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?

Ever-prescient, the multimedia artist and filmmaker’s new memoir crystallizes the extensions of the self unique to art.

Even as the artist’s hand becomes part of the algorithm, a Berlin exhibition shows that, as a medium, painting still needs the body.

Cued by a satirical wager between Napoleon and St. Francis of Assisi, the Graz art festival makes a wry case that war’s “before times” are already behind us.

By turns complimentary and combative, two leading lights of “post-internet cinema” talk out art’s responsibility to stay with the times, no matter how strange.

In Vienna, a former sex worker’s mash-up of broke pop, bad taste, and low-res funk beckons the outsider – and can be extremely slippery.

The new artistic co-director of Tanzquartier Wien envisions dance as a practice of hospitality – with Vienna’s many publics as her guests.

By turns militant, paranoiac, and deeply satirical, Paul Thomas Anderson’s new film stages an opposition to US fascism beyond screenshotting tweets.

In Paris, a library overflows with the alt-iconographic displays that made the photographer synonymous with visual culture’s last new normal.

What good is cut-rate, lookalike luxury if it can only be worn onscreen?

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.

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 can Pop possibly mean when the commodity has been overwhelmed by content? A view from dual shows by Laila Shawa and Esben Weile Kjær at the Salzburger Kunstverein.

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.

Can history painting survive 2025? In Sobczak’s hallucinatory canvases, it glitches into view, caught between the mythic and the meme.

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.

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 ...

A new collection of New York club dispatches alchemizes the dancefloor’s utopian politics, animal debauchery, and many ghostly pasts.

Precious Okoyomon, quori theodor, and Bobbi Salvör Menuez’s food art is sliming the psychic space between the body’s holes – and might just “turn” you trans. Republished from Spike #83 – Food.

If Carlo Ratti’s design showcase is bloated, messy, and somewhat too disinterested in aesthetics, its address of climate crisis also abounds with a rare quality for 2025: optimism.

Headed to art’s big bazaar on the knee of the Rhine? Don’t miss the city’s best croissants, a Friends-themed dive bar, and a dancefloor worth the queue.

The new director of Kunsthalle Zürich on thinking translationally, pulling out all the stops for artists, and a city coming into its cultural own.

In a six-hour performance-installation at Funkhaus, Vienna, over-direction stymies the bleed between make-believe hospice and real-life aging and dying.

What did algorithms ever do for visual culture but dumb it down? Artists, it turns, out, have been evolving a new form in the unlikeliest of corners: YouTube.

In a festival brimming with doom and gloom, a film by Joachim Trier won Cannes’s Grand Prix by offering its characters a choice to mend.

The former director of Kunsthalle Zürich on why so many of his colleagues love art, their jobs, and the profession – and yet still want to leave.

The US poet’s two newest books, Wave of Blood and The Rose, find life overflowing from its innumerable wounds.

The new director of Vienna’s ALBERTINA on building a universal art institution to meet its many publics where they are.

A dinner for Klára Hosnedlová’s CHANEL Commission at Hamburger Bahnhof served three courses, migration stories, and what one server called “a dystopia you can live in.”

The Yugoslavian-born sculptor doesn’t make her otherworldly beings so much as let them onto this perceptual plane.