Electric Dreams: Art and Technology Before the Internet review – charmingly archaic and constantly prophetic
The Electric Dreams exhibition at Tate Modern showcases the intersection of art and technology from the mid‑20th century to the early digital era. The review highlights key works, from kinetic sculptures to early touch‑screen pieces, and explains why the show remains relevant today.
The Tate Modern in London has opened its doors to Electric Dreams: Art and Technology Before the Internet, a sprawling exhibition that traces the uneasy romance between artists and machines from the 1950s through the early 1990s. Visitors wander through fifteen distinct sections, each packed with kinetic sculptures, early computer‑generated visuals, and interactive installations that pulse, wobble, and glow with a nostalgic electricity. The show offers a rare chance to see how creators long before the World Wide Web imagined a future where art and technology would merge.
From Brass Brushes to Motor‑Driven Motion
The opening gallery introduces Belgian sculptor Pol Bury’s “3069 White Dots on an Oval Background.” The piece resembles a massive wooden hairbrush, its surface bristling with fine metal pins that twitch ever so slightly thanks to a primitive motor hidden inside. Bury, a key figure in the 1960s kinetic movement, sought a midpoint between motion and stillness, and his work still feels alive, as if it possesses a mind of its own.
Nearby, Vera Spencer’s collage of punched‑card patterns—originally used in mechanical looms—creates a semi‑abstract night‑time skyline. Though no electricity powers the work, the reference to early data storage hints at the exhibition’s broader theme: the translation of information into visual form.
Kinetic Energy and Early Digital Experiments
German artist Günther Uecker’s nail‑covered panels shimmer like wheat fields in a gust of wind, while French creator François Morellet dominates a corridor with blue and red squares that spin in random sequences derived from a telephone directory. The resulting after‑images flood the viewer’s retina, demonstrating how simple algorithms can generate complex visual experiences.
Alberto Biasi, an Italian kinetic pioneer, refracts moving light through crystal prisms, producing ever‑changing rainbows that cascade across the walls. Across the room, Chinese‑American sculptor Wen‑Ying Tsai installs steel rods that vibrate in response to claps or shouts, turning audience noise into kinetic feedback.
One of the exhibition’s most striking pieces is a recreation of Venezuelan artist Carlos Cruz‑Diez’s 1974 “Chromointerferent Environment.” The immersive installation fills an entire gallery with parallel bands of light that ripple and intersect, constantly reshaping the appearance of visitors and floating balloons alike.
Early Computer Art and the Birth of Interaction
Among the historic artifacts is a 1968 clip from BBC Two’s “Late Night Line‑Up,” which announced the arrival of computer‑generated art. The footage includes a child‑like Mondrian rendered by an early algorithm and a propeller‑head robot named SAM (Sound Activated Mobile) by Polish artist Edward Ihnatowicz. SAM, once capable of reacting to sound, now sits in a glass case—a relic of an idea that pre‑dated modern robotics.
German duo Fleischmann and Strauss’s 1992 “Liquid Views: Narcissus’s Digital Reflections” offers a prescient glimpse of touch‑screen technology. Visitors see their reflection on a low‑resolution screen, then watch a second image of themselves appear on a public monitor, echoing the way today’s internet mirrors personal data across devices.
Japanese artist Tatsuo Miyajima’s LED installation features red and green numbers cycling from 1 to 99, embodying Buddhist concepts of impermanence and endless change. The work underscores how early digital displays were already being used to explore philosophical ideas.
Women Artists and Contemporary Resonance
American artist Liliane Lijn, now in her mid‑80s, is celebrated with both early kinetic pieces and later LED works. A miniature theatre of silver curtains flickers with random light patterns, suggesting invisible performers and reinforcing the exhibition’s theme of unseen forces driving artistic expression.
The show’s curatorial approach is deliberately international. It references the 1960 gathering of avant‑garde artists at Zagreb’s Gallery of Contemporary Art, the 1990 Banff Centre workshops in Canada, and the Paris‑based GRAV group, whose mathematically driven systems influenced many of the works on view. This global perspective highlights how artists across continents were simultaneously probing the same technological frontiers.
While many objects are archival—displayed in vitrines much like recent Tate retrospectives—the exhibition avoids feeling static. Each room offers a pause for contemplation before moving on to the next wave of invention, allowing visitors to appreciate the evolution from simple electromagnets to the first touch‑screens.
Why the Exhibition Still Matters
In an era dominated by AI‑generated imagery and algorithmic curation, Electric Dreams reminds audiences that the dialogue between art and technology began decades earlier, often with humble materials like tin cans and electric motors. The works on display are not merely historical curiosities; they embody a spirit of curiosity and optimism that continues to inspire contemporary creators.
Why it matters
Electric Dreams shows that the partnership between art and technology has deep roots, offering perspective on today’s AI‑driven creative landscape.
Key points
- The exhibition spans 15 sections, covering art from the 1950s to the 1990s.
- Key works include Pol Bury’s kinetic brush, François Morellet’s algorithmic corridor, and Liliane Lijn’s LED theatre.
- Early computer art is highlighted through footage of BBC’s 1968 program and the SAM robot.
- International artists from Europe, North America, and Asia illustrate a global fascination with tech‑driven art.
- The show underscores the relevance of historic experiments in today’s AI and digital art debates.
Frequently asked questions
Where is Electric Dreams being shown?
Electric Dreams: Art and Technology Before the Internet is on view at Tate Modern, London, until 1 June 2025.
What time periods does the exhibition cover?
The show features works created roughly between 1950 and the early 1990s, tracing the evolution of art‑technology collaborations before the internet era.
Are there interactive pieces for visitors?
Yes, several installations respond to sound, movement or touch, including Wen‑Ying Tsai’s vibrating rods and Tatsuo Miyajima’s LED number sequences.
Does the exhibition include early computer‑generated art?
It does, with historic video clips, the SAM robot, and early touch‑screen works like Fleischmann and Strauss’s 1992 piece.
Is the exhibition suitable for families?
The mix of kinetic sculptures, interactive displays and clear explanatory panels makes it engaging for visitors of all ages.
