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In 2025, works from the Content Aware Studies series were presented at the 10th China Beijing International Art Biennale, organized by the China Artists Association. The Biennale ran from 29 December 2025 to 29 January 2026 and featured an International Digital Art Exhibition curated by Fei Jun. The exhibition brought together artistic practices exploring the intersections of technology, creativity, and contemporary visual culture. The presented works examined how machine learning reshapes visual archives and cultural memory through speculative reconstruction, questioning the evolving relationship between historical evidence and computational interpretation.

On 30 September, I will be giving a keynote at NYU Shanghai’s Interactive Media Arts department. On Memory Architectures, Reverse Archeologies & Cognitive Infrastructures brings together several strands of my ongoing research around artificial memory, automation, synthetic knowledge, and emerging cognitive infrastructures.

“One & Infinite Chairs” is part of “Do Our Chimeras Most Resemble Us?”, an online group exhibition presented by Centre Pompidou in collaboration with KADIST, running from 14 September to 13 December 2026. The project is the third chapter of the ongoing curatorial collaboration between Centre Pompidou and KADIST, following the 2023 symposium “The Future Is No Longer What It Used to Be” and the exhibition “Apophenias, Interruptions: Artists and Artificial Intelligences at Work”. “Do Our Chimeras Most Resemble Us?” is curated by Marcella Lista, Chief Curator of the New Media Collections at the Musée National d’Art Moderne – Centre Pompidou, and Joseph del Pesco, Curator at KADIST.

Happy to share that “One & Infinite Chairs” will be screened at BAMPFA (Berkeley Art Museum and Pacific Film Archive) as part of “Push Buttons and AI,” a film program curated by Antonio Somaini, Hannes Bajohr and Sonja Thiel. The screening is part of the program accompanying “Hidden Layers: AI Infrastructures and Hallucinations” at UC Berkeley’s Worth Ryder Gallery. September 9, 2026 · 7 PM BAMPFA, Berkeley, California

I’m happy to share that my video One & Infinite Chairs has been selected as Video of the Month at Kunsthalle Dortmund for August 2026. The work is now available to watch as part of the institution’s programme.

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From 22 June to 10 July 2026, Intertopian Imaginaries was presented at the China Academy of Arts in Hangzhou as part of PLAYSHOP: Trans-boundary Curriculum in Design. Through a series of lectures and workshops, the programme explored speculative design, artificial intelligence, media archaeology, and critical world-building, examining how emerging technologies shape cultural imaginaries and alternative futures.

At our recent ‘Reclaiming Data’ symposium in Berlin, a key takeaway for me and many others was the reaffirmation of W. Benjamin’s quote, ‘Behind every fascism, there is a failed revolution.’ However, this assertion led to subsequent misinterpretations about which revolution was implied. To me, personally, it is beyond the shadow of a doubt an industrial revolution, where we failed big time.

Reverse Archaeology was a solo exhibition presented at the IPAI Living Room in Heilbronn, Germany, from 7 May to 4 September 2026, organized by the IPAI Foundation. The exhibition featured works from the Content Aware Studies series, examining how artificial intelligence reshapes the reconstruction, preservation, and interpretation of cultural heritage while questioning the role of machine-generated knowledge in the production of historical narratives.

One & Infinite Chairs (2024) was screened at the 72nd International Short Film Festival Oberhausen on 1 May 2026 as part of the programme Forensics of the Unreal. The film examines the transformation of representation through machine learning, revisiting Joseph Kosuth’s One and Three Chairs to explore how AI-generated images reshape perception, meaning, and the production of visual knowledge.

On 23 April 2026, the lecture Knowlegistics / Cognitectures was presented at Duke Kunshan University in Kunshan, China. The talk explored the relationship between knowledge systems and computational architectures, examining how artificial intelligence and digital infrastructures reshape cognition, cultural memory, and the production of knowledge through the intersection of media theory, critical design, and artistic research.

The chapter “Content Aware Studies 08V: Deep Portrait” was published in Modulation: The Parameter-Image, edited by Tomáš Dvořák and released by the University of Exeter Press in 2026. Featuring Content Aware Studies 08V: Deep Portrait, the volume explores images as dynamic systems of variation rather than fixed representations, examining how parameter-based approaches have transformed visual culture from Renaissance techniques to contemporary artificial intelligence through the perspectives of philosophy, media archaeology, and art history.

I’m looking forward to taking part in ‘What Methods Do’, an international symposium dedicated to the nature and role of methods in artistic research, their capacity to produce knowledge and to inform the agency of art in a societal context. The symposium is organised by the Leiden University Academy of Creative and Performing Arts (ACPA) following an initiative by the Route Kunst of the NWA (National Research Agenda) and curated by Gabriel Paiuk. After nearly half a year in Japan and China, I’m eager to be returning to Europe with many shows and events scheduled this spring / summer season.

From the Hong Kong International AI Art Festival to the Beijing Art Biennale; from Paris (Jeu de Paume, DFK Paris) to Venice (IUAV & VIU); from Berlin, Eindhoven, and Maastricht to Seattle – moving through exhibitions, talks, and research platforms exploring AI, art history, ethics, decentralization, and generative cultures. Grateful for the invitations, collaborations, and critical conversations across institutions and disciplines.More to come.

Works from the Content Aware Studies series were presented at the Hong Kong AI Art Festival, held at the Hong Kong Convention and Exhibition Centre (HKCEC) from 19–22 December 2025. Bringing together international artists working across artificial intelligence and contemporary media, the festival explored emerging approaches to computational creativity. The exhibited works reflected on how machine learning reshapes cultural memory, historical archives, and the production of visual knowledge.

A few installation shots that we captured of the “The World According to AI” at Jeu De Paume Paris – an exhibition examining how artificial intelligence is transforming our ways of seeing, understanding, and imagining the world. Curated by Antonio Somaini (General Curator), with Ada Ackerman, Alexandre Gefen and Pia Viewing (Associate Curators).My new iteration of the Content Aware Studies Series has been produced with the support of the BMWKMS Austrian Federal Ministry for Housing, Arts, Culture, Media and Sport.The series includes sculptures, videos and texts as inquiries into reverse-archeology via Ai models and datasets of 3d scans. Aimed at reconstructing missing fragments within the sculptures of classical antiquities and paleontological objects these computational systems are exercised at speculative object-oriented historicism of never-existed, yet algorithmically genuine, documents of synthetic histories.⠀The exhibition was produced by Jeu de Paume, with support from the French Ministry of Culture, Jaeger-LeCoultre, the Neuflize OBC corporate foundation, and the Friends of the Jeu de Paume.Many thanks…

On my way to Venice to present a paper and a recent work as part of the conference The Ethics and Aesthetics of Artificial Images, taking place at Iuav University and Venice International University during the opening days of the 19th Venice Architecture Biennale. Where yours truly happens to be presenting the latest work, film and paper on model collapse, oddly titled 1 & ∞ ⑁. The conference is truly promising, with an outstanding programme including such brilliant scholars as Matteo Pasquinelli, Lev Manovich, Antonio Somaini, Neta Alexander, Francesco D’Isa, Neil Leach, Joanna Zylinska and many brilliant others, who will be contributing talks, discussions and reflections on the philosophical, artistic and cultural implications of AI-generated imagery – its potentials, politics and poetics.

I am massively honoured to have my work on the exterior and interior of the Jeu De Paume, Paris as part of ‘The World According to AI’ brilliantly welded together by Antonio Somaini, with associate curators Ada Ackerman, Alexandre Gefen, and Pia Viewing. Exhibition artists include Nora Al-Badri, Nouf Aljowaysir, Jean-Pierre Balpe, Patsy Baudoin and Nick Montfort, Samuel Bianchini, Erik Bullot, Victor Burgin, Julian Charrière, Grégory Chatonsky, Kate Crawford and Vladan Joler, Linda Dounia Rebeiz, Justine Emard, Estampa, Harun Farocki, Joan Fontcuberta, Dora Garcia, Jeff Guess, Adam Harvey, Holly Herndon and Mat Dryhurst, Hervé Huitric and Monique Nahas, David Jhave Johnston, Andrea Khôra, Agnieszka Kurant, George Legrady, Christian Marclay, John Menick, Meta Office, Trevor Paglen, Jacques Perconte, Julien Prévieux, Inès Sieulle, Hito Steyerl, Sasha Stiles, Theopisti Stylianou-Lambert and Alexia Achilleos, aurece vettier, Clemens von Wedemeyer, Gwenola Wagon and yours truly.

Glad to have been part of ‘Time Travellers’, a public intervention set within the streets of Maastricht, Netherlands, where our 12-channel moving image piece was projected into two window facing Rechtstraat. The project transformed building façades into portals for fragmented, non-linear experiences of time, featuring works by Ori Gersht, Kim Boske, Sam Taylor-Johnson, Carla Gannis, Laurent Fiévet, Gordon Cheung, Addie Wagenknecht & Pablo Garcia, Erzsébet Baerveldt, Jacco Olivier and yours truly. Massive thanks go to Bart van der Boom, director of Viewmaster Projects — a nomadic platform for video art and new media based in Maastricht for curating this and previous editions of this great initiative.

Sharing some imagery from Siggraph Asia 2024, which took place in Tokyo’s International Forum this December. Two of my works ‘Content Aware Studies’ and a more recent ‘1 & ∞ ⑁’ were presented at the art gallery section of this massive event. Even more massive greetings go to all the lovely people I met presenting their artworks and papers. 

Despite the global turmoil, autumn remains the busiest season — and this year is no different. The pressure, sleepless nights, impossible deadlines, and the constant juggling of projects continue. Every year I tell myself that next autumn will somehow be calmer, and every year reality proves otherwise. Huge thanks to everyone who supports, shows patience, and tolerates me through it all. UPCOMING / ONGOING HIGHLIGHTS:

I had an honour to be an ARTeCHÓ fellow amongst a brilliant group of colleagues artists researchers over the course of last couple of years with residency, projects and events in Milan [IT], Eindhoven [NL], Zaragoza [ES] and online. This EU supported fellowship was brilliantly welded together by the teams of Baltan Laboratories, MEET Digital Culture Center & Etopia Centro de Emprendimiento and an exceptional list of contributors. This November the fellowship programme culminated at the event in Milan’s @meet.digitalculturecenter where I held a keynote and a presentation of a prototype of my ongoing [Aura]{Protocol} public space initiative based on the premise that web3 technologies, decentralised stacks and some collective action could help us reclaim the agency and co-curation of visual content in urbanised public spaces. The premise of the proposal that I’m looking forward to bring into fruition in the near future is as follows: If the rise of advertising has created an economy of perverse order, where demand in…

I happen to be one of the winners of the Falling Walls Award for The Art & Science this year. The ceremony took place last weekend in Berlin during science week. Not fun fact: in order to attend the ceremony I was invited to pay a €1500 ticket. While being somewhat amused that prizes can also work in reverse nowadays, I decided to skip such an honourable opportunity for good. The closer I get to institutional cooperation lately, the more I feel that we, the artists, are failing big time to establish healthy institutional relationships. As a result, the more power is in the hands of the institutions and the less agency do we have. This is wrong, because if there were no artists – there wouldn’t be any need for institutions. This hierarchy should be revisited, and we need a new form of institutional and platform critique today. 

I’m looking forward to be giving a keynote at the Joshibi University of Art and Design in Tokyo as part of the guest talk series in Joshibi School Festival 2025, next week. Many thanks to the Field of Art and Design for Spatial Experience and Hidemi Nishida-san for arranging this.

As summer draws to a close and my Weltschmerz (for lack of a better word) keeps me antisocial online, here’s a quick memo on my spring/summer movements:

I look back at it as the time of fulfilling my deepest curiosity about intense technological, cultural and other aspects of what makes modern China a place of gossip, controversy, and fascination. In short, a mere engagement on philosophical, political and aesthetic topics with the students gave me so much insight into who we are and why are things such that they are. I hope to be able to unpack on it in a more elaborate way, although I really need to unpack it to myself first. Massive thanks goes to all who were involved in materialising this 非常感谢

Here’s my portrait feature, creatively altered by AI (or as I like to call it, artificial idiocy), published in Vienna’s biannual Kultur Magazine by Die Presse this October. Huge thanks to @tenul_, whose work inspired the piece, and Charim Galerie for their support in bringing it to life. 

I couldn’t write about it before. Witnessing the full-scale invasion in early 2022 left me speechless – and honestly, I still am. What began then has only spiraled further into a humanitarian catastrophe, one we must not allow to become normalised. In the midst of this horror, I tried to stay sane through activist and artistic work. One such project, Content Aware Studies, received the New Technological Art Jury Award in 2022 and was later exhibited in Ghent. I’m humbled it stood alongside such exceptional work and in the company of artists I’ve admired for years – including past nominees like Sol LeWitt, Nam June Paik, and Chris Cunningham. The award returns this year. I wish the best to all the artists involved. I remain deeply grateful to those who supported CAS and its unfolding.

I’m in Paris this week to install the show ‘The Next Renaissance – Le Goût de l’Invisible’ at Goethe-Institut Paris curated by Anett Holzheid and produced by ZKM. The exhibition includes works by Zbyněk Baladràn (CZ), Thijs Biersteker (NL), Michèle Boulogne (NL), Thomas Feuerstein (AT), Linu Grönlund & Okku Nuutilainen (FI), Rafael Lozano-Hemmer (CA), Manfred P. Kage (DE), Egór Kraft (AT/JP), Dorcas Müller (DE), Joel Ong (CA), Jean Painlevé (FR), Helen Pynor (AU) and Joel Sherwood-Spring (AU).

Over the past year—and most recently—I had the privilege of teaching my course Art and Image in the Contexts of AIs at Linz University of Arts (Visual Communication Department). Developed through years of adaptation across institutions, the course will soon continue at the Chinese Academy of Art in Hangzhou. Grateful to the brilliant viskom faculty at Kunstuni Linz—a place uniquely attuned to art’s evolving dialogue with technology.