A Berlin Biennale more intent on crisis management than exhibition-making raises the question: Does the biennial format – and Berlin itself – still deliver?

The British artist and the founder of PAN records harmonize on brands and arcana, waste and subculture, and music’s animalistic approach towards the future.

Sure, diffusion models make for poor paintbrushes – then again, so did early cameras, cinemas, and raytracers. On the new art form emerging from AI’s jagged frontiers.

Zoe Dubno’s debut novel, Happiness and Love, is a one-night pan of the art world’s obsessions with surfaces and being seen.

Laurel Halo, okkyung lee, Dimitri Hegemann, Alessandro Cortini, Valentina Magaletti, Shackleton, Ziúr, and Mark Reeder on a festival that has rewired local art, club culture, and avant-garde music.

What does Pop mean when the commodity has been overwhelmed by content? A view from dual solo shows by Laila Shawa and Esben Weile Kjær.

Ranging from opera sets to iPad screens across hundreds of paintings, a Paris blockbuster edifies the British artist’s ability to make visible – yet never violate – intimacy.

“Global refuge.” “Cosmopolitan nowhere.” Under a regime of rent hikes, right-wing politics, and violent censorship, what is becoming of a city whose image long amounted to artistic freedom?

In the New York author’s new novel, the media-core melodrama Little Pink Book, abuse of language comes as a so very sweet surprise.

In Berlin, a highly interactive retrospective makes palpable the late Brazilian artist’s turn to touch as the occasion for psychic awakening.

The artist, filmmaker, and author of Medium Hot: Images in the Age of Heat grapples with magical thinking, implication in military-industrial AI, and machine learning’s many roads not taken.

A lecture at Vienna Digital Cultures cuts through the soporific fog of “optimization” semantics to uncover AI-thoritarianism’s rising bid for power.

On femininity and fame in Philippa Snow’s new essay collection, It’s Terrible the Things I Have to Do to Be Me.

Drawing on feminized aesthetics and LLM performativity, a lecture at Vienna Digital Cultures scours user interactions with AI for our collective desires – among them, a little too much charm.

GHB clocks, newly drawn brains, stoned computers – a three-day tour of the annual festival Independent Space Index uncovered the city’s offspace unconscious.

A lecture at Vienna Digital Cultures eulogizes a fading era of the internet, drawing on pre-millennial cyberspace, a post-millennial return of cyber occultism, and the Golem of Prague.

AI is co-spawning a visual culture beyond any imagination. Will an overthrow of good taste re-vest pictures with their mysterious power? Or are we chasing our machines into pastiche hell?

Maker of stash houses and squad-car coffins, R.I.P. Germain’s key is an icy disquiet. His aim isn’t to glorify crime, though, so much as to re-humanize those the law is drawn to exclude.

Once was a sweater empire built from pictures of pain. As catchy as they were outrageous, the “United Colors of Benetton” induced an era-defining confusion: Where does the ad end and the world begin?

Are you above getting rich by eating gas-soaked pizza? Sure, the attention economy is bringing out the dumbest in people; but no picture distills the feeling of being online these days quite like the ...