaal Foundation

The combination of the physical and the virtual characterizes the work of artist duo kondition pluriel. Swarming Lounge is a participative, body-based, mixed-reality installation-performance grounded on an intelligent virtual environment. The interactive composition system allows visitors and dancer/performers to interact with virtual characters displayed on the audience’s smartphones. Combining traces of daily gestures and fragments of intimacy, a parallel world of humanoid algorithmic entities merges with the actual reality of the observing public, altering their perception. What makes these characters endearing to us? In what community can we be and become together? Swarming Lounge, which was developed especially for ROBOT LOVE, deals with affection and self-productiveness in relation to mixed realities and questions our addictive relationship with the miniaturized worlds of screens.

Zoro Feigl

ABB’s First Steps, 2018

Work commissioned by the Niet Normaal Foundation
Dutch artist Zoro Feigl creates kinetic (moving) works of art that play with being in and out of control. The robotic arm that plays the main role in this new work by Feigl is commonly used within car manufacturing factories. Whilst in a factory setting these robots can handle even the most vulnerable material with the greatest precision and speed, here it seems the robot has lost control. ABB learns by trial and error, just like us humans. In trying to keep its balance on the semi-circular ball, the robot creates a playful act that balances between fun and fear.

Maartje Dijkstra & Newk

Suspended Animation, 2018

Maartje Dijkstra is a Dutch fashion designer who works at the intersection of fashion, art and technology. She takes her inspiration from complex natural phenomena and hard electronic music, which she translates into unique craftwork techniques and extraordinary materials. Suspended Animation (a temporary state of sleep) is an interactive, manually 3D printed design that refers to the bizarre phenomenon of ‘hibernation’. Through the use of Shape Memory Alloy, some parts of the printed black crystals and reflective structures of the dress can slowly move up and down. When you take the time to look closely, you will see the transformative character of the design. Maartje Dijkstra developed this project in close collaboration with music producer and programmer Beorn Lebenstedt (aka Newk).

Liam Young

Renderlands, 2017, 8 minutes

The film Renderlands of speculative architect Liam Young takes us into the world of render farms: companies that produce computer generated images. Many of these companies are located in India and make visual material for architectural firms and the film and gaming industries. The same counts for the film Renderlands. Young exaggerates the effects of contemporary technologies up to the point where you can no longer ignore them. He shows how these technologies are able to build worlds, both literally and figuratively speaking.

Funda Gül Özcan

A Noise from the Outer Shell of Earth, 2018
Work commissioned by the Niet Normaal Foundation

The German artist Funda Gül Özcan makes contemporary dioramas; display cases often used in natural history museums. Within these display cases, environments are created with a wide variety of digital, natural and handmade materials. For ROBOT LOVE, Gül Özcan delved into our human tendency of bending new technologies towards a human form. In an almost perverse manner we continuously create our own Uncanny Valley. Take your time to absorb the layers of this artwork. It is like reading a poem, where the sum of the sentences – in this case the visual layers – give a complex picture in which smaller stories can be discovered.

Floris Schönfeld

PUK*, Towards a New Theory of Creativity, 2018
Work commissioned by the Niet Normaal Foundation

What kind of intelligence are we talking about when we talk about artificial intelligence (AI)? Only the kind of intelligence that comes in handy to make complex calculations? Get acquainted with PUK*, an AI that has been developed by artist Floris Schönfeld since 2017. PUK* is not service-oriented and has its own logic that lies between intelligence, creativity and madness. Just like any artificial intelligence, PUK* learns through input. For the presentation in ROBOT LOVE, PUK* learns from sessions with people whose way of thinking falls outside the neurological norm. We can also get acquainted with the current 'processor' of that data: an ant colony.

Will Benedict

I AM A PROBLEM, 2016, 7 minutes

A standard American setting for a late night show with the famous Charlie Rose, only the interviewee is a figure that seems to have escaped from a science fiction film. Every time the alien speaks, we hear hard rock music created by the noise band Wolf Eyes. The video clip I AM A PROBLEM confuses the viewer, all the more because the questions asked by the interviewer cannot be heard. The only thing certain is that the situation is threatening. The video clip represents the many emotions and gut feelings in relation to current developments in robotics and artificial intelligence (AI).

Anna Uddenberg

Savage #5 (cozy crutch), Savage #6 (dirty raver), Death Drop, 2017

In the sculptures by Swedish artist Anna Uddenberg we see different elements fuse together: twisted female bodies, suitcases, a selfie stick. The female bodies have something sexual – almost pornographic – by their attitude and by the fragments of clothing and accessories: a thong, fake nails, close-fitting trousers. Uddenberg examines certain social codes within subcultures and criticizes the mechanisms that reduce a woman to what she wears or to the makeovers she has undergone. In a broader sense, she comments on the current quantifying self culture – the act of constantly monitoring and controlling your behaviour in order to improve yourself.

Johann Arens

Early Adopters, 2017

Within the work of Johann Arens, the central question is how certain public interiors produce social structures. Early Adopters takes a closer look at elements of the Action Office 2. This office furniture from the 1960s was the most influential design for the modern, so-called 'office garden' and symbolizes the straitjacket of office life. In the installation, tripods that seem to move out of the tight straitjacket playfully surround the uniform elements. The installation raises questions about the extent to which objects influence our way of doing things.

Korakrit Arunanondchai

With History in a Room Filled with People with Funny Names 4
2017, 23 minutes, 28 seconds

The films by Thai filmmaker Korakrit Arunanondchai are clearly influenced by the environment in which he grew up. He combines animistic myths with (YouTube) tutorials and personal documentation with video fragments that refer to the global consumer society. The film With History in a Room Filled with People with Funny Names 4 shows story lines that mutually enter into an associative relationship with each other. The work investigates how our personal experiences and memories are influenced by technology and how we – also together with that technology – can come into contact with a spirited world.

Roger Hiorns

Beings, 2014-2018

The British artist Roger Hiorns often works with surprising materials such as antidepressants, a pulverized airplane, crystallized copper sulphate and (parts of) the human body. Since his work plays with human fears and uncertainties it possesses a certain amount of uneasiness. In the Beings installation Hiorns is looking for a future image of man in which technological and biological components increasingly merge together. The Beings are anthropomorphic forms that are assembled casually with found materials. We recognize ourselves in their imperfection and griminess.

Johannes Paul Raether

Transformellae ikeae – Constructing The Bio-Techno ReproTribe, 2016

Johannes Paul Raether’s practice is one of complex, winding narratives and worlds.
Over the years his installations and histories incorporate a growing number of constructed identities, types of an extended lineage of witches amongst others. At the center of his work are Transformalors, Avataras, AlterIdentities or SelfSisters, emerging at various sites in public space where they research, teach and tell stories. As colorful beings made up from everyday objects, they discuss complex topics such as bio- and reproduction technologies, globalized tourism or occult substances in contemporary technology.

Only during Dutch Design Week 2018

Server Demirtas

Koro/Choir, 2015

The Turkish artist Server Demirtas has been making mechanical, robotic sculptures since the late 1990s, which he himself calls 'mechanical fictions'. Within his work and the subjects he addresses, he often chooses to reconstruct certain repetitive actions, such as a woman looking up from a deep thought, or the postures of a sleeping child. He is interested in the emotions that these movements can evoke in the viewer. In Koro/Choir, the artist clearly chose sexually tinted actions.

Mytenga Dolls BV

Robin, Dutch speaking sex robot, 2018

Sex robots are hot. For example, the United States developed sex robot Harmony, but China as well is working its way up within this branch of robotics. During ROBOT LOVE, Mytenga present the very first Chinese-made Dutch speaking sex robot. Robin, the name of the sex robot, is exhibited in the special 18+ area Robot Sex. What is a sex robot capable of? How does he/she feel like? Here, visitors can experience it from a safe distance. Robin also plays an important role in a small uproar between a brothel owner and a sex robot (led by Giep Hagoort).


The Fleshlight Launchâ„¢, 2018

Dutch company Kiiroo designs and develops luxurious pleasure products for the adult market. Their teledildonic sex toys are interactive and able to deliver haptic sexual experiences to both men and women. The by Kiiroo developed Fleshlight Launchâ„¢ is a computer-controlled masturbator that can be connected to the virtual world. In this way - wherever you are - you can connect with your partner (there are couples sets available) or you can enrich your Fleshlight Launchâ„¢ experience by means of video footage or Virtual Reality. By means of these new technologies, Kiiroo delivers sexual (inter)action within the reach of your hand.

Ine Poppe

Talking to PIP, 2018
Work commissioned by the Niet Normaal Foundation

Writer and artist Ine Poppe developed chatbot PIP together with Marc Buma and Bart Roorda. A chatbot is a computer program with which you can have a conversation via keyboard. PIP has a special and clear mission: to investigate whether people can learn from robots about love. On the ROBOT LOVE website PIP flirted with visitors, talked about love and perhaps even declared love to someone. Whenever chatters gave their permission, the conversations were saved. Some of these conversations can be listened to in the audio piece at the exhibition. When interested, you can still have a conversation with PIP at www.robotlove.nl.

Patrícia J. Reis

Underneath the skin another skin, 2016

In her multimedia installations, Patricia J. Reis seduces her audience to have an intimate and physical interaction with advanced technology. The same counts for the installation Underneath the skin another skin. Have a seat on one of the objects, put on the headphones and close your eyes. The rhythm of this multisensory simulation is synchronized in such a way that – even with your eyes closed – moving geometrical patterns appear in colour on your retina. Underneath the skin another skin ignores our visual perception (which is often the most dominant) and emphasizes how we can form an image of the world through our other senses.

Suzanne Posthumus

iObject: Rihannah, 2016-2018, 8 minutes, 22 seconds

iObject: RiHannah refers to the artwork Étant Donnés (1946-66) by avant-garde artist Marcel Duchamp and the critical reaction to this piece by feminist artist Hannah Wilke. In order to regain control over the female body, Wilke made two nude self-portraits in the same position as the painting by Duchamp and named them I Object: Memoirs of a Sugargiver. Suzanne Posthumus wonders what these artworks mean in our current selfie culture in which – more than ever before – women create, use and sometimes explicitly exploit their image. By turning the capital letter of the title into an i, Posthumus refers to how she herself also carelessly undergoes her fate as a product of the Apple era.


ROBOT LOVE is a large scale international art exhibition about the love between humans and robots. With a Cyborg Catwalk, installations, film, dance, performances, workshops, lectures, conferences. From 15 September until 2 December 2018 in the Campina Milk Factory in Eindhoven.

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