Category Blog

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 a market can be both created and met rather than matched against supply, then we might as well invert the order of who controls advertising space, its scale, time, or content. In other words, if advertising has hacked the market, why don’t we hack advertising in return? Why do we even call space ‘public’ when, in fact, we lack the agency to determine its nature? Neither do we have the agency to shape the architecture of a space, nor can we choose what we see or communicate. Massive thanks goes to everyone involved in organising this brilliant project including the teams of MEET (Milan, ITA), Etopia (Zargoza, ESP), Baltan Laboratories (Eindhove, NL) and others.

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.