I must have learned about Melanie Hoff's talk through the School for Poetic Computation instagram. Their talk itself was very poetic, and I ran into Stephane Lambion, who is a writer/poet/artist sitting in the front row, who was in the show I curated last March and whom I haven't seen since, but all of this is fitting. At the time, last March, Stephane and I bonded over our shared study of Ancient Greek, and I suppose I had forgot for a moment my own background in linguistics

I will start by reiterating my gratitude for the invitation to this discussion. It was so inspiring to be guided by Julian, who has been able to embrace so many different levels of creativity and to build a business within which the primary focus is to inspire and build for the future. In truth, I had no clue what he possibly could have thought I might contribute to the conversation, given our brief interaction at DLD was mostly based on art installation. Julian is also inter

Season 4 Episode 6 and santi - as always, we love to see it. The show on whole has this sort of tongue-in-cheekiness which reminds you a bit of teenage rebellion; it's like art basel's younger, punkier sibling. Like Minor Attractions, the show exhibits the theatrical bones of director Jacob Barnes' artistic philosophy (some brief research for this post turned up that he does actually have a degree in Cinema Studies, which makes so much sense). The show presents an attempt to

"It's gonna be wild": the theme of this year's Digital-Life-Design conference . AI underpinned nearly every conversation, naturally, but emerged as more a condition than a question: already, AI serves as a cornerstone of culture, economy, politics, and obviously technology. The question is now one of impact: what effects will increasingly-individualized (and commensurately addictive) algorithms have on the way consumers interact with culture, and how will creative practices a

Face ID, tap-to-pay, “select all the images with traffic lights” . Undertaking mindless interactions with technology, the glassy-eyed user produces valuable data for the development of technological systems. Swipe right, swipe left, swipe down, double-tap-to-like : in the same breath as we consume, we create.  Bit Rot names this inversion of traditional economic roles with a particular clarity. Alvin Toffler called it “prosumption”, a term which George Ritzer and Nathan Jurge

Knew I had to see this show as soon as the electric privacy film showed up on my feed. Ted Le Swer seamlessly captures the corporate dissociation which seems to be a hallmark of whatever movement is brewing currently, at least in London and New York. Office-chic-girl-boss culture has given way to something more tepid: an aestheticization (if not romanticization) of the daily slog, of the blank space, of the empty gaze, of the 6400 Kelvin-LED-lit room. Le Swer mixes the aesthe

Last month, I had the opportunity to see Lawrence Lek show at Goldsmiths . I met my friend Jack/Jingtian in the morning, to see the midterm showcase for the Creative Computation programme. Both of us were disappointed that most of the works were not turned on, and even those that were didn't seem to be functioning so well. Lek's work combined marketing language and office aesthetics with the ethos of a videogame; the professionalization of this, is what, I suppose, Jack and I

Set in the unassuming pastures of Germantown New York, The Sky High Biennial establishes a portal to an internationalist kunsthalle...

On The Alienation Effect Certainly out of my depth with regards to this talk, but I did my best! I happened upon the event somewhat...

Immediate takeaways - I latched onto the way Philip weaves unhidden digital infrastructure within his work, using it, I perceive, as a...

One of the first shows I went to and really remember was the Schiaparelli and Prada exhibit at the Met; my mom bought me the exhibit's...

Throughout his career Mike Kelley seems to have a consistent focus on space as a starting point for psychological exploration. This is clear in his early work "The Solipsistic Landscape" (1982), and runs through his work "Monkey Island" (1982) where he takes his viewpoint of the Island - through the links on a fence - as a jumping-off point to explore not just the view of the island itself but all that the island metaphysically contains, as well. This spatial focus, combined

There was something very playful here, which acknowledges the heaviness of damage and destruction as its subject but does not buy into it...

I did not realize until the end of my time with it that this work is a play; I thought of it as a sort of Platonic dialogue between Kafka...

I saw this work by Messager at the Don't Forget to Call Your Mother exhibit at the Met yesterday. The show looked at the power of found...

Walsh speaks to Damtsa about her new show at Gabriel Scott gallery curated around the use of AI by contemporary painters Von Wolfe,...

What a feat - they built Kiefer an entire building for these works. After seeing this show I did go home to watch the Anselm Kiefer show...

I really appreciated Lotus Kang's focus on continuous change through her use of large-scale film within this show. It highlights a...