Category Blog

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 10th China Beijing International Art Biennale, organized by the China Artists Association and held in Beijing from 29 December 2025 to 29 January 2026. Curated by Fei Jun, the International Digital Art Exhibition brought together practices exploring the intersections of technology, creativity, and contemporary visual culture. The exhibited works examined how machine learning reshapes visual archives and cultural memory through speculative reconstruction, questioning the evolving relationship between historical evidence and computational interpretation.

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 goes to my long term studio collaborators Artem Konevskikh and Anna Kraft.On view in Paris until September the 21st.

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.