The exhibition is part of AMRO2024 – Art Meets Radical Openness Festival.

Exhibition Opening: Tuesday, May 7th, 6:30 pm (welcoming words at 8 pm)

Artist Guided Tour: Thursday, May 9th, 5 pm

Opening Hours: May 8th – 24th
Wednesday – Friday, 3 – 6 pm
or individual appointments

In 2018, leading car manufacturers, taken aback by the advents of Google and Tesla, invested a lot of money in research on autonomous vehicles. They gathered an immense amount of images taken by their cars that they needed to process in order to train their algorithms. This process, called „image segmentation“, consists of manually outlining and labeling elements of interest in the image. It is very labour intensive and still cannot be automatised, it is thus outsourced to online microworkers from the Global South. 

Unknown Label explores the daily reality of online micro-workers from Venezuela, Kenya, and The Philippines who annotate images for self-driving cars. It investigates the power asymmetries and neocolonialist exploitation involved in the human labour necessary to train AI systems, but also the many micro-gestures of resistance that workers share on private groups. 

The exhibition reveals the hidden people that help shape how machines see the world, as well as the categories used to encapsulate our world and make it accessible to the machines, thus asking questions about the politics of these categories and to what extent they in turn affect the world we live in.

This work was realized within the framework of a European Media Art Platform residency at werkleitz, co-funded by the European Union. This presentation was co-funded by Ars Electronica.


To think about ruins, one needs to borrow a ruined way of thinking, one that fails to achieve the form of a system. To think about ruins is to think but with scraps of thoughts, it is offering a thought made of scraps, which is to be composed in the manner of cubism, or paranoia, or lyricism. It is a form of thought which needs to be rekindled over and over, just like we need to feed ourselves everyday. It is pieces grabbed by chance and necessity, of which we drop most, pieces we gulp down without discriminating, scraps of knowledge coming from every point of a surface that is perpetually bursting, a one and only world blowing up in several plateaus, at various speeds simultaneously, throttling, in staccato, stroboscopic, per inertia. Un-mediated morsels, bits mediated at different scales, fading out, evaporating, blinding – indifferently. […] A thought made of scraps is a ruinous form of thinking, winged words on its back, articulating and disarticulating space and time, a form of thinking that is living matter, connective, transitive, one that like molasses is bringing about the collapse which is the object and the subject of the thinking, the slow collapse in which one must persist, live, invent, the collapse that is the very substance of thought, and from which – because this is all there is – one has to feed herself, find shelter, learn and teach, care, keep warm, tell stories.

epistemology of scraps. Text by Dalie Giroux. Originally published in french under the title épistémologie des bribes.
François Lemieux is an artist and editor for

Exhibition Opening:
Wednesday, April 10th 2024, 7pm

Artist talk moderated by Julia Grillmayr, with guest Erik Bordeleau.
Thursday, April 25th, 6pm

Opening Hours:
April 11th – 25th, 3 – 6pm;
Wednesday to Friday, or individual appointment

Acknowledgement : 
bb15 team
Amirreza Fazel
Julia Grillmayr
Erik Bordeleau
Evelyn Plaschg
Dalie Giroux
Lucia D’Errico
Klaus Theweleit
Richard Artschwager
Till Gathmann
Renato Grieco
Rebecca Kressley

With the support of the Vertretung der Regierung von Québec – Berlin

François Lemieux 01WEB

Exhibition Opening: Thursday, March 14th, 7 pm

Opening Hours: March 15th – 29th
Wednesday – Friday, 3 – 6 pm
or individual appointments

96HIGH presents a series of new works that explore cultural and social understanding of borders, geographically, metaphorically and poetically. In their 2-channel film ‘The New Theater of Operations’, 96HIGH follow four dancers performing near militarized areas in Northern Norway. These choreographed actions are based on exercises from the US Army handbook, ‘Rescue and Procedures in Theaters of Operations’, combined with movement-based games from Theater of the Oppressed. While one rehearses warfare, the other practices conflict-resolution through the body. The film blends and twists the two together.

Merging sculptural and performative expressions, the exhibition presents a scenario where rules of rigid public spaces are turned around, twisted and broken. It examines the construction of borders as the creation of a theatrical stage, a constructed space that produces the fabricated appearance of security. The exhibition has been created partly in collaboration with Anton Benois.

The exhibition is supported by OCA – Office for Contemporary Art Norway and Kulturdirektoratet.