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View of Hito Steyerl, “This is the Future,” Portland Art Museum, 2023. Courtesy: the artist; Andrew Kreps Gallery, New York; and Esther Schipper, Berlin. Photo: Mario Gallucci
Is artificial intelligence natural, perhaps even inevitable? Drew Zeiba tabulates how K Allado-McDowell, Hito Steyerl, and ricky sallay zoker use predictive tech to pry open or close off our ecological futures.
Sandra Mujinga was recently awarded the prestigious Preis der Nationalgalerie 2021. To celebrate this honour, we’re releasing Jeppe Ugelvig’s portrait of Mujinga from Spike #56: CULTURE WARS from our print archive.
Stay home, stay away, but stay online, for goodness sake. Digital communication has become more of a force than ever in the art world, without the usual galas, openings, and related events. JEPPE UGELVIG dishes the digital dirt.
Why does the art of today often seem to exist in a historical vacuum? What is the significance of art history for post-Internet art? Is our sense of history changing because of the accelerated circulation of images, money and data? Where does this leave the art object? At Spike’s new space in Berlin, Kolja Reichert moderated a discussion between artist and essayist Hito Steyerl, art historian Susanne von Falkenhausen, and two of the four curators of the 2016 Berlin Biennial: Lauren Boyle and Marco Roso from the collective DIS.
