AN INTERVIEW WITH OLIA LIALINA The net art pioneer, who has always treated the web as a medium, says the tech industry is working to make the digital world increasingly invisible, prompting her to demonstrate her belief in the care of digital art By Anika Meier rightclicksave.com/article/a…

Deserved spotlight on a maverick pioneer-The Optimizer| @Jonas_Lund. In applying the technological ideologies of the moment to his work, the artist has increasingly come to realize that art cannot b quantified. By Anika Meier @postanika via @RtClick_Save rightclicksave.com/article/t…

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Digital art collecting became a way to build communities, preserve culture, support artists, and rethink what an “original” can be. Here’s what we learned from @justinaversano, @KikaNicolela, and @omgidrawedit in this recent talk presented by @ARTANDVAULT and @theHUGart and moderated by @postanika. 🧵

THE OPTIMIZER | JONAS LUND In applying the technological ideologies of the moment to his work, the artist (@jonas_lund) has increasingly come to realize that art cannot be quantified By Anika Meier (@postanika) rightclicksave.com/article/t…

✦ 𝒏𝒐𝒘 𝒍𝒊𝒗𝒆 ✦ Mythological Menagerie by Jonathan Monaghan A reimagining of the Labors of Heracles How labor, power + technology take new forms in the digital age. Presented by @_second_guess Curated by @postanika For Stories We Tell Online Exhibited in Linz on 9 September in an internet café ▼ Ceryneian Hind

ARS ELECTRONICA x FRANCISCO CAROLINUM. Linz Linz Linz and I won't be able to be there in person 😕. But hey, my work will be! -----👉 Thrilled that my work "TIPTOEING AROUND THE VOID" is screening at @arselectronica this week as part of "Prix Ars Electronica Animation Art Screening / Ghost Stories: Negotiating Between Worlds". 42 Francis Bacons vs. 8 AIs. No peace in the afterlife: A dead painter rants against AI. Naturally, I made it with AI. 🖤 Thank you, Ars Electronica, especilally Jürgen Hagler and his team for giving this contradiction a screen. 📍 JKU medSPACE, Linz · September 9, 10, 11 & 13. -----👉 PLUS Francisco Carolinum is showing my work in its exhibition "3 Blockchains, one Collection". @fc_linz has been collecting blockchain-based art for years and I am happy that some of my NFT works ("Monologues of the Forgotten Twin" and others) are part of it. Curator: Julia Staudach aka @Tschuuuuly . #ArsElectronica #Aivideoart

Many thanks to Justin for choosing "Happiness is a Snow Day," created in collaboration with Teen Margaret—an AI GPT model trained on my teenage diaries—for the 50 States, 50 Artists open call! It’s an honor to have this work in @fndzionaversano’s collection! 🙏

💭 discussed who shapes culture in the age of ai with @matdryhurst, simon denny (@dennnnnnnnny), sarah friend (@isthisanart_), anan fries, and jess tucker (@akajesstucker) in berlin today

💭 »New Conditions: Art After AI« explores how artificial intelligence is changing the conditions under which art is made, experienced, exhibited, and valued. With, among others, @matdryhurst, @CaballeroAnaMa, Christoph Niemann, OMSK Social Club, Karen Archey (Head of the Curatorial Department of Kunstsammlung Nordrhein Westfalen, Düsseldorf), and Laura Attanasio (Vice President of Pace). Programming by Mona Stehle, Artistic Director of Berlin Art Week, and myself. 📍 Berlin Art Week Garten at Gemäldegalerie

💭 In conversation with @Beeple for Kunstforum
 Beeple After the NFT Hype
Why Digital Art Is Still Underestimated »Early on, I avoided art history because I didn't want to start following rules that other people had already established. I was worried that if I absorbed too much of it, I'd stop thinking outside the box. I wasn't exactly confident in my ability to keep it from poisoning my beautiful artist mind and my pure intentions.«

A good sign that the summer break is over: events are starting up again. Berlin Art Week and Ars Electronica are just around the corner, but first, C/O Berlin is celebrating the 200th anniversary of photography on August 22, 2026, with a full day of events. The keynote will be given by Kate Crawford: »The Metabolic Logic of AI Slop« I’ll be moderating a panel with Florian Ebner, Chief Curator of Photography at the Centre Pompidou in Paris, author and cultural theorist Annekathrin Kohout, and artist Armin Linke. Following short presentations by the panelists, we’ll look toward the future of photography and discuss how AI, networked images, and digital image cultures are changing our understanding of images, reality, and photographic practice. As we think about the future and look ahead, what can we learn from past debates around new technologies? Will we still care whether an image was photographed or generated, or will provenance become more important than the category of the image itself? Where does an image come from, how was it made, and in what context? Does the individual image even still matter today? And do we actually need new terms for new kinds of images? Boris Eldagsen uses the term “promptography.” Does this distinction help us, or does it artificially maintain a boundary that is already disappearing? Or perhaps we need that boundary after all?

🔜 in Berlin 💭 Panel with @matdryhurst, Anan Fries, Sarah Friend (@isthisanart_), @akajesstucker, and statements by Simon Denny (@dennnnnnnnny) 📺 Screening with @kevinabosch, @xCROSSLUCID, @BorisEldagsen, @hi_flynn, @malpractice_net, and @akajesstucker

🗓️ 22 August 2026 🎙️ With a keynote by Kate Crawford, »The Metabolic Logic of AI Slop«. I'll be moderating the panel »Looking Forward« with, among others, Florian Ebner, Chief Curator of the Centre Pompidou's Cabinet of Photography. C/O Berlin will celebrate the bicentennial of photography on August 22, during the week of World Photography Day, with an all-day program of events. Together with guests from art, photography, and media studies, we will look at the history and future of the medium: How is our understanding of images changing in an era shaped by artificial intelligence, digital infrastructure, and a flood of images?

💭 In conversation with Avery Singer (@ShabbatQueen) for Monopol 
🔗 Now also online »What happens when we enter a stage where the war doesn’t even need to happen? What if there is only synthetic imagery? The material could be entirely fabricated and still function as spectacle. For me, the work is about the attention economy, media, and this collective feeling that our brains are overstimulated and emotionally exhausted. We spend hours every day engaging with these systems while simultaneously struggling to understand what is actually happening.« Avery Singer’s solo exhibition »War_overlays« is currently on view at Hauser & Wirth, Zurich.

★★★★ Just re-read this great Interview! The arguments perfectly fit my university course this fall. Will put this on the reading list. Thank you @matdryhurst & @postanika @sleekmag. → MD "In a sense, you’re less concerned with authorship of the final media and more concerned with authorship of the coordination: the tools, the protocols, and the systems." → My course will be about: Automation and Knowledge – Data Curation, Agents, and Heuristic Decision Machines as Research Tools @univienna sleek-mag.com/article/who-sh…

»When people ask, ›What do you think about the art?‹ I can’t think about the art because I don’t want to die.« — @Grimezsz in conversation with @JoshuaCitarella

Sorry for calling Fellowship a boutique gallery for digital art, for lack of a better term. But I also argue that Fellowship might just be the future of the gallery model. Yes, this starts with Taylor Swift. No, it's not really about Taylor Swift.

In seinem Atelier in LA hat Friedrich Kunath eine Bar gebaut: als Ort für Pasta, Musik und Gespräche. Jetzt kann man seine Bar "Va Bene" in der Berliner @PaceGallery besuchen. Ein Gespräch über Sehnsucht, italienischen Pop und die Bar als soziale Skulptur monopol-magazin.de/friedrich…

💭 In conversation with Avery Singer (@ShabbatQueen) for Monopol »People ask me all the time: ›Why don't you make digital art?‹ But at the end of the day, you still need a form to show what you do. Whether it is on a screen, a video, an image, or a painting, the art itself is not the file. I think it is good that painting is included in these conversations instead of being ignored. I understand wanting to exclude it or thinking it has no relevance whatsoever. That is a valid position. But I find it interesting to bring painting into the conversation and say: ›We are in an open field here. You define the protocol. Whatever it ends up looking like, whatever the final output is.‹«