Introduction
Klingemann presents and sells an installation that continuously generates images. The artwork is therefore not simply one AI-produced picture, but a working generative system and its potentially continuing output. This raises questions about the status of the art object, collecting and authorship beyond those posed by a single generated image.
View full image ↗Installation photograph of Mario Klingemann’s Memories of Passersby I, showing its two portrait screens and equipment. The artist’s page was published in 2018; the image upload year is not treated as the work’s exhibition date.
© Mario Klingemann; courtesy Onkaos · Rights in the original image and document remain with their respective holders
Source · Memories of Passersby I | Quasimondo ↗RESEARCH ACCOUNT
Generated portraiture becomes a continuously running installation.
ANTI-AI ARCHIVE · Revised 2026-10-02
Machine, screens and time
Klingemann’s Memories of Passersby I presents continually generated portraits as an installation. Sotheby’s catalogues a work involving hardware and software; its making must be distinguished from the 2019 auction event. The object of attention is not simply one preservable face, but the continuing appearance and disappearance of images.
Section sources: Memories of Passersby I
Collecting a process
Compared with a generated portrait printed on canvas, the installation raises questions of operating conditions, maintenance and viewing duration. The market encounters a generative mechanism and its material support, not only a reproducible image file. Auction inclusion alone establishes neither aesthetic value nor technical superiority.
Section sources: Memories of Passersby I
Sources for this account
Sotheby’s lot description read; auction language is not treated as an independent technical assessment.
This account expands the archive within the cited scope. Historical interpretation is not presented as the original author’s statement or as a proven causal influence. The account and translation are AI-assisted, pending independent human review. Section references identify evidence without claiming independent verification of every historical statement.
Continue with a comparative question
Compare the methods, forms of control or presentation contexts of this entry and Portrait of Edmond de Belamy.
Compare the methods, forms of control or presentation contexts of this entry and Unsupervised.
Dates & version record
Date displayed for this node: 2019 · Historical date recorded for the source: 2019
These dates refer to the historical event or recorded version, not this page’s publication date. The original date precision and unresolved questions are retained.
Original sources & further reading
These links lead to the cited paper, article, institution or conference page. External texts retain their source languages.
Memories of Passersby I
https://www.sothebys.com/en/auctions/ecatalogue/2019/contemporary-art-day-auction-l19021/lot.109.html
Current cited URL
Memories of Passersby I
https://www.sothebys.com/en/buy/auction/2019/contemporary-art-day-auction/mario-klingemann-memories-of-passersby-i
URL cited in a research master or supplement; it may have moved or expired
Provenance, translation & verification
Timeline entry #104 · Historical node
Research materials & supplement references · 1
AI Art Genealogy Research Master · p. 20 · 065
Date as recorded: 2019
Memories of Passersby I ↗
Memories of Passersby I
Archive account based on the listed research materials, not a full translation of the linked work. AI-assisted translation; independent human review pending.
The master’s research claims and dates await independent verification.
Cite this node
ANTI-AI ARCHIVE. Memories of Passersby I. Art-history node #104. https://salondesrefuses.cn/en/art-history/065
For specific historical claims, also cite the original sources above and include your access date. This account is not a full translation of the linked work.
Adjacent nodes follow chronological order; adjacency does not establish direct influence or causation.